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Italian sculptural group titled The Wrestlers. Powerful representation inspired by the ancient Greco Roman Lysippus, the renowned 4th century BCE sculptor of classical antiquity. Rendered with extraordinary anatomical realism and dynamic tension, the composition depicts two male athletes locked in an intense moment of physical struggle, showcasing a masterful study of musculature, motion, and human form. The original marble group is traditionally thought to reflect the stylistic influence of Lysippus, official sculptor to Alexander the Great and a transformative figure in Greek art who broke from the static proportions of Polykleitos, a well known sculptor before Lysippos, in favor of more slender, naturalistic forms. Lysippus introduced a new canon of bodily proportions and expressive movement, pioneering a dynamic aesthetic that profoundly influenced later Hellenistic and Roman sculpture. This contemporary cast, mounted on a textured naturalistic base and finished in a rich golden bronze patina. Weight: 64lbs. Dimensions: 20"W x 17.5"HCondition: Age related wear.

mixed media on paper framed and under glass image size 67cm x 47cm, overall size 76cm x 55cm Provenance: Collection of Matilda Hall, bought at Christian Aid Sale, authenticated by James Holloway Note: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite?s 1993 solo exhibition, made by The Scotsman?s art critic Edward Gage. The ?maverick? label is often attached to Douthwaite to encompass a variety of the artist?s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite?s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite?s creative endeavours. Douthwaite?s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier?s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as ever more collectors are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality. The prestigious Scottish Gallery (Edinburgh) have long promoted Pat Douthwaite's work and her most recent solo show "Pat Douthwaite, On The Edge" was staged by the gallery between 4th and 27th February 2021.

Antique Roman wine amphora type 'Gauloise’ 4 or ‘Pélichet 47', manufactured in Forlimpopoli, 2nd century ADAntieke Romeinse wijnamphora type 'gauloise 4’ of ‘Pélichet 47', gefabriceerd in Forlimpopoli, 2e eeuw na ChristusH 71 cm provenance: private collection, auction house De Eland, Amsterdam, February 1993with certificate J. Vrancken, Heule 10.09.1998, expertise Greek and Roman antiquitieswith certificate Brussels Art Laboratory, Brussels 1st January 1993provenance: privé collectie, veilinghuis De Eland, Amsterdam, februari 1993met certificaat J. Vrancken, Heule 10.09.1998, expertise Griekse en romeinse oudhedenmet certificaat Brussels Art Laboratory, Bruxelles 1e janvier 1993

18th Century School   “The Massacre of the Innocents”, (copy of original by Nicolas Poussin), O.O.C., c.1850, approx. 64cms x 76cms (25” x 30”). (1) Dating probably from the mid-nineteenth century, this copy of Nicholas Poussin’s The Massacre of the Innocents is an almost exact replica of the original, conveying all of the barbarism and tragedy of the scene, taken from the Gospel of St. Matthew. The original was commissioned in the 1620’s by the Roman banker Vincenzo Giustiniani. A leading patron of the arts, Giustiniani had assembled one of the finest collections in Italy and was also a patron of Caravaggio. The commission was a prestigious one, particularly for such a young artist. Poussin rose to the challenge, seeking to outdo Guido Reni’s famous painting of the same subject, painted in 1611 for the Basilica San Domenico in Bologna. He devised a dramatic composition resembling a theatre stage, with the main protagonists in the foreground, and subsidiary characters in the background. The architectural setting of a Greek temple adds to the intensity of the work. The action is concentrated on three main figures, the soldier who places his foot on the infant, the distraught mother, and the dying child. As well as Guido Reni, the influence of Caravaggio is evident, particularly in the use of stark lighting to emphasis the tragedy of the scene. The Massacre of the Innocents was displayed at the Palazzo Giustiniani and quickly became one of the most celebrated works of art in Rome. Over the centuries, it has continued to inspire artists, notably Picasso, who in the 1920’s and 30’s based several paintings on Poussin’s work, while Francis Bacon described the mother’s cry of anguish as ‘one of the best ever painted’. The original is now in the Musée Condé de Chantilly, in France. Dr. Peter Murray 2025

A collection of assorted decorative and studio glass, including a vintage green glass American eagle decanter, 28.5cm high; a pair of Waterford (Jasper Conran) 'Rain' pattern tumblers, 10.5cm high; a Jasper Conran for Stuart Crystal vase, 20cm high, a late Victorian green twin-handled dimple vase decorated with enamel hearts and greek keys, 11.5cm high; a pair of small Continental green liqueur glasses with floral pewter mounts to the foot, 8.2cm high; a Sklo Union Czech Art Glass 'Maze' vase by Frantisek Vizner, 25cm high; and another Vizner vase, pattern 20247/180, 17.5cm high; a small Avondale brown and white bud vase, 12cm high; a mid-century Italian faceted vase, cinnamon colourway, 15.5cm high and one further Dartmouth pink, red and white trailed vase, 11.5cm high (group, 1 tray)

Group of four hand made Greek-style pottery vessels inspired by ancient Corinthian and Attic designs. Includes a prochous marked as Corinthian Art circa 640 B.C. and an amphora inscribed as Attic Amphora circa 530 B.C. featuring Heracles and the Nemean Lion. Each piece is hand painted with classical motifs, floral patterns, and mythological figures. Notably marked on the base with descriptive inscriptions. Heights range from 6" to 9".Dimensions: See DescriptionCondition: Age related wear.

A Campanian red-figured terracotta bell krater, c.350 BCE, South Italian, Campania, the obverse with three warriors, the reverse similarly decorated with a figure on horseback, a band of meander and chequerboard below, with a band of laurel below the rim,32.5cm diameter35cm highProvenance: Sir George Bull (1936-2024), acquired in the late 1970s as a gift from a Greek business associate;thence by descent.Oxford Authentication Thermoluminescence Analysis Report Sample No: N125f80.This lot has been checked against the Art Loss Register (ref. S00258356) and the Interpol Stolen Works of Art Database.Condition ReportWith TL certificate. Cracks, breaks and repairs throughout, particularly to the rim. Some cracking, flaking, rubbing and small areas of loss to the paintwork. Some small areas of repainting, particularly around repairs. Some slight changes to surface colour in places. General surface wear and scratches. Dirt and dust. Overall appears structurally stable.

An Attic red-figured terracotta bell krater, late 5th/early 4th century BCE, attributed to the Meleager Painter, the obverse decorated with a seated Dionysus flanked by two standing maenads wearing beaded necklaces, earrings and bracelets, a satyr seated to the left, the reverse with three cloaked figures, a band of meander and chequerboard below, a band of laurel below the rim,37cm diameter34cm highProvenance: Sir George Bull (1936-2024), acquired in the late 1970s as a gift from a Greek business associate;thence by descent.Oxford Authentication Thermoluminescence Analysis Report Sample No: N125f81.This lot has been checked against the Art Loss Register (ref. S00258350) and the Interpol Stolen Works of Art Database.For similar examples, see the Metropolitan Museum of Art no. 06.1021.214 and the North Carolina Museum of Art no. G.57.14.25.Condition ReportWith TL certificate. Cracks, breaks and repairs throughout, including the body and the rim. Small nicks to the rim and body. Small amounts of overpainting in places, especially around repaired areas. Some rubbing and loss to surface in places. Change in surface colour, particularly to one side. General surface wear and scratches. Dirt and dust. Overall appears structurally stable. Please see additional images for details.

An Art Deco Style Keralouve La Louviere Vase, of shouldered cylindrical form, enamelled with a band of stylised black cats, below a Greek Key border, pale blue and black on a crackled white ground, printed marks KERALOUVE LALOUVIERE 507 -3 MC,29cm highStained interior, crazed all over, firing blemish on a cats right eye. See extra images.

JOHN CRAXTON RA (BRITISH 1922-2009) ⊕ BOY WITH A DOG signed Craxton lower right oil on paper mounted on card 61 x 43.5cm; 24 x 17 1/4in 69.5 x 52cm; 27 1/2 x 20 1/2in (framed) Property from a Private Collection, Notting Hill Provenance Sale, Christie's London, 5 November 1999, lot 83 Purchased by the present owners in the early 2000s Exhibited Athens, The British Council, John Craxton, 1946, no. 15 (as Boy with a Dog) The London Gallery, John Craxton, 1949, no. 14 (as Shepherd Boy) London, The Mayor Gallery, John Craxton, no. 10, 1950 (as Boy with a Sheep) Literature Ian Collins, John Craxton, Surrey, 2011, no. 105, p. 90, illustrated I can't tell you how delicious this country is & the lovely hot sun all day and at night tavernas: hot prawns in olive oil & great wine & the soft sweet smell of greek pine trees. I shall never come home. how can I? (Craxton, Greece, 1946) Painted on the island of Poros in 1946, Craxton included the present work in his first exhibition in Greece held at the British Council on Kolonaki Square in Athens that December, opened by the painter Nikos Ghika. The striking image of the boy with the animal across his shoulders gave rise to a number of works in which a shepherd is featured with a sheep in the same pose, notably the oils Greek Farm of 1946 and Shepherds near Knossos of 1947 (both private collection). It may well have been his success with this latter motif that led Craxton to re-title the work Boy with a Sheep for his 1949 London Gallery show, as written in his hand on the London Gallery label, which in turn was reduced to Shepherd Boy in the printed catalogue. The initials LG and MG also on the label seem to reference the London Gallery and possibly the artist Meraud Guinness whom he had met through Lucien Freud (fig. 1) Ian Collin's lyrical and utterly absorbing biography John Craxton A Life of Gifts captures the artist's gilded existence as a young man to perfection. A natural charmer, with piercing good looks to match, Craxton had a winning way of navigating life with a fair degree of pluck and bountiful luck. His big break came with his chance meeting of the young, wealthy and generous aesthete Peter Watson in the early 1940s. Watson, who had launched Horizon magazine with Cyril Connolly and Stephen Spender, quickly took Craxton under his wing. He cultivated his interest in literature and music and the work of William Blake and Samuel Palmer in particular. Early on he published Craxton's drawings, and introduced him to a wealth of new friends, amongst them another protégé Lucien Freud and the influential Lady Norton, co-founder of the London Gallery, and wife of Sir Clifford Norton, British Ambassador to Greece. Craxton and Freud became instant kindred spirits and inseparable, soon sharing a studio in London which their benefactor Watson was happy to finance. In the spring of 1946 Watson arranged for Craxton to have an exhibition at Galerie Gasser in Zurich. At the opening dinner Craxton sat next to Lady Norton. A passionate collector, decorator and lover of contemporary art, she answered Craxton's long held ambition to travel to Greece, and in style. As Collins puts it: 'Lady Norton had left a borrowed bomber in Milan during a mission to buy curtains for the threadbare embassy. She would give him a lift. The Craxton exhibition had barely opened when Craxton vanished' (Ian Collins, p. 141). Craxton not only stayed at the Embassy - Lady Norton diplomatically arranged for him to stay in a room over a garage to appease her husband - but she also provided him with considerable largesse, including an allowance of £15 a month. Once again the artist had fallen on his feet. But following an Embassy dinner during which he drew the ire of guest of honour General Montgomery (Monty) of Alamein, Craxton was obliged to move on. Recommended by Patrick Leigh Fermor, who was working for the British Council in Athens and had become a good friend he headed for the island of Poros. There Craxton lodged with Efstathia Mastropetros, a widow with five children, in the best rooms in the house with a glorious outlook over the bay. It was the beginning of another happy and enduring friendship, the artist for ever after referring to the Mastrepetros family as his Greek cousins. Before Freud joined him on Poros that September, Craxton painted the present work. We are grateful to Ian Collins and the Estate of John Craxton for their help in cataloguing the present work.

Art Deco 9ct gold wax filled flapper bangle with Greek Key decoration, Birmingham 1932, 13g, 7.6cm

Lalique crystal paperweight titled Masque de Femme, featuring a stylized black satin-finished satyr mask surrounded by flowing Art Deco forms, encapsulated within a clear crystal pentagon. This design pays homage to Greek mythology and Rene Lalique's fascination with sensual, allegorical figures. Signed Lalique France on the underside. Measures 2.25"H. Issued: 20th century Dimensions: See DescriptionCountry of Origin: FranceCondition: Age related wear.

Brenda MONEY (1930-2021, Cyprus School of Art) Stained Glass - The Rock of The Greek Oil on canvas, signed and titled verso, dated 1999, 123cm x 122cm. Brenda was one of the founders of the Falmouth Fine Arts Society, before later completeing a post-graduate diploma in Cyprus, after initially graduating from Falmouth School of Art as a mature student at the age of sixty-five. During her early life, she was one of the finest flower arrangers in the country, with flowers and countryside becoming one of the main impetuses within her work.

Ca. 600 BC. A silver ring with a flat circular bezel engraved with a cross surrounded by a Greek inscription arranged in a radial pattern. The hoop is plain, slender, and round in profile, merging directly into the back of the bezel.For similar see: Bagot J., El legado de Hefesto: A Memorial to a Private Collection of Ancient Rings and Glyptics, n. 565.Size: D:19.96mm / US: 10 1/4 / UK: U; Weight: 3.16gProvenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between the early 1960s to 1990s.

Ca. AD 400 - 500. A bronze weight engraved on the obverse with a central cross flanked by the Greek letters gamma (Γ) and sigma (Σ), serving as a denominational mark, enclosed within a circular border of incised herringbone pattern and pellet decoration. Rosette motifs are engraved in the upper corners. The reverse is undecorated and flat.For similar see: The British Museum, Museum number 1980,0601.74 (type).Size: 46.1mm x 8.8mm; Weight: 163.08gProvenance: Private UK collection; previously acquired on the Austrian art market in the 1990s.

Ca. AD 400 - 600. A bronze weight of discoid form with raised rim and recessed central field. The upper surface is engraved with a central cross flanked by the Greek letters, serving as a denominational mark within a wreath. The reverse is plain.Size: 30.1mm x 8.5mm; Weight: 40.67gProvenance: Private UK collection; previously acquired on the Holland art market in the 1990s.

Ca. AD 100 - 200.A marble head of a noblewoman, inspired by a Greek bronze statue, with idealised facial features. The smooth forehead transitions into delicately arched eyebrows above deeply set eyes, which lack pupils. The straight nose has a slightly rounded tip, while the small, full lips are gently pressed together. The cheeks are softly contoured, leading to a rounded chin. The hair is arranged in thick, parallel waves, parted at the centre and wrapped around the head in a structured manner. Mounted on a custom-made display stand.For similar see: The Metropolitan Museum of Art, Object Number: 30.11.13; I Borghese e L'antico, Skira 2011, Cat. 37, l'Ermafrodito stante.Size: 490mm x 250mm; Weight: 25kg+gProvenance: Private UK collection; previously acquired on the UK art market in the 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy.

Ca. AD 600. A silver ring with a flat circular bezel engraved with a symmetrical Greek inscription arranged in the form of a cross. The central vertical axis contains the letters Κ – Ο – C, intersected horizontally by Μ and Α. The hoop is plain, circular in section, and merges with the back of the bezel.For similar see: J. Spier, Byzantium and the West: Jewelry in the First Millennium, Cat. 22.1.Size: D:16.1mm / US: 5 1/2 / UK: K 1/2; Weight: 5.4gProvenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between the early 1960s to 1990s.

A Art Deco period silver plated inkwell with Greek key decoration to the center. With original liner. With modelled dragon feet. made by james Dixson & Sons. 10cm tall

* PAT DOUTHWAITE (SCOTTISH 1939 - 2002), FIGURE IN BLACK pastel on papermountedimage size 65cm x 47cm, overall size 86cm x 87cmProvenance: purchased directly from the artist. Corrymella Scott Gallery.Note: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as ever more collectors are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality. The prestigious Scottish Gallery (Edinburgh) have long promoted Pat Douthwaite's work and her most recent solo show "Pat Douthwaite, On The Edge" was staged by the gallery between 4th and 27th February 2021.

* MICHAEL AYRTON (BRITISH 1921 - 1975), SIREN bronze sculpture 25cm tall Bibliographies : Michael Ayrton, Drawings and Sculpture, Michael Ayrton, Cory, Adams and Mackay, London, 1962, n°158 Provenance: The collection of the late Maurice Druon, Paris. This work was on loan to the exhibition "Maurice Druon, the man and his artistic friendships" which took place from October 14th 2023 to January 14th 2024 at the chapel of the Carmel of Libourne under the aegis of the Museum of Fine Arts of Libourne. Note: Michael Ayrton was an English artist and writer, renowned as a painter, printmaker, sculptor and designer, and also as a critic, broadcaster and novelist. His varied output of sculptures, illustrations, poems and stories reveals an obsession with flight, myths, mirrors and mazes. Ayrton's education in Art was mostly inspired by his travels in Europe. He spent time in Vienna, and in 1937 shared a studio with John Minton in Paris, studying under Eugéne Bérman. After his return to England he taught at Camberwell School of Art in 1943-1944. After receiving advice from Henry Moore in the early 1950's he began to sculpt bronze, deriving influence from a visit to Greece in 1958 where the Greek Mythologies played an important part of his inspiration. One hundred and ninety-five Michael Ayrton artworks are held in UK public collections.

* PAT DOUTHWAITE (SCOTTISH 1939 - 2002), WOMAN IN PURPLE COAT pastel on papermountedimage size 65cm x 49cm, overall size 85cm x 67cmProvenance: purchased directly from the artist. Corrymella Scott Gallery.Note: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as ever more collectors are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality. The prestigious Scottish Gallery (Edinburgh) have long promoted Pat Douthwaite's work and her most recent solo show "Pat Douthwaite, On The Edge" was staged by the gallery between 4th and 27th February 2021.

* PAT DOUTHWAITE (SCOTTISH 1939 - 2002), CAT WITH FEMALE HEAD charcoal and pastel on paper, signed and dated '88mountedimage size 59cm x 41cm, overall size 85cm x 67cmProvenance: purchased directly from the artist. Corrymella Scott Gallery.Note: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as ever more collectors are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality. The prestigious Scottish Gallery (Edinburgh) have long promoted Pat Douthwaite's work and her most recent solo show "Pat Douthwaite, On The Edge" was staged by the gallery between 4th and 27th February 2021.

* PAT DOUTHWAITE (SCOTTISH 1939 - 2002), THE OLD MAN charcoal on paper, signed, titled and dated '98framed and under glassimage size 64cm x 48cm, overall size 71cm x 54cm Note: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as ever more collectors are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality. The prestigious Scottish Gallery (Edinburgh) have long promoted Pat Douthwaite's work and her most recent solo show "Pat Douthwaite, On The Edge" was staged by the gallery between 4th and 27th February 2021.

h cm 45,1It is beautifully painted in underglaze blue across the entire body with a continuous scene depicting a mountainous river landscape characterized by rocks, clouds, trees, and pavilions, where scholars are portrayed with their attendants and a fisherman guides his boat toward the shore. The neck is decorated with two bands of Greek key and ruyi. The center of the base is marked with a double circle in underglaze blue.  Provenance: private collection, Liguria.  Catalogue notes:  For a similar vase of the same shape, style, and decoration, see the example housed at the Palace Museum in Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum - Blue and White Porcelain with Underglaze Red (III), no. 15, p. 19.  Also see the vase sold by Christie's, live auction 16695, The Pavilion Sale - Chinese Ceramics and Works of Art Including the Quek Kiok Lee Collection, 9 October 2019, Hong Kong, lot no. 233.青花山水纹棒槌瓶，中国，清康熙

h cm 46,1Magnificently painted in vibrant shades of blue across the entire body with a continuous scene depicting a mountainous river landscape characterized by rocks, trees, pavilions, and waterfalls. Scholars are portrayed with their attendants, and a fisherman guides his boat toward the shore. The neck is decorated with two bands of Greek key and ruyi, while the rim features honeycomb motifs. The center of the base is marked with a double circle in underglaze blue.Provenance: private collection, Liguria.Catalogue notes:For a similar vase of the same shape, style, and decoration, see the example housed at the Palace Museum in Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum - Blue and White Porcelain with Underglaze Red (III), no. 15, p. 19.Also see the vase sold by Christie's, live auction 8833, Chinese Ceramics, Works of Art and Textiles, 17 May 2013, London, South Kensington, lot no. 1394.青花山水纹棒槌瓶，中国，清康熙

Circa 15th century A.D. Modelled with a threatening expression, his half-open mouth visibly contracted into an evil grin with exposed teeth, short beard to the chin and wavy locks of hair resting on the forehead with two small horns, large goat horns framing the face on both sides; mounted on a custom-made display stand. Cf. Tindall Wildridge, The Grotesque…in Church Art…, London, 1899, pp.16ff., for similar grotesque masks. 8.4 kg total, 30.5 cm high including stand (12 in.). [No Reserve] From a collection acquired on the UK art market. Property of a West Midlands, UK, private collector. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.From the Romanesque era onwards, images of demons, often carved on the external sides of cathedrals and churches, were strongly linked to the fantastical and monstrous creatures of ancient myth and legend. For theologians, supernatural creatures which could not otherwise be explained were not of God and therefore had to be demonic: their incorporation in the ecclesiastic structures showed that their malevolent powers could be kept under control only through the protection of the church. This origin of Christian demons is likely to have influenced the visual representation in medieval culture as hybrid and monstrous, especially given the increased interest in Greek works from the twelfth century onwards in the West.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.

Hims (Emesa) mint. AH 41-60 (AD 661-680). Crowned imperial bust facing, holding globus cruciger; KAΛON ('good') in Greek downwards to left, bi-hims ('in Hims') in Kufic and star to right / Large cursive M above exergual line; star flanked by plain circles above, ЄMI downwards to left, CHC downwards to right, tayyib ('good') in Kufic in exergue. DOCAB 65; SICA I 544. 3.68gr, 20mm, 5h. Near Very Fine.From the collection of a gentleman, acquired on the London art market in the 1990s.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.

1st century B.C.-1st century A.D. A hollow-form figural group comprising an advancing old King Priam with his right arm raised, wearing a belted tunic and a diadem, hair arranged in orderly locks; behind him a smaller figure of a soldier wearing a plumed Pseudo-Attic helmet; the hand of the warrior is holding the old king; mounted on a custom-made display stand. Cf. relief with the death of Priam, in the Museum of Fine Art of Boston, accession no.04.15. 291 grams total, 18.5 cm high including stand (7 1/4 in.). (For this specific lot, 5% import VAT is applicable on the hammer price.) Private Swiss collection, 1971. with Galerie Rhéa, Zurich, Switzerland. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.The scene probably represents the old King Priam's plea to Achilles' son, Neoptolemus, to spare his son Polites, whom the Greek warrior is about to kill. It is made in a strong classical style with precise costume details, such as the royal diadem, the long sleeved Phrygian-type tunic and the king's belt.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.

al-Jazira mint. Dated AH 577 (AD 1180/1). AH 576-589 (AD 1180-1193). Male head to left, wearing crested Greek-style helmet; Kalima around / Name and titles of Abbasid Caliph al-Nasir and Mas’ud within circular border; mint and date in outer margin. Whelan Type I, 179; S&S Type 62; Album 1863.1. 12.32gr, 30mm, 3h. Near Very Fine.UK private collection before 2000. Acquired on the UK art market. Private collection, London.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.

Hims (Emesa) mint. AH 41-60 (AD 661-680). Crowned imperial bust facing, holding globus cruciger; KAΛON ('good') in Greek downwards to left, bi-hims ('in Hims') in Kufic and star to right / Large cursive M above exergual line; star flanked by plain circles(?) above, ЄMI downwards to left, CHC downwards to right, tayyib ('good') in Kufic in exergue. Cf. DOCAB 65; cf. SICA I 544. 4.04gr, 19mm, 7h. Near Very Fine.From the collection of a gentleman, acquired on the London art market in the 1990s.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.

6th-4th century B.C. The upper part of the hilt shaped as a horse-head with an applied sheet-gold mane, wearing a gold bridle of Greek typology adorned with rosettes, mouthpiece formed of wire with garnet beads, and a large garnet cabochon set at the front of the bridle; the upper hilt connected to the straight blade with a restored grip; accompanied by a perspex scabbard with original gold sheet attached; possibly a marriage; mounted on a custom-made display stand. Cf. for parallels of the horse hilt from a machaira in Metropolitan Museum, inv. no. 2001.346; parallels for the blade in Head, D., The Achaemenid Persian Army, Stockport, 1992, p.28, letters d-e-g-h; for parallels of the muzzle, see the horse harness of Alexander the Great on the statuette of Napoli Archaeological Museum in Sekunda, N., The Army of Alexander the Great, London, 1984, p.35. 392 grams, 36.5 cm (473 grams total, 37.6 cm high including stand) (14 3/4 in. (14 3/4 in.)). Private collection of a London gentleman, acquired between 1965–2020. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12619-235454. 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 akinakes was the short dagger of the Scythians and the Achaemenid Persians. Many examples of this characteristic weapon have been found in every corner of the Persian Empire. The hilt was often made of bronze, gold or gilded. It is visible in the hands of the Medes and Persians in the reliefs of Persepolis. These weapons, straight and double-edged, were about 35 cm long. The scabbards could be covered with gold, hung from the belt at the waist and, according to Herodotus, attached to the right thigh with a thong.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.

3rd-4th century A.D. Modelled in the half-round as a man standing on an integral plinth, round face with short curly hair, wide eyes, a slender nose and a small mouth; wearing a Greek himation wrapped around his body and feet enclosed in Romano-Egyptian sandals; the left arm lowered and holding a cluster of grapes; his right arm bent at the elbow and holding a roll; remains of red and dark brown pigment on the face and clothing. Cf. Ashour, S., ‘Unpublished Group of Bahnasa Reliefs’ in Archaeological & Historical Studies 13, Alexandria, 2010, pp.65-106, figs.5, 7, for similar stele. 50 kg, 81.5 cm (32 1/4 in.). Property of a Surrey lady; acquired by her father Christopher Terry circa 1980. Accompanied by an academic report by Dr Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12603-233353. 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.Limestone niches with polychrome representations of the deceased were common in Roman Egypt, and lasted until the time of the Arab conquest. The man depicted on this stele certainly belonged to the high contemporary nobility as is evidenced by his well-pleated clothing, which identifies him as a member of local Graeco-Roman aristocracy.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.

Circa AD 359/60-450. BACI-ΛEYC (King), draped bust to right, wearing headcloth; all within circle border / Uncertain legend in blundered Greek, cross within circle. Cf. Hahn & Keck 36; cf. SACAM 151-89; cf. H 33; cf. AC 52. 1.23gr, 14mm. Very Fine.From the collection of a gentleman, acquired on the London art market in the 1990s.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.

4th-6th century A.D. An attractive rectangular panel of mosaic tesserae with central ribbed kantharos executed in coral pink, amber-yellow, and green segments with tiered foot; issuing from the scaphoid opening two vines with curled tendrils and trefoil leaves in pale green; white field with grey-black border; restored and set into a mid 20th century reinforced mortar matrix. See Pappalardo, U., Greek and Roman Mosaics, New York, 2019; cf. Neal, D.S. & Cosh, S.R., Roman Mosaics of Britain. Vol I. Northern Britain, Society of Antiquaries, London, 2002; Watts, D.J., Christians and Pagans in Roman Britain, Abingdon, 1991. 56 kg, 67.5 x 67.5 cm (26 1/2 x 26 1/2 in.). Acquired in the 1950s-early 1990s. From the Igor Karmiloff (1925-2016) collection, UN economist and author of Flashbacks, Icons of Impermanence, Bloomington, 2009. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12746-233888. 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 motif of the kantharos, krater or amphora with vines emerging from the mouth is widely represented in classical art and was seemingly a popular motif for the mosaicist with examples found in areas as widespread as North Africa and northern Britain. The origins of the motif are probably to be found in the cult of Bacchus (Greek Dionysos) with its ritualised drunkenness expressed in the vine which gives rise to the grapes to be transformed into wine, and the drinking cup from which it is received. In later Roman times, the motif was reinterpreted as Christ (the Eucharist symbolised by the cup) from whom the vine grows representing the spread of the Christian message and the growth of the church (Watts, 1991, p.208).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 century B.C. Carved in the form of an elaborate palmette with stems in the form of spiral tendrils rising from acanthus leaves, a small rosette at the top between the converging fronds; holes on the reverse for attachment to shaft; mounted on a custom-made display stand. See Möbius, H., Die Ornamente der griechischen Grabstelen klassischer und nachklassischer Zeit, Berlin, 1929; Vedder, U., Untersuchungen zur plastischen Ausstattung attischer Grabanlagen des 4. Jhs. V. Chr., Frankfurt, 1985; Riegl, A., Problems of Style: Foundations for a History of Ornament, Princeton, 1992; Clairmont C. W., Classical Attic Tombstones, Kilchberg, Switzerland, 1993; Grossman, J.B., Greek Funerary Sculpture: Catalogue of the Collections at the Getty Villa, Los Angeles, 2001; Brinkmann, W., Wünsche, R., Bunte Götter, die Farbigkeit Antike Skulptur, München, 2004. 57 kg total, 47 cm (53.5 cm including stand) (18 1/2 in. (21 in.)). [A video of this lot is available to view on Timeline Auctions Website]Acquired on the New York, USA, art market, 1994. with Christie's, London, The Stanford Place Collection of Antiquities, 26 April 2006, no.30. Private collection, UK. Accompanied by an academic report by Dr Raffaele D’Amato. Accompanied by copies of the relevant Christie's 'Stanford Place Collection' catalogue pages. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12614-235145. 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 iconography was adapted from the Egyptian and Asiatic honeysuckle, also known as lotus palmette. First depicted on Attic white-ground lekythoi; in the 5th century B.C., then as architectural decoration, carved marble examples of this type of funerary monument were erected in the 5th-4th century B.C. It was not unusual for the anthemion to be of higher quality than the figures sculpted and painted beneath it. One splendid example is the stele of Paramythion (cf. Brinkmann-Wünsche, 2004, pp.148ff.). These memorials, originally painted, were venerated by families, anointed with oil, decorated with ribbons, and graced with offerings of food.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 B.C.-1st century A.D. Depicting a nude blacksmith seated on a stool before a forge, hammer in his right hand, holding an object he is hammering with the other hand. Cf. an intaglio with a kneeling Hephaestus (late 4th-1st century B.C.) in brown and white agate at the Walters Art Museum, accession no.42462, for the type. 0.25 grams, 10 mm (3/8 in.). (For this specific lot, 5% import VAT is applicable on the hammer price.) Private collection, North Germany. with Gorny & Mosch, 14 December 2005, no.238. Accompanied by a copy of an Art Loss Register certificate no.S00075379. 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.Probably a Roman copy of Hellenistic subject. Some Roman ring intaglios were dedicated to Vulcan (Greek Hephaestus), god of the blacksmiths, artisans, and carpenters. Usually the god is represented standing or working in his forge, wearing a wide brimmed hat and a one-shouldered tunic, identifying him as a craftsman. In his right hand he holds a hammer over an anvil, and in his left a pair of long metalworking tongs. Sometimes he is naked, seated and working.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.

3rd-4th century A.D. Spherical in profile with flat base, large raised concentric circles in two bands with smaller similar motifs between; separate balustered neck. Cf. Comstock, M. & Vermeule, C., Greek, Etruscan and Roman Bronzes in the Museum of Fine Arts Boston, Boston, 1971, p. 345, no. 484; Richter, G.M.A., Greek, Etruscan and Roman Bronzes, The Metropolitan Museum of Art, New York, 1915, pp.196-197, no. 517. 310 grams total, 40-66 mm (1 5/8 - 2 5/8 in.). [2] (For this specific lot, 5% import VAT is applicable on the hammer price.) [A video of this lot is available to view on Timeline Auctions Website]Acquired in London in 2002. European private collection. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12686-234678. 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 is a rare type of Roman vessel, dated to the late Imperial period, between the late 3rd and 4th century A.D. The closest known parallel is a near-identical example in the Metropolitan Museum of Art, New York, which retains its original chain attachment and suspension holes at the shoulder. Such vessels were likely sealed with a perishable stopper and intended for storing or transporting perfumes or cosmetic oils.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. A youthful and muscular figure of the god Mercury (Greek Hermes) standing nude with his weight resting on his right leg, left leg slightly bent and the heel raised; his hair dressed in short curls, wearing a winged petasos, and a cloak wrapped over his shoulder and left arm, naturalistic anatomical detailing; mounted on a custom-made display base. Cf. Reinach, S., Repertoire de la statuarie grecque et romaine, Paris, 1930, p.151, no.10, for the type; Rolland, H., Bronzes Antiques de Haute Provence, Paris, 1965, items 27ff., for comparable examples; Menzel, H., Die Römischen Bronzen aus Deutschland I Speyer, Mainz, 1960, no.8; cf. The Metropolitan Museum, accession number 06.1057, for type. 298 grams total, 14.3 cm including stand (5 5/8 in.). (For this specific lot, 5% import VAT is applicable on the hammer price.) Swiss private collection, 1970. Private collection, Zurich, Switzerland. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12685-236368. 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 450 B.C. Comprising three standing korai on a rectangular base, each wearing a chiton and a himation draped diagonally from the right shoulder, centrally parted hair topped with a polos crown; hollow back, middle head restored. Cf. Franz Winter, Die Typen der fig. Terrakotten, Berlin und Stuttgart, 1903, Band III1. 480 grams, 19.3 cm (7 5/8 in.). (For this specific lot, 5% import VAT is applicable on the hammer price.) Private Swiss collection, 1990s. with Galerie Rhéa, Zurich, Switzerland. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12665-236417. 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.Korai (young women) were common votive dedications in the Archaic and Classical world, particularly at sanctuaries of Demeter, Persephone, and Hera. To have a group of maidens, such as this example, is highly unusual, and evokes the ritual dances of marriageable young women in the Greek world.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 5th century B.C. Ellipsoid bezel with incuse figure of a running horse, Greek text 'ΣΚΥΘΟΑΓΑΘΗ' for 'the sake of Skythos'. Cf. Marshall, F. M., Catalogue of the Finger Rings Greek, Etruscan and Roman in the Departments of Antiquities of the British Museum, London, 1907 (1968), fig. CX, no.43, for the type. 7.57 grams, 25.17 mm overall, 20.68 mm internal diameter (approximate size British R 1/2, USA 8 3/4, Europe 19.38, Japan 18) (1 in.). (For this specific lot, 5% import VAT is applicable on the hammer price.) [A video of this lot is available to view on Timeline Auctions Website]Acquired in the mid 1980s-1990s. Private collection, Switzerland, thence by descent. Private collection, since the late 1990s. 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.

2nd century B.C. With carinated profile, rolled rim, circumferential bands to the inner face, gilt concentric bands and hatched wreath; in a velvet-lined presentation case. Cf. Strong, D.E., Greek and Roman Gold and Silver Plate, Glasgow, 1966; Hiebert, F., Cambon, P., Afghanistan, crossroads of the Ancient World, London, 2011, p.278; Ebbinghaus, S., Feasting with gods, heroes, and kings, Cambridge, 2019; Pfrommer, M., Metalwork from the Hellenized East: Catalogue of the Collections of the J. Paul Getty Museum, Malibu, 1993, pp.36ff and 140ff, for general discussion and parallels (especially fig.34, BM, inventory no.134304, and no.24, p.151). 354 grams, 18.6 cm wide (7 1/4 in.). UK private collection before 2000. Acquired on the UK art market. Private collection, London. Accompanied by an academic report by Dr Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12662-236222. 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.

Dated AH 600-602 (AD 1203/4-1205/6). AH 594-616 (AD 1197-1219). Draped female bust facing, head to right, wearing crested Greek-style helmet; name and title of Qutb al-Din Muhammad around / Name and titles of Abbasid Caliph al-Nasir and Ayyubid overlord Abu Bakr in five lines. Album 1880.3; Whelan Type III; S&S Type 82.1. 14.55gr, 30mm, 6h. Near Very Fine.UK private collection before 2000. Acquired on the UK art market. Private collection, London.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.

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.

Circa 3rd century B.C. Crescentic frontal panel from a necklace or collar; sheet gold band with slight carination, lightly incised leaf and berry detailing; applied filigree band to each end with double-loop attachment points; three applied foil rosettes; eleven banded agate dangles to the lower edge with sheet gold suspension; a marriage of ancient parts. Cf. Williams, D. and Ogden, J., Greek Gold, Jewelry of the Classical World, MMA, 1994, item 67, for similar rosettes with filigree; Despini, A., Ancient Gold Jewellery, Athens, 1996, no.12, p.57, for a diadem with applied rosettes of c.700 B.C.; cf. also Ogden, J., Gold Jewellery in Ptolemaic, Roman and Byzantine Egypt, Durham, 1990, II Vol., fig.395, for a gold crescentic band ornamented with applied rosettes. 33.84 grams, 15.2 cm (6 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. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12591-232174. 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.Rosettes were one of the most desired decorations on jewellery. Diadems with rosettes are attested from the archaic period onwards. One of the rosette types was the so-called flower-head from Madytos, it most closely resembled the common wild or dog rose. The rose was, of course, much prized in ancient times as, for its wonderful scent and as the favoured flower of Aphrodite, the goddess of love: the lyric poet Anakreon called it ‘the perfume of gods, the joy of men’.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-2nd century A.D. Venus (Greek Aphrodite), the goddess of love, rising from the sea, standing nude and bearing the weight on her left leg; her head turned to the right with slightly downcast eyes and finely worked facial detailing; the bountiful hair arranged on top of her head with two long ringlets falling on her shoulders and her left hand holding the end of one ringlet; mounted on a custom-made display stand. See Reinach, S., Repertoire de la statuarie grecque et romaine, Paris, 1930, p.342, no.9; see also Myres, J.L., ‘Aphrodite Anadyomene’ in The Annual of the British School at Athens, vol.41, Athens; Newberry, J.M., Venus Anadyomene: the Mythological Symbolism from Antiquity to 19th century, Wisconsin, 2011; Wardle, M.E., Naked and unashamed: a study of the Aphrodite Anadyomene in the Greco-Roman World, Duke, 2010. 311 grams total, 14 cm including stand (5 1/2 in.). (For this specific lot, 5% import VAT is applicable on the hammer price.) Swiss private collection, 1970. Private collection, Zurich, Switzerland. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12684-236369. 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.Like many other nude Venus types, the Anadyomene type was not supposed to conceal the body, but to show her naked and unashamed, arms raised, touching her tresses and exposing the goddess to the viewer. The image of a nude female emerging from the sea with wet tresses was inspired by the stories of the ancient Greek courtesan Phryne swimming nude in the sea during festivals.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.

Late 4th-3rd century B.C. Discoid mirror with a short tang to accept an organic handle, the reverse with a palmette above the handle; the obverse with two figures seated on rocks and facing each other, to the right: Turms (Hermes)wearing a winged cap, and a young man on the left, both wearing cloaks draped over their backs, with folds visible over their shoulders and fastened at the neck; Turms depicted making an expressive gesture with his right hand while his companion listens attentively, looking toward Hermes and resting his left hand on his knee; a palmette below at the centre of the scene, two laurel branches extending upwards to form a framing arch around the composition, ending at the top in a geometric ornament. Cf. Gerhard-Korte, ES, Vol. I & V (passim) D. Arbia, Le miroir étrusque d'après la collection du Cabinet des Médailles, 1974, pp. 27ff., 43, 89 et seq. H. Fischer-Hansen, Spiegelwerkstätten in Vulci, 1980, Taf. 11 V 27, 12 V 29, 28 V 73 (Turms on the right with Herakles, among others). 260 grams, 22.5 cm (8 7/8 in.). (For this specific lot, 5% import VAT is applicable on the hammer price.) Private collection, Zurich, Switzerland. Accompanied by a copy of a report by the late Han Jucker (1918-1984), 1 February 1982. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12668-236379. 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.Hans Jucker (1918-1984) was a distinguished Swiss art historian and classical archaeologist, renowned for his expertise in Greek and Roman art. He was particularly recognised for his scholarly contributions to the study of ancient sculpture and iconography. Jucker served as a curator and later director at the Bernisches Historisches Museum in Switzerland, where he was instrumental in expanding and refining the museum’s collection of classical antiquities. His research and publications, marked by precision and clarity, helped shape modern understanding of Roman portraiture and the visual language of the ancient world. Through both his academic work and curatorial leadership, Jucker earned a lasting reputation as one of Switzerland’s foremost authorities on classical art.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 5th-3rd century B.C. Comprising mainly leaf-shaped, triangular, and trilobate socketted arrowheads. Cf. similar Graeco-Persian arrowheads in Head, D., The Achaemenid Persian Army, Stockport, 1992, figs.13, 16. 98.5 grams total, 24-40 mm (1 - 1 5/8 in.). [28] 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.In Greek warfare, archers were mainly employed by Scythians and Cretans. Both used composite bows made of wood, horn, bone and sinew. This explains the great range of Scythian arrowheads also found on the Greek sites.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.

Gerard Dillon (1916-1971) Sailors Oil on board, 27 x 22cm (10½ x 8½'') SignedSailors shows a group of men in their uniforms in jubilant mood, smoking, conversing and drinking stout around tables in the well-known gay bar, Du-Barry’s in the Belfast docklands. The proximity of the sailors and cramped seating suggests the men were at ease in Dillon’s company. The sailors and serviceman with a kit bag in the background suggests the venue was a popular rendezvous point. A recently discovered document indicates this painting was previously with the Belfast art dealer, Nelson Bell of the Bell Gallery. The undated typed document gives catalogue details of Sailors with a hand written note in ink together with a colour printout of the painting. Nelson Bell states, “Gerard Dillon, Soldiers and French Sailors in Du-Barry’s. Du-Barry’s was a dock area bar in Prince’s Street. Framed by Webb’s, Dublin, 1942-1944. Given to the present owner in 1953 by Greek student in Dublin. Inscribed in Greek on reverse, when student was leaving the country.”The onset of the Second World War coincided with a changing cultural climate in Ireland after refugee painters arrived in Dublin during the Emergency. War conditions in Northern Ireland also offered an unusual liberal atmosphere after the authorities turned a blind eye to activities in the area around Belfast docks after hundreds of thousands of servicemen disembarked in Belfast in 1942. Although travel restrictions in the south irritated the general public, the restrictions stimulated an interest in the visual arts which had a beneficial spin off for Gerard Dillon’s painting career. He was able to hold his first solo exhibition in Dublin in 1942 and in possession of an identity card commuted easily by train between Dublin and Belfast. In 1943 Dillon was living in Belfast preparing for two exhibitions; a joint show with Daniel O’Neill at Dublin’s progressive Contemporary Picture Galleries in December, 1943 and a joint exhibition with George Campbell in John Lamb’s gallery, Portadown, Northern Ireland in June, 1944.From January, 1942, steam ships carrying American troops arrived into Belfast docklands area creating a noisy, bustling atmosphere in the war-torn city. By 1943 there were more than 120,000 servicemen who had access to cigarettes, fresh fruit, chocolate, meat and white bread. These luxuries however, were out of reach to the native civilian population, who were subjected to controls and restrictions in relation to the consumption of coal, petrol, food, security, and living daily with unlighted streets, darkened windows and the rising cost of living. After long periods at sea, sailors with tanned skin and toned bodies in snug fitted uniforms contrasted visually with the native population. Their disposable income and interest in seeking entertainment likely created a smoke-filled exotic ambience in Du-Barry’s bar. Their willingness to pay artists for on-the-spot portrait commissions attracted Dillon and his friends. Some of his subjects at his joint exhibition with Daniel O’Neill in 1943 reflect his contact with American servicemen, American military engineers and sailors during this period.Oral history interviews conducted by Northern Ireland's War Memorial Museum indicate the outbreak of war encouraged physical intimacy and close personnel relationships with one’s fellow men or women. By the end of the war, around 300,000 American service personnel passed through Ulster. Du-Barry’s bar on Princes Street, located within a minute walk from Albert clock with access to the tram was a renowned venue for prostitutes, gay men, sailors and servicemen. Having lived discreetly as a gay man in London in the late 1930s, the cosmopolitan environment in Dublin and the unanticipated consequences of thousands of men disembarking in industrial Belfast were opportunities the painter likely embraced. Although the general public were living under strict controls and restrictions in Ireland, war-time conditions offered Dillon relative freedom and a unique opportunity to launch and promote his painting career in Dublin as well as exhibiting with friends in his native city of Belfast.Karen Reihill, April 2025

An Art Deco French silver snuff box, indistinct maker, rectangular form, with engine turned decoration and blue enamel Greek Key surround, with foliate engraved base and gilt interior, 8cm x 4.5cm, 2.5ozSeveral enamel losses mainly around outer dark blue band, central cartouche has engraved name J Gibbs, hinged lid working perfectly, gilding bright, marks slightly worn

IFFLAND, FRANZ (1862-1935), weibliche Jugendstil-Nymphe mit Panflöte und Schalmeien, umrankt vom ewigen Efeu aus Bronze. Um die stehende Akt-Figur windet sich eine s-förmige Efeuranke, die sich vom Hinterkopf um die Taille bis zum linken Oberschenkel windet. An der Ranke hängt in Hüfthöhe die Panflöte. Die Nymphe streckt ihre Arme aus und hält in jeder Hand eine Schalmei. Der Efeu steht allegorisch für Ewigkeit, Erinnerung und sinnliche Naturverbundenheit. In Verbindung mit den Schalmeien und der Panflöte lehnt sich diese Darstellung einerseits an den Hirtengott Pan aus der griechischen Mythologie an, andererseits verkörpert diese musische Efeu-Nymphe die wilden Kräfte der Natur. Auf der Plinthe signiert "Iffland", H: ca. 20 cm (gesamt ca. 28 cm, inklusive dem runden, marmorierten Steinsockel), Schalmeien leicht verbogen.| IFFLAND, FRANZ (1862-1935), female Art Nouveau nymph with panpipes and slithers, entwined with perpetual ivy made of bronze. An S-shaped ivy tendril winds around the standing nude figure from the back of the head, around the waist to the left thigh. The panpipe hangs from the tendril at hip height. The nymph stretches out her arms and holds a shawm in each hand. The ivy allegorically stands for eternity, memory and a sensual connection to nature. In combination with the shawms and the panpipe, this depiction is reminiscent of the shepherd god Pan from Greek mythology on the one hand, while on the other, this musical ivy nymph embodies the wild forces of nature. Signed “Iffland” on the plinth, h: approx. 20 cm (total approx. 28 cm, including the round, marbled stone base), shawms slightly bent.

BRETBY; an art pottery green glazed jardinière on stand, with relief moulded decoration, height 89cm, a Victorian majolia jardinière, relief moulded with ram heads and fruit, and a twin handled terracotta Greek style vase (3).

A marble idol, Greek, ca. 4th Mill BC; a stylized female torso; h. 4 cm. mounted. Provenance: Belgium collection Lundahl, 1960-1970's; Akanthos Ancient Art, Antwerp; Archea Ancient Art, Amsterdam, 2013 and private Dutch collection. [1]

Phaedrus.- Terentius Afer (Publius) & Phaedrus. Comoediae [&] Fabulae Aesopiae, edited by Richard Bentley, 2 parts in 1, engraved portrait and frontispiece to Phaedrus, modern brown morocco, by C.Philip Smith, upper cover with three small blind-stamps of eagle, lion & bull in vertical line, spine titled in gilt, g.e., signed with monogram & dated 1955 at foot of rear turn-in with binder's signed typed note mounted on rear pastedown, spine slightly faded, Cambridge, Cornelius Crownfield, 1726 § Phaedrus. Fabularum Aesopiarum libri quinque, engraved frontispiece, title in red & black, Latin & Greek text, ink signature of Thomas Shore to head of title, contemporary red morocco, gilt, g.e., rather worn, Jacob Tonson & John Watts, 1713; another edition, engraved title, marginal worming to last few leaves, contemporary mottled calf, spine gilt, rubbed, I.Brindley, 1750; Fabulae...Fables...for the Use of Schools, edited by John Stirling, seventh edition, licence leaf, contemporary ink inscription "John Wyrill's Book 1764" to front free endpaper, contemporary reversed calf, John Rivington, 1761; The Fables..., translated by Thomas Dyche, advertisement leaf at end, modern morocco-backed boards, Sam. Butler, 1712; A Poetical Translation of the Fables of Phaedrus...by Christopher Smart, engraved frontispiece, modern half brown morocco over marbled boards, J.Dodsley, 1765, some light soiling or staining, all preserved in modern cloth drop-back boxes or folders with slip-cases; and 8 other editions of Phaedrus in 7 boxes, v.s. (14)*** The first is one of Philip Smith's earliest bindings, executed in 1955 whilst in his first teaching post at Malvern School of Art, having graduated from the Royal College of Art the previous year.

Greek/American, 1922-1997Infinity Field, Lefkada Series, 1982Signed and dated Stamos 1982 and inscribed as titled on the overlapAcrylic on canvas72 1/4 x 66 1/2 inches (183.5 x 168.9 cm)Provenance:Turske & Tuske, ZurichBeacon Hill Fine Art, New YorkP.T.E. Fine Arts, New YorkSale, Doyle, 20th Century Art & Design, Jun. 7, 1999, lot 129Purchased from the above by the current owner(Framed: 73 1/4 x 67 1/2 inches)Surface is clean and clear, with no apparent cracks, lifting or losses. No evidence of restoration under UV inspection. Overall good condition.

Prati, Edmundo (Uruguayan, 1889-1970); b. Paysandú URUGUAY, Uruguay, 1940, an Art Déco light bronze medal by E. Prati for the Ministerio de Instruccion Publica, Comision Nacional de Bellas Artes, naked male sculptor to left, working on the head of a Greek goddess, rev. legend, qvarto salon anval de artes plasticas, 50mm, 55.94g. Good very fine, rare; in blue box of issue by Casa Tammaro, Jungal 1429, Montevideo £30-£40

FRANCE, Amphitrite, 1939, an Art Déco bronze medal by G. Guiraud, naked female representing Amphitrite standing facing on sea-shell, her head turned to left, gulls flying around, rev. Greek trireme above mermaid, crabs at sides, named (Cernay-la-Ville, Club des Gais Lurons, Dame d’Honneur, Mme Arlette Gallay), edge impressed bronze and cornucopia, 59mm, 102.48g (CGMP p.201; cf. iNumis May 2017, 359; cf. DNW 51, 1181). About extremely fine; unusual as a named medal £60-£80 --- Cernay-la-Ville, dép. Yvelines

FRANCE, Nessus et Déjanire, 1944, a uniface Art Déco bronze medal by R. Delamarre, the centaur Nessus to right, lifting a semi-naked Déjanira, edge impressed bronze and cornucopia, 81mm, 258.34g (CGMP p.127; cf. iNumis Dec. 2011, 320; cf. DNW M2, 2706). Good very fine, rare £120-£150 --- In Greek mythology, when Hercules arrived at the River Euenus with his bride Dejanira, the centaur Nessus offered to carry her across the water while Hercules swam. Having reached the other side, Nessus attempted to run off with Dejanira, but Hercules shot and fatally wounded him with a poisoned arrow

Lavrillier, André (French, 1885-1958); b. Paris FRANCE, Léda et le Cygne [Leda and the Swan], 1925 [struck 1929], a uniface Art Déco bronze plaque by A. Lavrillier, Leda being seduced by Zeus in the form of a swan, 100 x 61mm, 282.71g (Maier 313; Classens 107; CGMP p.228; Jones, Art of the Medal, 418; The Medal 44, p.46; cf. Silich II, 673). One of the classic Art Déco medallic images, extremely fine and attractively patinated, rare £400-£500 --- Leda and the swan is a story from Greek mythology in which the god Zeus, in the form of a swan, seduces or rapes Leda, a Spartan queen, on the same night she slept with her husband, King Tyndareus