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Click here to subscribeMiles, W J, M.R.C.V.S.L., 'Modern Practical Farriery, a complete guide to all that related to the horse', published by William McKenzie, with coloured illustrations, believed to be a first edition, quarter Morocco with hard boards. Broken spine. Together with Charles Kingsly, with illustrations by D C Selous, of Hereward the Wake, published by The Art Union of London 1870. Hard boards, spines broken. (2) (B.P. 21% + VAT)
PEDRO CASQUEIRO - NASC. 1959, Untitled, mixed media on canvas, signed and dated December 1984 on the back. Notes: it was part of the exhibition "Pedro Casqueiro", Modern Art Centre of the Calouste Gulbenkian Foundation, Lisbon, June 1997, and is represented in the respective catalogue, pp. 26-27; and LAMBERT, Fátima - "Pedro Casqueiro - Nomadismo estético, pintura sedentária". Lisbon: Editora Caminho, 2006, p. 5., Dim. - 150 x 170 cm
PEDRO CHORÃO - NASC. 1945, "Entre o Céu e a Terra", oil on canvas, signed and dated 1996, on the back. Notes: it was part of the exhibition "60 Years 60 Artists Modern and Contemporary Art", held between November 24th and December 4th, 2011 at the Mystetskyi Arsenal Museum in Kiev, according to the label pasted on the back., Dim. - 130 x 162 cm
A «Cone» armchair, transparent polycarbonate and metal, acrylic with two scratches, signs of use, 1997 model by Fernando & Humberto Campana for Edra. Notes: afrmchair of this model is part of the collection of the Museum of Modern Art in New York City (MOMA) - vd. https://www.moma.org/collection/works/3194 consulted on 04/11/2004, at 4:34 pm., Dim. - 77,5 x 106 x 84 cm
MENEZ - 1926-1995, Untitled, oil on canvas, signed and dated 1983. Notes: Private collection. integrated the following exhibitions:"Menez", held at the Modern Art Centre of the Calouste Gulbenkian Foundation, Lisbon, from November to December 1990, and is represented in the respective catalogue with number 78; and "Menez", held at Paula Rego's Casa das Histórias, Cascais, from March 10th to October 20th, 2022, and is represented in the respective catalogue, p. Work included in "Menez". Lisbon: Edição Galeria 111 and Quentral Editores, 1998, p. 129., Dim. - 50 x 61,5 cm
Michael Gustavius PAYNE (1969) All I Had Oil on canvas Signed and titled to the verso 67cm x 58cm Postage is available on this lot from £42.50 to a UK address. His work is held in collections including the Museum of Modern Art Wales' Tabernacle Collection and The University of South Wales collection. Postage for this lot is available to the UK for £42.50.
AFTER THE ANTIQUE, A FIBREGLASS MODEL OF THE GADDI TORSO MODERN Modelled to simulate sculpted white marble, truncated by design after the antique original 82cm high The marble Gaddi Torso displayed in the Classical Sculpture Room of the Uffizi Gallery in Florence is a Hellenistic work of the 2nd century BC. Its dynamic tension and unusually refined modelling almost certainly place it amongst sculptures of the Pergamene school. Formerly considered to be the torso of a satyr when it was in the Gaddi collection in Florence, the sculpture is now thought to represent a centaur straining against his bonds, a theme that was represented several times in Hellenistic art, as it was an emblem of civilized control of Man's baser nature. The torso was very likely discovered in Rome, according to Giovanni Di Pasquale and Fabrizio Paolucci. It was certainly already in the collections of the Gaddi family in the early 16th century, when Florentine artists and sculptors knew it Condition Report: Overall this is of recent (21st century) manufacture and is aged to look like the antique, with simulated wear and losses (truncating at limbs) in line with the antique original - surface similarly 'scuffed' and 'degraded' but is only simulationThis stood on a black metal 'museum' type base Please see additional images for visual reference to condition and appearance Condition Report Disclaimer
[Shooting] Nine gun and shooting related books comprising Guns & Gunsmithing by Anthony North and Ian V Hogg, Hammer Guns by Diggory Hadoke, Vintage Guns for the Modern Shot, The Better Shot with Holland & Holland, Gun Engraving by Christopher Austyn, Cogswell & Harrison, The Classic British Rook & Rabbit Rifle by Colin Greenwood, Do-It-Yourself Gun Repair and The Art of Gunsmithing - The Shotgun by Lewis Porter.
François Pompon(1855 Saulieu - 1933 Paris) nachEisbärBronze, dunkel patiniert. Posthumer, zeitgenössischer Guss, Anfang 21. Jh.; Darstellung eines nach rechts schreitenden Bären. In moderner Weise stilisierte Bronzeplastik nach der berühmten Marmorskulptur Pompons "Ours blanc", welche als sein vollendetes Werk gilt und mit der ihm 1922 auf dem Pariser Salon der Durchbruch gelang - Exemplare hiervon befinden sich im Museum of Modern Art in New York und im Musée d´Orsay in Paris. Pompon war im Atelier Auguste Rodins und Camille Claudels tätig, nach 1905 widmete er sich ausschließlich der Tierdarstellung. H. 45 cm; L. ca. 85 cm.After François Pompon (1855 - 1933). Dark patinated bronze. Posthumous, contemporary cast, early 21st C.
French, John, The Art of Distillation: or a Treatise of the Choicest Spagyrical Preparations, Experiments, and Curiosities, The art of distillation: or, A treatise of the choicest spagyrical preparations, experiments, and curiosities, performed by way of distillation. Together with the description of the choicest furnaces and vessels used by ancient and modern chymists....and the anatomy of gold and silver; . In six books, by John French, Dr of Phyfick, 2nd ed, Including: The London-distiller, .London, printed by E. Cotes for T. Williams at the sign of the BIBLE in Little-britain without Aldergate 1653, original tan leather boards, later 19th century(?) spine, recent bookplate for Edward Braxton Reynolds, first published in 1651, with about 46 woodcuts showing a wide variety of distilling equipment, bottles and furnaces. At the end is an additional work, The London-distiller, giving detailed instructions for distilling alcoholic drinks and including the regulations of the London Company of Distillers.
THANG DAHON (SINGAPOREAN, 1950-) - 'AUGUST'S ENERGY' Acrylic on paper, signed 'Than Kian Tong' and dated '87' lower right, exhibition label verso Exhibited at Modern Art Travels East-West, Foundation Enterprise & Art; 1990, Rotterdam 7/6 - 24/6, Singapore 10/8 - 26/8 86 x 64cm Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
ROYAL DOULTON; a pair of early 20th century Art Deco style blue ground floral decorated vases, height 12.5cm, a Copeland Spode Famille Rose floral decorated porcelain bowl, diameter 23cm, and a modern Spode 'Iris & Sphaerolobium' florally decorated dish (4).Condition Report: Please note, there is a small chip to the rim of the Copeland famille rose bowl.
Fu Baoshi (1904-1965) Figurine 4 scrolls - 1981 Ink and colour on paper Mounted as a hanging scroll Artist's colophon and two red seals Measures approx. 138cm high, 66.5cm wide Provenance: from a private Somerset collection. Acquired in Japan in the 1990s. Born in 1904 in Xinyu, China, Fu was educated in Japan, studying the History of Oriental Art at the Tokyo School of Fine Arts. He held a particular admiration for Qing Dynasty painter Shitao, and even chose and changed his own name to Baoshi, which translates to “embracing Shitao.” He translated Japanese texts and consistently wrote his own art historical theses and treatises, completing research into fourth century landscape painting and artists of the Tang, Yuan, Ming and Qing Dynasties. He developed his landscape painting as a young artist, but was also acclaimed for his figural paintings, depicting figures from the third and fourth centuries. After the establishment of the People’s Republic of China in 1949, Mao Zedong called for a modernization of the arts; Fu led the charge in painting and is credited as a major artistic reformer of the 20th century. He revived early traditions based on a broad range of color and turned to modern technological subject matter such as airports and telephone lines. Leading the New Chinese Painting Movement, he called for a spontaneous handling of paint, often spattering or throwing ink or paint in a state of emotional and physical engagement; at times he would even paint after significant drinking to achieve a fully engrossed work. Fu founded the New Nanjing School of Fine Arts, which engaged many major artists of the period such as Chen Zhifo, Qian Songyan, Song Wenzhi and Ya Ming. 傅抱石（1904年10月5日—1965年9月29日），原名长生，学名瑞麟，字庆远，号抱石斋主人，生于江西南昌赐福巷（四府巷），祖籍袁州府新喻县，中国近代画家与美术史论家。傅抱石出身贫寒，生于江西南昌，祖籍新喻县章塘村，原名长生，13岁时改名瑞麟；17岁时自号“抱石斋主人”，改名为傅抱石。少年时代曾为瓷器店学徒和补伞匠，受清朝山水画家石涛的风格启蒙，1921年考入江西第一师范学校，1933年留学于东京日本帝国美术学校（今武藏野美术大学），回国师学邵逸轩，张大千言：傅抱石既以山水名，而其山石树木画法，实得之（邵）逸轩，世少知之尔。1935年7月在中央大学艺术系担任教职，以山水画成名。并致力于美术史和绘画理论的写作，出版过《中国绘画变迁史纲》、《国画源流概述》、《中国古代山水画史研究》。
Zao Wou-Ki 赵无极 (1925 - 2013) Untitled abstract - 1962 Oil on canvas Signed and dated Measures approx. 80cm x 120cm Provenance: from a private Somerset collection. Born in Beijing in 1920, Zao Wou-Ki is a modern Chinese-French painter affiliated with Lyrical Abstraction. His early interest in art was largely encouraged by his family. At 15, Zao attended the School of Fine Arts in Hangzhou, where he received formal art training under Lin Fengmian, a highly regarded pioneer of modern Chinese painting who was also a mentor for the artist Chu Teh-Chun. During these formative years, Zao painted predominantly figurative works and idolised modern Western masters. In 1948, Zao moved to Paris with his first wife Lalan to embark on a new artistic journey. Settling down in the creative district of Montparnasse, Zao befriended artists such as Alberto Giacometti and Joan Miró, and spent many afternoons in the Louvre. There in Paris, Zao worked alongside fellows of the École de Paris to reclaim the power of abstraction amidst the rising post-war criticism of the style. He also met abstract painters including Jean-Paul Riopelle, Joan Mitchell and Pierre Soulages, who would become a lifelong friend. Zao travelled frequently in the late 1950s, particularly to New York where he met Abstract Expressionists including Franz Kline, Barnett Newman and Adolph Gottlieb. The visceral expression of the New York School was impactful for Zao. He developed a more gestural, expressive style on larger canvases over the next two decades, which would come to be defined as his ‘Hurricane Period’ — an apex of his career. In May 2022, Zao's colossal painting 29.09.64. (1964) sold for $35,414,464 at Christie’s. Depicting the speed and energy of a surreal landscape in diverse shades of blue with explosive lines, the work is emblematic of this period. In 1982, the Galeries Nationales du Grand Palais in Paris was the first French museum to hold a solo exhibition of Zao, 20 years before he was elected to the French Academy of Fine Arts. His first museum retrospective in the United States, No Limits: Zao Wou-Ki, opened at the Asia Society in New York in September 2016, three years after his death in 2013. A true ‘transnational’ artist, Zao’s works are housed in public collections in more than 20 countries.
Oil painting on cardboard depicting The Berbers - A. Pannocchia - Oil painting on cardboard depicting The Berbers.Dimensions: 49x33.5 cmWorks by Amleto Pannocchia(Lari, 1911 - Rome, 1987)De Francesco Auction House presents a suite of works by the artist Amleto Pannocchia that primarily reflect his latest production. The oil works on cardboard and canvas boards showcase a mature use of the medium and mastery in discerning the numerous tonal transitions of the same color.Numerous lots are present, including figurative ones belonging to the "polyptych" of the paladins, as well as female figures and still lifes. Some abstract lots conclude the capsule of Ampleto Pannocchia, a poetic and innovative artist with a pure and powerful language.Ampleto Pannocchia's life is itself a work of art, swinging between the need to express himself through graphic gesture and the will to self-determine once maturity is reached. Born in Lari, the son of an anarchist cobbler and a young girl from the upper bourgeoisie, beautiful and elegant, their indissoluble love resulted in several children, with Ampleto being the firstborn during the cholera pandemic.Later, his father went to war and returned with an even more rooted anarchist conviction. Ampleto entered the workshop, tiny, where he witnessed numerous conversations of his father and spent his youth among the shops, the port, and summers at his grandparents' house, listening to more "scholarly" conversations filled with quotes from great classics of literature. He heard, knew, and read about Orlando Furioso, Armida, and Don Quixote, attempting to give each of them characteristics drawn from the characters of his reality. Cowboys, port workers, and fruit stalls emerge, with changing colors and sharp, clean shapes more like sculptures in rocks than fluid brushstroke portraits.His art teacher, a priest from the college he entered with reservation (due to his father's political stance) and from which he was soon expelled, saw in him the clear and pure expressive force that warmed the artistic salons of Neo-Fauvism and German Expressionism. His teacher predicted a bright future in the art world, a prediction the young Ampleto struggled to believe. But the creative drive was undoubtedly strong in him, causing a true pictorial emergency that led him to represent the reality around him, even with chalk on the sidewalks of the city of Lari.One day, dirty and messy but completely absorbed in his works, he locked eyes with a blonde and graceful girl, elegant, who lingered on his works, appreciating their characteristics. That encounter, which did not result in a real acquaintance for a long time, instilled in him a new determination to emerge. He worked as a lithographer at Belforte's workshop under the guidance of Zanacchini, a famous engraver. Unsatisfied, he started his period of moral wandering, moving from a marriage without conviction to assignments at Cinecittà, both as a set designer and an actor.While in Rome, he met again the love of his adolescence, but this time she had a name, Mirella. They never parted again. The most mature artistic phase begins, with confrontations with gallery owners and the art market of the upper-class Rome of the early 1970s stimulating his anarchic past. His artistic production enriched itself with true polyptychs, created around a theme. We know "the Crusaders," the "paladins," and finally, from 1973, that of the "red battle." His pictorial production spans three fundamental colors: red, green, and blue, which sometimes blend depending on the subject to be portrayed. In his polyptychs, there are not only knights and figures from ancient and modern mythology but also inhabitants and patrons of taverns, ports, and markets. Simple girls, students, and dancers.
Collection of antique collectables in a modern decorated chest, three draw pocket telescope in case, nickel coin holder, MOP opera glasses, brass lighter, bone page turner, miniature portrait in wooden frame, white metal art nouveau style handbag mirror, ant a 925 baby rattle and two 19th century lead duty seals
Ca. AD 200 - 400.A late Roman 22 ct gold ring with an oval band. It has a polygonal bezel securing a circular blue sapphire cabochon. For similar see: El Legado the Hefesto n. 376. This piece has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: D:12mm / US: 1/2 / UK: A; Weight: 5g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. 1000 - 500 BC.A Mesopotamian necklace composed of cylindrical lapis lazuli beads interspersed with 21 ct gold beads and centred by a stamped ta shere gold pendant. Strung with a modern hook-and-loop closure. For similar see: Christie's Live Auction 2491, Ancient jewellery, lot. 317. This piece has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: 480mm x 15mm; Weight: 16g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. 3000 - 2000 BC.A gorgeous pull-toy that is hand-built from beige and citrine-hued terracotta that resembles a period-accurate chariot. The lengthy rectangular body features a flat base with two perforated flanges on either end that each hold a pair of modern disk-shaped wheels secured to a modern wooden axle. Registers of zigzagging striations and stippled embellishments are incised on the exterior of the lateral walls. The chariot, possibly representing an animal, has an idealized and stylised head at the front. Size: 95mm x 60mm; Weight: 65g Provenance: Property of a central London gallery, acquired on the US art market; formerly in private FL. collection, acquired from the Achaeological Center, 1980s to 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. AD 900 - 1100.A 22 ct gold pendant with a lunate shape and a loop for suspension. The Viking culture, contrary to popular belief, was greatly influenced by the peoples with whom it came into contact in both cults and customs. But this is completely normal considering that they were possibly amongst the greatest travellers in history and consequently connoisseurs. In jewellery, the style and iconography of the late Viking period 10th and 11th centuries were strongly inspired by Byzantine productions, the only place in the world during that historical period capable of launching fashions, creating styles and crafting objects to be traded with the entire western area that was being raided precisely by the Vikings. We are therefore not surprised that a motif such as the moon motif from Roman fashion and then passed down through Constantinople could be found around the necks of prominent Viking warriors. We also know that seven thousand Vikings formed the Varangian Guard under the direct command of the emperor of Costantinople. The threads that bound the Vikings to the capital of the Eastern Roman Empire were many and well intertwined. For similar see: Viking Art. Thames and Hudson, pg. 67, n. 64. This piece has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: 24mm x 18mm; Weight: 2g Provenance: From the private collection of a Cambridgeshire gentleman; previously in an old British collection, formed in the 1980s on the UK /European art markets.
Late Period, Ca. 664 - 332 BC.An Egyptian Late Period hard stone scarab made in a naturalistic manner. It is set in a Neo-classical 19 ct gold bracelet decorated with a Hellenistic gold leaf, possibly part of a diadem attached to the band. This piece has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: 56mm x 55mm; Weight: 41g Provenance: Property of a London gallery; previously in a collection of a North London gentleman; formerly in a collection of Mrs B. Ellison, a deceased former member of the Egyptian Exploration Fund, bought from the 1940s, Cairo and London. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Late Period, Ca. 664 - 332 BC.An Egyptian 20.5 ct gold figure of a snake, depicted in an attacking position. The head protrudes forward with a coiled body, balancing the piece to stand freely. The body is etched with an interwoven pattern, recreating naturalistic scales which reach down to the tip of the tail. For similar see: MET Museum Accession Number: X.21.99. This piece has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy. Size: 51mm x 33mm; Weight: 30g Provenance: Prince collection, 1990s-2014; Ex. Gallery David Ghezelbash, Paris, 2007. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. AD 100 - 300.A Roman intaglio depicting Athena facing right. The intaglio is set in a high carat (22.5 ct), possibly later gold ring. For similar see: El Legado de Hefesto n. 459. This piece has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. This piece comes with an authentication report by Sami Fortune, ancient jewellery specialist. Size: D:18.95mm / US: 9 / UK: R 1/2; Weight: 8g Provenance: Private Central London collection; ex. UK art market 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. AD 900 - 1000 .A Javanese 18 ct gold ring with ruby cabochon set in oval bezel decorated with a filigree line around. It is round hooped with four triangular gold pieces gripping the ruby. For similar see: Sotheby's, MAGNIFICENT LUSTRE SOUTHEAST ASIAN GOLD JEWELLERY AND ORNAMENTS FROM AN ASIAN PRIVATE COLLECTION, Auction 1 - 8 September 2022. This piece has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy. Size: D:19.15mm / US: 9 1/4 / UK: S; Weight: 24g Provenance: Private Central London collection; ex. UK art market 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. 500 - 300 BC.A Hellenistic gold pendant shaped in the head of a lion. The creature bears the stylised mane typical of Hellenistic and Classical period lions. For similar see: Christie's Live Auction 17459, Antiquities, Lot. 151. This piece has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: 31mm x 18mm; Weight: 4.9g Provenance: Private UK collection; formerly with R. A. collection formed on the UK art market since the 1990s.
Ca. AD 500 - 700.A Byzantine 21.5 ct gold ring decorated with an intaglio depicting the Chi Rho monogram set in a star shaped solid bezel connected to a round hoop openwork with floral motifs. For similar see: Byzantium and the West jewellery in the First Millennium, n. 23, pg. 140-141. This piece has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: D:16.1mm / US: 5 1/2 / UK: K 1/2; Weight: 8g Provenance: Private London collection; formerly in a Swiss family collection, acquired in the 1980s and 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Second Intermediate Period, Ca. 1620 - 1550 BC.An Egyptian 20 ct gold bead of a recumbent lion with a tubular hole under the paws. The figure is extremely detailed with an elongated body, wild mane and a long muzzle. In some contexts, the lion was associated with the sun god Ra and the solar cycle. The lion's strength and ferocity was likened to the sun's radiant power. The image of a lion-headed figure with a solar disk, became a potent symbol of solar deities in Egyptian mythology. For similar see: British Museum: Museum number EA24788. This piece has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: 15mm x 15mm; Weight: 3g Provenance: Prince collection, 1990s-2014, acquired in 2008 from a UK private collection formed in the 1970s to 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. AD 500 – 600.A Merovingian 21 ct gold ring with a rosette shaped bezel. The solid gold ring, boasts a bezel in the shape of a rosette decorated with twelve cloisonné petals set with garnets for the central pistil. The band of the ring consists of three pronounced ribs flanked by decorative borders in a pearl ring pattern. For similar see: Louvre Museum collection of Merovingian Jewelries. This piece has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. This piece comes with an authentication report by Sami Fortune, ancient jewellery specialist. Size: D:21.18mm / US: 11 5/8 / UK: X; Weight: 13g Provenance: Private Central London collection; ex. UK art market 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. 200 BC - AD 200 BC.A Holy lands silver-gilt ring decorated with an engraved rock crystal intaglio with Aramaic script. The hoop is adorned with golden pearls on the shoulders. For similar see: El Legado de Hefesto n. 169. This piece has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: D:17.12mm / US: 6 3/4 / UK: N; Weight: 8g Provenance: Private Central London collection; ex. UK art market 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. AD 400 - 600.A Byzantine 20 ct gold ring with an inscribed bezel, decorated with geometric motifs, round hooped. For similar see: Christie’s Live auction 2771, Ancient jewellery, Lot. 328; Catalogue of the finger rings, early Christian, Byzantine, Teutonic, Medieval and later, Franks Bequest, n. 64. This piece has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. This piece comes with an authentication report by Sami Fortune, ancient jewellery specialist. Size: D:18.95mm / US: 9 / UK: R 1/2; Weight: 15g Provenance: Private Central London collection; ex. UK art market 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. AD 1400 - 1600.A Byzantine 20 ct gold amulet-signet-ring. It is polygonal hooped and connected to a round bezel depicting magical symbols against the evil power enclosed by a serpent chasing its tail. For similar see: British Museum Registration number AF.1022. This piece has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. This piece comes with an authentication report by Sami Fortune, ancient jewellery specialist. Size: D:15.49mm / US: 4 3/4 / UK: J; Weight: 6g Provenance: Private Central London collection; Ex. UK art market 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. AD 100 - 300 .A lovely necklace with a chain and hook clasp. The chain is made from a thick wire loop that is folded in half then slightly pinched in the middle to create twisted and interlocking decorations. For similar see: MET Museum Accession Number: 21.88.90. This piece has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: 220mm x mm; Weight: 15g Provenance: Property of a London gallery; previously in a collection of a North London gentleman; formerly in a collection of Mrs B. Ellison, a deceased former member of the Egyptian Exploration Fund, bought from the 1940s, Cairo and London. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. AD 500 - 700.An early Byzantine 20.5 ct gold ring with a rectangular garnet cabochon. The band is decorated with openwork and phytomorphic motifs. For similar see: Byzantium and the West jewellery in the First Millennium, n. 8, pg. 66. This piece has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. This piece comes with an authentication report by Sami Fortune, ancient jewellery specialist. Size: D:19.56mm / US: 9 3/4 / UK: T; Weight: 9g Provenance: Private Central London collection; ex. UK art market 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. AD 100 - 300.A Roman carnelian intaglio depicting the God "Janus" set in a high carat (21 ct), possibly later gold ring with decorated shoulders. In Roman mythology, Janus holds a unique position as the god of beginnings, transitions, gates, doors, and time itself. His significance in Roman rituals and religious practices was profound, as he symbolized the duality inherent in all transitions and passages, both physical and metaphorical. Janus was often invoked at the outset of any important endeavor, whether it be the opening of a new year, the commencement of a journey, the founding of a city, or the beginning of a marriage. His two faces, one looking forward and the other backward, signified his ability to oversee both past and future, to guide individuals through transitions and to guard thresholds. This piece has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: D:18.75mm / US: 8 3/4 / UK: R; Weight: 9g Provenance: Private Central London collection; ex. UK art market 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. 300 - 100 BC.A Roman republican 21 ct gold ring with an intaglio depicting a walking parrot made in naturalistic manner with double tail plumage, curved beak, and set on an elegant thin round hoop. This piece has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: D:17.73mm / US: 7 1/2 / UK: O 1/2; Weight: 1g Provenance: Private Central London collection; ex. UK art market 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. AD 300 - 500.A large Roman Imperial 20.5 ct gold "crossbow" fibula with a golden pin. It was used to fasten the cloaks of Roman soldiers and citizens. It is cruciform in shape, with rosette strands adorning the arms on the the terminals. A thick pin is present on the back. Brooches of this style were very fashionable in the late Roman Empire, especially amongst elites. For similar see: MET Museum Accession Number: 95.15.113. This piece has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: 60mm x 50mm; Weight: 45g Provenance: Prince collection, 1990s-2014; Ex. Gorny & Mosch, sale 150, 11 July 2006, lot 253. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. AD 100 - 300.A 20.5 ct Roman gold ring, crafted of a flat-section band slightly expanding at where a garnet cabochon is set. For similar see: El legado de Hefesto n. 305. This piece has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: D:14.07mm / US: 2 7/8 / UK: F; Weight: 2g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Ca. 300 - 100 BC.A stunning 23 ct Greek gold ring with an elliptical flat bezel depicting a standing Nike. The Nike has spread wings and is turned to the left and holding a cornucopia. She is rendered in an extremely naturalistic manner. For similar see: El Legado de Hefesto n .191. This piece has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. This piece comes with an authentication report by Sami Fortune, ancient jewellery specialist. Size: D:20.17mm / US: 10 1/2 / UK: U 1/2; Weight: 8.5g Provenance: Property of a London art gallery; formerly in a private collection of a Kensington gentleman since the 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. 700 - 200 BC.A Celtic gold torc, circular in shape decorated with golden pellets symmetricly placed at either side. The torc is joined with a coiled adjustable clasp. For similar see: Celts Art and Identity, Fig. 79; 80. This piece has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: 125mm x 125mm; Weight: 21g Provenance: Private Central London collection; ex. UK art market 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ptolemaic to Roman Period, Ca. 30 BC - AD 100 .An Egyptian bracelet with two elegant 18.5 ct gold chains containing elegant, coloured glass beads at the centre. The sections are divided by four 19 ct gold, flat pendants. This amazing bracelet exudes beauty and elegance. Expertly restrung, this bracelet serves as a captivating testament to the craftsmanship and artistry of the Egyptians, seamlessly blending the past with the present in a stunning display of wearable history. This piece has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: 100mm x 80mm; Weight: 13g Provenance: Property of a London gallery; previously in a collection of a North London gentleman; formerly in a collection of Mrs B. Ellison, a deceased former member of the Egyptian Exploration Fund, bought from the 1940s, Cairo and London. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Late Period, Ca. 664 - 332 BC.A 19 ct gold necklace with seven Egyptian gold pendants in flat polygonal shape. The disposition of the pendants is two for each edge and three in the centre, each accompanied by three large blue glass beads. This piece has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: 165mm x 40mm; Weight: 16g Provenance: Property of a London gallery; previously in a collection of a North London gentleman; formerly in a collection of Mrs B. Ellison, a deceased former member of the Egyptian Exploration Fund, bought from the 1940s, Cairo and London. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. AD 500 - 700.A Byzantine 23.5 ct gold chain necklace formed with double-loop bars connecting openwork panels of intersecting circles. The eye and hook closure is decorated with 23 ct gold scrollwork disc-shaped medallions. For similar see: Byzantium and the West: jewellery on the First Millennium, pg. 110, fig. 15.1. This piece has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: 460mm x 5mm; Weight: 5g Provenance: Property of a North London gentleman; previously acquired on the UK/European art market in the 1980s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. 400 - 200 BC.A pair of 21 ct earrings with tapering hoops of spiraled plain and beaded wires that hook through a loop on the underside of the protomes. A collar of twisted wire tongues is joined to a plain section with twisted and plain filigree wires. For similar see: Christie's, Live Auction 2491, Ancient jewellery, Lot. 366. This piece has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: 30mm x 30mm; Weight: 11g Provenance: Private Central London collection; ex. UK art market 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. 500 - 300 BC.A Hellenistic gold pendant shaped in the head of a lion. The creature bears the stylised mane typical of Hellenistic and Classical period lions. For similar see: Christie's Live Auction 17459, Antiquities, Lot. 151. This piece has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: 30mm x 17mm; Weight: 5.5g Provenance: Private UK collection; formerly with R. A. collection formed on the UK art market since the 1990s.
Ca. AD 200 - 400.A Roman 21.5 ct gold ring with an oval banded agate intaglio depicting Perseus holding the head of Medusa. The ring is composed of a flat-section hoop expanding to form decorative shoulders with vertical ribbing flanked by scrolled borders. For similar see: El Legado de Hefesto n. 326. This piece has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. This piece comes with an authentication report by Sami Fortune, ancient jewellery specialist. Size: D:18.75mm / US: 8 3/4 / UK: R; Weight: 14g Provenance: Private Central London collection; Ex. UK art market 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. AD 800 - 1000.A Viking 21.5 ct gold ring decorated with triangular stamps on the edges, framed in by twisted ropes. It is round hooped and closed with a knot. For similar see: Catalogue of the finger rings, early Christian, Byzantine, Teutonic, Medieval and later, Franks Bequest, n. 209. This piece has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: D:19.56mm / US: 9 3/4 / UK: T; Weight: 7g Provenance: Private Central London collection; ex. UK art market 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. AD 200 - 400.A late Roman 22.5 ct gold ring with an intaglio depicting Tyche facing left set in a solid large circular bezel. The ring is round hooped with concave section and decorated with “volutes” around the bezel. For similar see: Christie’s, Live Auction 2771, Ancient jewellery, Lot. 304. This piece has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. This piece comes with an authentication report by Sami Fortune, ancient jewellery specialist. Size: D:16.31mm / US: 5 3/4 / UK: L; Weight: 8g Provenance: Private Central London collection; ex. UK art market 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. AD 100 - 300.A Roman 22 ct gold finger ring with a jasper intaglio depicting a young woman. The woman wears a sleeveless garment and has her hair tied up an in elaborate updo. For similar see: Christie's Live Auction 2375, Ancient jewellery, Lot. 375. This piece has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: D:19.15mm / US: 9 1/4 / UK: S; Weight: 7g Provenance: Private Central London collection; ex. UK art market 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. 700 - 300 BC.A Bactrian 19 ct gold pendant decorated with four golden pearls in the middle, and a cylindrical shape at the bottom. This piece has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: 20mm x 12mm; Weight: 9g Provenance: Property of a London Islamic art specialist collector; previously in a family London collection formed since the 1980s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ptolemaic Period, Ca. 332 - 30 BC.A Ptolemaic period carnelian necklace crafted from dozens of red tube beads alternating with rounded beads. At its centre lies a rare 22 ct gold, sun-shaped pendant sun connected with a later 18.5 ct gold circular bezel. Expertly strung with modern thread, this necklace serves as a captivating testament to the craftsmanship and artistry of ancient times, seamlessly blending the past with the present in a stunning display of wearable history. This piece has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: 210mm x 25mm; Weight: 22g Provenance: Property of a London gallery; previously in a collection of a North London gentleman; formerly in a collection of Mrs B. Ellison, a deceased former member of the Egyptian Exploration Fund, bought from the 1940s, Cairo and London. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. AD 100 - 300.A Parthian 21 ct gold pendant decorated with flowers on the pear shaped body. The edges of the pendant are decorated with filigree circles; round hoop on the top. This piece has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: 25mm x 13mm; Weight: 2g Provenance: Property of a London Islamic art specialist collector; previously in a family London collection formed since the 1980s.
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