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Three etchings depicting Ancient Greek scenes

Two ancient greek bronze coins

A Grand Tour shoulder lekythos, after the ancient Greek and painted in the Attic manner, 42cm high

A Grand Tour style composition Greek tragedy mask, probably of Oedipus, after the Ancient Greek Antique, inscribed to verso, 30cm long

A Grand Tour type loutrophorus vase, after the ancient Greek and painted in the Attic manner, 30.5cm high,

A late 19th century mantel vase, in the Grand Tour taste and after an Ancient Greek nestoris, in relief with figures, the lofty handles terminating in masks, verte antico marble base, 28cm high, c.1900

A museum copy of an ancient Greek ewer, after the Antique and painted in the Attic manner, 13.5cm

A museum-type verdigris patinated composition bust, after the ancient Greek, ebonised plinth, 26cm high overall

Ancient Greek silver coins x approx 100. Sold "as is".

Ancient Greek silver coins x approx 100. Sold "as is", also UK 1991 & 1992 (3) BU sets in folders & few other coins

Ancient Greek silver coins x approx 100. Sold "as is".

Ancient Greek silver coins x approx 100. Sold "as is".

Ancient Greek Silver Drachm - Alexander the Great - lifetime issue. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)

Ancient Greek Silver RingCirca 4th century BC. 27.06 mm, 19.98 mm internal. 14.46 grams. A D-shaped ring with plain narrow band and large oval bezel. The face of the bezel is engraved with the image of a hunter on horseback spearing a boar below. Ref: for similar style, Diana Scarisbrick & Martin Henig. Finger Rings, 2003; page 21. Acquired late 1990's by a private collector.

AN ARCHEOLOGICAL REVIVAL CARNELIAN AND ENAMEL BRACELET, BY GIACINTO MELILLO, CIRCA 1880 Centrally-set with a carnelian intaglio, within a finely worked double-knot surround, decorated with enamel motifs and flowerheads, between shoulders accented with vari-coloured enamel, to a fine mesh-link bracelet and enamelled clasp, maker's mark GM, wooden maker's case (Dimensions: Length: 18.0cm)(Length: 18.0cm)Footnote: Giacinto Melillo (1846-1915) Giacinto Melillo was a Neapolitan jeweller, trained in the workshop of Alessandro Castellani. He studied Ancient Art history, especially Etruscan, Roman, Greek and Byzantine art which greatly influenced him and his work. Melillo took over the management of the Castellani workshop in Naples in 1870, when Alessandro Castellani returned to Rome, from which city he had been exiled since 1858. After he had travelled to London and Paris in 1861 and 1862, Alessandro had settled in Naples and founded a school of goldsmiths which, by 1865, was being run by Melillo and it is assumed that the Naples workshop of Alessandro Castellani was established at around the same time. Melillo was clearly a pupil of outstanding ability, directing a goldsmiths' school when he was only nineteen and running a workshop at twenty-four, by which time he was also exhibiting under his own name, at the Workmen's International Exhibition in London in 1870, where he won a silver medal. Melillo took part in fifteen international exhibitions between 1870 and 1900, receiving gold medals at five of them, including Paris in 1878 and 1889. Apart from his jewellery in the 'archaeological style', Melillo also produced silver copies of Roman treasures and exquisite coral jewellery. Melillo's jewels sometimes bear his initials but are more often than not unsigned.

Two Ancient Greek coins, possibly Philip II of Macedonia & Ptolemaic period

A French 19th century cornelian intaglio ring, the oval panel carved with the profile of a gentleman, possibly Aeschylus, within a gold setting, the shank stamped with rubbed French poincons, finger size approximately M, 9.2g grossAeschylus was an ancient Greek playwright who was killed after a turtle was dropped by an eagle onto his bald head, believing his dome was a rock. Condition Report: The D shaped shank is difficult to size, some light wear to the setting commensurate with age and use, some small chips to the panel.Condition Report Disclaimer

Alexander the Great - Greek Ancient Silver Drachm. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)

Dean Ellis (New York, 1920 - 2009) "Roman God Apollo" Signed lower left. Original Mixed Media painting on Masonite Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Republic of the Marshall Islands 50c The Sun stamp issued July 20, 1994. Among the ancients, the Sun took the place of a supreme deity. It was called Ra by the ancient Egyptians, Mithras by the Persians, and Apollo by the early Greeks, who believed it was set in a crystal sphere -- along with the Moon and stars -- that rotated around the Earth. It took men like Galileo, Kepler, Brahe and Newton to open the doors to modern astronomy and the Sun we understand today. Even so, the source of the Sun's enormous energy was a mystery for centuries. Not until the 1930s did it become apparent to scientists that some form of nuclear energy must be what was keeping the Sun burning for billions of years. This exciting painting shows the Sun's astrological sign symbolizing power and wealth, and Apollo, the Greek god of light and prophecy, thundering across the heavens in a horse-drawn chariot. Image Size: 12.75 x 16 in. Overall Size: 15.75 x 19 in. Unframed. (B14589)

Mark Schuler (American, B. 1951) "Hermes Spaceplane" Signed lower right. Original Mixed Media painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the Great Britain 37p Europe in Space stamp issued April 23, 1991. In the ancient Greek religion, Hermes was the messenger of the gods. The god of travelers and roads, Hermes also conducted souls to the netherworld. The name Hermes therefore serves as a fitting moniker for the European Space Agency's first spaceplane, scheduled for development and deployment in the late 1990s. Designed to carry out a variety of missions, Hermes' primary mission will be to service the Space Station Freedom's Columbus Free-Flying Laboratory. Every six months, Hermes will enter orbit to dock at the laboratory for approximately seven days. The shuttle crews will initiate experiments, perform laboratory maintenance and transport equipment to and from the craft's three-ton capacity payload bay. If necessary, the crews may perform extra-vehicular activities using the HERA -- Hermes robotic arm. A technological project with enormous potential for large-scale European research and development expansion, Hermes will move the ESA into realms heretofore dominated by the scientific communities of the United States and Soviet Union. Image Size: 14.5 x 12.75 in. Overall Size: 20 x 18 in. Unframed. (B13199)

Ca.800 - 600 BC. An early necklace formed of bronze pendants in a variety of shapes including bells and spheres (restrung). Bells had magical implications in ancient societies as their unpredictable noises could help to keep away evil spirits. Such pendants may originally have belonged to precursors of the Druids. A Druid (Celtic: “Knowing [or Finding] the Oak Tree”) was a member of the learned class among the ancient Celts. They seem to have frequented oak forests and acted as priests, teachers, and judges. The earliest written testimony of the Druids comes from the 3rd century BC but they probably originated much earlier as this late dating reflects the point at which the literate Greek-speaking societies of the Mediterranean came into contact with the Celts of Northern Europe. Good condition, professionally restrung, suitable for contemporary wear. Size: L:190mm / W:285mm ; 195g; Provenance: Private London collection, formed in the 1980s on the UK and European art market.

800 – 600 BC. Greek Hoplite Period. Socketed Bronze spearhead comprising a substantial leaf-shaped, lentoid-section blade with raised midrib, and a long neck. Hoplites were the citizen-soldiers of Ancient Greece, where each city state was fiercely independent and could only be sustained through the military power of its male inhabitants. Hoplites primarily fought using the closed phalanx formation to allow best use of their frequently small numbers, and their principal equipment would have included large, circular (‘Argive’) shields and spears like this one. For more information on Greek hoplite warfare, see Donald Kagan and Gregory F. Viggiano (eds., 2013). Men of Bronze: Hoplite Warfare in Ancient Greece, Princeton University Press. Good condition. Size: L:220mm / W:30mm ; 120g; Provenance: From the private collection of an Essex gentleman; previously in an old British Collection, formed in the 1980s.

800 – 600 BC. Greek Hoplite Period. Socketed Bronze spearhead comprising a substantial leaf-shaped, lentoid-section blade with raised midrib, and a mid-length neck. Hoplites were the citizen-soldiers of Ancient Greece, where each city state was fiercely independent and could only be sustained through the military power of its male inhabitants. Hoplites primarily fought using the closed phalanx formation to allow best use of their frequently small numbers, and their principal equipment would have included large, circular (‘Argive’) shields and spears like this one. For more information on Greek hoplite warfare, see Donald Kagan and Gregory F. Viggiano (eds., 2013). Men of Bronze: Hoplite Warfare in Ancient Greece, Princeton University Press. Good condition. Size: L:200mm / W:45mm ; 100g; Provenance: From the private collection of an Essex gentleman; previously in an old British Collection, formed in the 1980s.

800 – 600 BC. Greek Hoplite Period. Socketed Bronze spearhead comprising a substantial leaf-shaped, lentoid-section blade with raised midrib, and a long neck. Hoplites were the citizen-soldiers of Ancient Greece, where each city state was fiercely independent and could only be sustained through the military power of its male inhabitants. Hoplites primarily fought using the closed phalanx formation to allow best use of their frequently small numbers, and their principal equipment would have included large, circular (‘Argive’) shields and spears like this one. For more information on Greek hoplite warfare, see Donald Kagan and Gregory F. Viggiano (eds., 2013). Men of Bronze: Hoplite Warfare in Ancient Greece, Princeton University Press. Good condition. Size: L:185mm / W:35mm ; 110g; Provenance: From the private collection of an Essex gentleman; previously in an old British Collection, formed in the 1980s.

Greek. A shallow bronze phiale with a broad rim and 7 almond shaped impressions arranged around a central rondel to create a stylised floral motif. This phiale would have been used by ancient Greeks during religious ceremonies as vessel from which to pour a libation - an offering of wine for the gods. The wine was typically diluted with water and then poured onto an alter during, or shortly after the worshipper had completed their prayer. Excellent Condition. Size: L:40mm / W:160mm ; 310g; Provenance: From the private collection of an Essex gentleman; previously in an old British Collection, formed in the 1980s on the UK / European art markets.

Ca. 350 BC. Ancient Greek. A black figure ware Apulian Krater with pedestal foot, cylindrical stem, inverted bell-shaped body and two lug handles. The painted scenes show two female figures, one seating, one standing, apparently at a party or religious ceremony (the seated figure may be sitting on an altar); they are framed by an upper and lower border of waves and flanked by vegetal motifs. Kraters like this one would have been used for mixing wine at drinking parties, making the scene depicted especially appropriate for such occasions. Excellent condition. Size: L:340mm / W:370mm ; 3.8kg; Fully authenticated with a TL test. Provenance: From the private collection of a Kent gentleman; previously in an old British collection, formed in the 1980s on the UK /European art markets.

1200 – 800 BC, Greek Archaic. An ancient Greek era cast "Trojan" Bronze Age sword blade with a narrow, triangular blade; raised midrib; with sharp projecting lateral flanges and round-section tang with pointed finial. From west Asia to Mainland Greece, bronze weaponry production flourished from the 2nd millennium BC to about 700 BC when it was gradually replaced by iron. Swords, spears and arrows were exchanged via trade and war and are discovered in both civic and ritual contexts. Superb condition on custom made stand. Size: L:570mm / W:65mm ; 360g; Provenance: From the private collection of an Essex gentleman; previously in an old British Collection, formed in the 1980s on the UK / European art markets.

ca. 1200-800 BC, Greek Archaic Period.This beautiful bronze sword has a tapering, bevelled blade with an a raised midrib which transitions laterally into two smaller, raised shoulders, a short tang with for affixing a handle, and a stunning patina. Bronze weaponry production flourished in western Asia, the Aegean, and Mainland Greece from the 2nd millennium BC to about 700 BC, when it was gradually replaced by iron. Swords, spears, and arrows were important symbols of war in Greek Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it. Superb condition, on a custom-made stand.Size: L:400mm / W:55mm ; 250g; Provenance: Important London collection of Ancient art; formed in 1970s then passed by descent.

1200 – 800 BC, Greek Archaic. An ancient Greek era cast "Trojan" Bronze Age sword blade with a narrow, triangular blade; raised midrib; with sharp projecting lateral flanges and round-section tang with pointed finial. From west Asia to Mainland Greece, bronze weaponry production flourished from the 2nd millennium BC to about 700 BC when it was gradually replaced by iron. Swords, spears and arrows were exchanged via trade and war and are discovered in both civic and ritual contexts. good condition on custom made stand. Size: L:425mm / W:60mm ; 280g; Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market before 2000.

A GREEK TERRACOTTA 'ATTIC' OLPE / EWER, possibly 5th century BC, pinched rim forming a pouring spout, strap work handle, three classical figures painted in black beneath a Greek key neck band, on circular platform foot, 31cm high, (Provenance; Purchased by our vendor from an Italian Professor of Ancient History in New York, advisor to the Vatican Museum)

Ancient Greek coins, including; Attica, Athens, Tetradrachm, helmeted head of Athena right, rev. owl standing right, olive sprig to left, aoe to right, all within incuse square, 3.98g, extremely fine; Apollonia Pontika, Drachm, facing gorgoneion, rev. anchor, with crayfish and A, good fine; Mysia, Parion, Hemidrachm, 4th century BC, Gorgoneion facing, rev. cow, fine; Moesia, Istros, Stater, 400-350 BC, two male heads facing, the right inverted, rev. eagle on dolphin left, 1.51g, good fine. [4]

Ancient Greek coins, including; Lydia, Sardeis, time of Artaxerxes I to Darius III (c. 450-330 BC), Siglos, archer with dagger, fine; Osroes I, bust left wearing tiara, rev. archer enthroned right, good fine; Siglos, (450-350 BC) king running right, 5.49g, fine; and another coin with bust and archer to reverse. [4]

Ancient Greek coins, including; Rhodos, (304-167 BC), head of Helios, rev. rose (var. S 5052), good fine; Thrace, Thasos, 411-340 BC, rev. amphora, 0.95g, good fine; Cherronesos, Tetrobol, forepart of lion, rev. incuse square (BMC 3.1), good fine (2). [4]

A collection of ancient Roman and Byzantine coins, comprising; Caesar Nero, Dupondius, rev. Roma seated left on cuirass, holding Victory and spear, shields on ground, s c in field, roma in exergue, very fine and fine (2); Ancient Greek Sicily Syracuse, (275-216 BC), Hieron II, rev. Hieron riding horse, (Seaby 1221), fine; Claudius, (41-54 AD) rev. Libertas, near fine; Michael IV (1034-1041 AD), Follis, near fine; and others of varying grades ranging from poor to fine. [qty]

ANCIENT GREEK GREAVE GREECE, 5TH - 4TH CENTURY B.C. hammered bronze, the full length greave with the shins and calf muscles well modelled, raised on a bespoke mount(44cm tall)Footnote: Provenance: Axel Guttmann Collection of Ancient Arms and Armour, Germany, collection number AG 268 / R57, acquired in Krefeld in 1989, pictured in Mr. Guttmann's private museum in supporting image Hermann Historica, 22nd April 2009, lot 323

ANCIENT GREEK VOTIVE COW GREECE, C. 450 B.C. terracotta, shown standing side with the head turned towards the viewer, with a heavy physique and defined musculature, the mouth open as if in mid bellow, raised on a bespoke mount(33.5cm across)Footnote: Provenance: Private collection, United Kingdom, acquired in the 1970's. Gorny & Mosch, 7th June 2009, lot 376.

Greek late 6th cent. B.C.. Bronze. H. 2.8 cm. W. max. 1.5 cm The eating ape sits upright on a small, semi-oval plinth. His face is framed by a wreath of hair from which his semi-circular ears protrude. He rests his thin arms rest on his knees and devours his food, probably a fruit, with great relish. Condition: Intact. Formerly Coll. L. Mildenberg (1913-2001). Published: A. S. Walker, Animals in Ancient Art from the Leo Mildenberg Collection. Part III (Mainz, 1996) 67 f. no. 94 with ill.

A coin in the manner of an Ancient Greek coin, featuring owl and head, approx 16.6g 

An ancient Greek coin, Pontos, Mithridates VI Eupator, circa 85-65 BC, Myth of Perseus and Medusa

After the antiques: Laocošn and his sons, patinated bronze, France, 19th C. -- Description: H 69,5 - L 49,3 - D 24,7 cmÊ Ê The sculpture marked 'F. Barbedienne fondeur' and stamped 'RŽduction mŽcanique A. Collas brevetŽ'.Ê The statue of Laocošn and his sons (the Laocošn Group or Gruppo del Laocoonte) is one of the most famous ancient sculptures ever since it was excavated in Rome in 1506 and placed on public display in the Vatican.The group shows the Trojan priest Laocošn and his sons Antiphantes and Thymbraeus being attacked by sea serpents. Pliny attributes the sculpture to three Greek sculptors from the island of Rhodes: Agesander, Athenodoros and Polydorus.

Late 1st millennium BC. A gold 'Sarmatian Animal Style' disc mount with band of inset turquoise triangular inserts to the rim; a goddess, possibly Artemis, riding sidesaddle on the back of a leocampus with its fish-tail raised and mouth gaping, piriform cell before the face; four loops to the reverse.The term 'Sarmatian Animal Style' first suggested by Prof. M. Rostovtzeff in 1920’s to make it distinct from the well-known Scythian Animal Style. Rostovtzeff described “Sarmatians” as new Iranian-speaking people, who came to the Northern Black Sea region from the east, apparently from the northern boundaries of ancient Bactria, and subdued the Scythians. The most distinctive feature of the style is the polychromy produced by the colour inlays. The majority of depicted figures are fantastic beasts of prey with bodies constructed from different parts of animals, usually shown as symbolic antagonists, representing different parts of the universe; also cf. 'Mistress of Animals' plaque in Hampe, R. and Simon, E., The Birth of Greek Art. From the Mycenaean to the Archaic Period, Fribourg, 1981, pl.354, for type. 74.41 grams, 64mm (2 1/2"). Property of a London gentleman; previously acquired on the UK art market in the 1990s; accompanied by an independent specialist report and valuation by graduate gemmologist and jewellery expert Anna Rogers, GIA GG, BA, Gem-A, ref. no.163592/1/9/2020; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.163592-10059. Literature The leocampus was a mythical beast with the foreparts of a lion and the tail of a fish. It appears infrequently but is represented on a mosaic at the Baths of Neptune, Ostia, Italy. Artemis was the goddess of the hunt, the wilderness, wild animals, the moon, and chastity. Her worship was widespread in Greece and in the colonies such as Ephesus in modern Turkey. In Greek Archaic art she appears as Potnia Theron ('Mistress of the Animals'), a winged goddess holding beasts in her hands, such as a stag, eagle or lion. Fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)

2nd century AD. A hollow-formed gold ring with D-section hoop and expanding shoulders, with a carved carnelian bust of Minerva (Greek Athena) wearing a Corinthian helmet and aegis, long curls framing her delicately carved face. See Spier, J., Ancient Gems and Finger Rings: Catalogue of the Collections. The J. Paul Getty Museum, Malibu, 1992, p. 158, no. 435, for a similar ring with chalcedony intaglio. 3.61 grams, 24.12mm overall, 18.39mm internal diameter (approximate size British O, USA 7, Europe 14.98, Japan 14) (1"). Formerly the property of a Dutch gallery; previously in a private Dutch collection; acquired on the Continental European art market in the late 1990s; accompanied by a copy of a catalogue description and provenance declaration. Dr Bonewitz notes: 'This stone is a very fine example of miniature, three-dimensional carving.' Fine condition.

Ptolemaic Period, 332-30 BC. A painted cartonnage mummy panel, rectangular with curved sides, a vertical central column of hieroglyphs with a prayer of invocation to Osiris, god of the dead, flanked by six painted panels, three each side, bearing human and deity figures including a mummiform swathed male figure followed by the god Nefertum with lotus headdress holding a tall was sceptre and the lioness-headed goddess Maahes; a mummiform swathed figure of hawk-headed Horus followed by jackal-headed Anubis; a male figure holding a tall stemmed lotus flower preceded by a feline-headed swathed deity; a similar feline deity followed by the goddess Isis or Nephthys her hieroglyph indistinct on her head and holding a tall sceptre; a kneeling female professional mourner casting dirt on her head and a kilted male figure holding an incense burner on a tray above a water jar on a stand; the five mummiform swathed figures hold the looped sa sign of protection; mounted on a custom-made display stand. See Corbelli, J.A., The Art of Death in Graeco-Roman Egypt, Shire Publications Ltd, 2006, for discussion; see Fluck, C. et al., Egypt faith after the Pharaohs, The British Museum, London, 2015, for discussion of late funerary practices; see Walker, S, and Higgs, P., Cleopatra of Egypt: from History To Myth, The British Museum Press, London, 2001, for general discussion; see Walker, S. and Bierbrier, M., Ancient Faces: Mummy Portraits from Roman Egypt, The British Museum Press, London, 1997, for discussion of Ptolemaic burial practices. 1.8 kg total, 56cm including stand (22"). Property of a Middlesex lady; acquired on the London art market in 2007; formerly in a 1970s private collection. The Ptolemaic dynasty was the last to rule over ancient Egypt. The ruling family were of Macedonian Greek origin and the ?????????? ???????? (Ptolemaic kingdom) was founded in 305 BC by Ptolemy I Soter, a companion of Alexander the Great. The kingdom endured until the death of the last monarch, Cleopatra, in 30 BC. The dynasty ruled Egypt for longer than any predecessor. The ancient Egyptians preserved their bodies intact in preparation for the afterlife, a practice which was continued by the Ptolemies, and afterwards by the Romans who ruled Egypt after the death of Cleopatra. While standards of mummification declined during this period, the outer coverings used to contain the corpse were often elaborately constructed and decorated. Cartonnage was usually manufactured by fusing layers of papyrus and/or linen together using gesso as an adhesive. The medium could be modelled according to the artist's wishes and once dry it could be painted or gilded. Fine condition, professionally conserved.

6th-5th century BC. A substantial sheet-silver bowl with central discoid omphalos, three tiers of intersecting raised lotus petals, chamfered rim. Cf. Mahboubian, Art of Ancient Iran: Copper and Bronze, London, 1997, no.321, p.246; also the type is found in Greek phialai such as the example from Asia Minor, now in Berlin, cf. Strong, D. E., Greek and Roman Silver Plate, New York, 1966, pl.9A. 765 grams, 28cm (11"). Property of a North London lady; gifted from her father's collection; formerly with Bonhams, London, 15 October 2008, lot 165; previously with a Mayfair gallery, London, UK; previously in a late 1970s-early 1980s collection; accompanied by a copy of the relevant Bonhams catalogue pages; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.159304-10076. Very fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)

Ancient Coins, Greek, Calabria, Tarentum AR nomos, c.344-340 BC, 7.7g, 21mm, Warrior, nude, holding shield and spear, dismounting from horse rearing left; |- below / Phalanthos, nude, holding helmet, riding dolphin left; below, I above waves. Fischer-Bossert Group 47, 653l (V252/R505 – this coin); Vlasto 440 (same obv. die); HN Italy 876, ex Spink & Son L1183 label GVF with some lustre

Ancient Coins, Greek Pontus, Amisos AR Drachm, c.400-360 BC., 5.6g, 19mm, Turreted and draped bust of Hera l off centre, wearing necklace and earring / Owl with spread wings, standing facing on shield, ex Spink & Son G577/K217 label GVF with attractive toning, rare

Ancient Coins, Greek Sicily, Syracuse AR Stater, 6.6g, 20mm, Pegasus flying left / Helmeted head of Athena right, ex Spink & Son G0164/M33977 label NEF with attractive toning

A pair of Eastern brass two handled vases, the handles formed as dragons, 21.5cm high, together with a small brass temple horse, an incense burner, a carved and painted figure on a throne, three modern pieces of pottery decorated as ancient Greek artefacts, and a plaster religious ornament (a/f)

12 Ancient Roman and Greek coins including a Trajan silver denarius, FRANCE medal circa 1824 commemorating the Re-establishment of the Henry IV statue by Raymond Gayrard, UNITED KINGDOM half penny 1724, CHINA string money, etc.

ANCIENT GREEK STYLE HAND DECORATED JUG AND CYPRIOT TRISKELION POTTERY EWER

Four ancient Greek coins, a pierced hammered coin and a seal. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)

COLLECTION OF ANCIENT ROMAN AND GREEK COINS, mainly bronze, including an ancient Greek and Roman arrowhead, Roman brooch and bronze seal

A museum type copy of an Ancient Greek squat lekythos, after the antique, 9.5cm high

A museum type terracotta plate, after the Ancient Greek, 28.5cm diam

A museum type verdigris patinated composition bust, after the Ancient Greek, mounted for display, 27cm high

An Ancient Roman/ Greek-style iron spear-head with double edged blade 21" long overall

Classics - [Homer's Iliad], Londinensium [London]: J. Bowyer & H. Clements, Bibliopolarum, 1714, erroneous pagination but complete, title-page in Roman type, the epic poem printed in Ancient Greek, title-page with engraved architectural vignette of the Sheldonian Theatre, contemporary panelled two-tone calf boards, rebacked to style, later lettering-piece, speckled red edges, refreshed endpapers, contemporaneous ink MS ownership inscription: Charles Tuffin/His Book, 8vo, (1); [Ovid], Bailey (N[athan]), Minellius Anglicanus; Sive Publii Ovidii Nasonis Metamorphoseon Libri XV [...], second edition, Londini: H. Parker, 1733, title printed in red and black, anachronistic Baroque woodcut header of flowers and fruit prefixing text, some foliated initials, later calf over marbled boards, partial red-stained edges, slightly later dated ink MS ownership inscription: James Turner/his Book_1761, 8vo, (1); Plutarch's Lives, volume III only, London: 1700, engraved frontispiece engraved by Michael Burghers (1653-1727), contemporary speckled calf, 8vo, (1); [Sophocles, Tragedies], three-volumes only: Volume III: Ajax, Volume V: Trachiniae, & Volume VI: Philoctetes, Lipsiae [Leipzig]: Apud Gerhardum Fleischerum, 1823, contemporary English Regency polished calf gilt, marbled endpapers, 8vo, (3), [6]

Anon, The Lives of the Ancient Philosophers [...], with an Appendix [...], Illustrated with several Cutts (sic), London: Printed for John Nicholson [...] and Tho. Newborough [...], 1702, pp: [1] (title-page, repaired and relaid), [14], xxx, [2], 564, [12] (index), illustrated with 8 full-page engravings of classical Greek philosophers, rebacked and repaired contemporary calf, 20th century ink MS label to upper-cover, 8vo, [1]

Patek Philippe. A very fine and very rare factory sealed platinum Anniversary automatic wristwatch with hand engraved and enamelled dialModel: Golden Ellipse 50th AnniversaryReference: 5738/50P-001Date: Purchased 6th March 2019Movement: 27-jewel Cal.240 automatic, adjusted to heat, cold, isochronism & 5 positions, 22K gold micro-rotor, Gyromax balance, No.7177864Dial: Hand engraved black enamel volutes and arabesques, white gold plate, white gold lance handsCase: Brushed and polished oval, back secured by screws to the lugs, back engraved 'Ellipse D'Or 1968-2018', cabochon set crown, hooded lugs, No.6280052Strap/Bracelet: Black Patek Philippe alligator leather Buckle/Clasp: Signed platinum buckleSigned: Case, dial & movement Size: 34mm Accompaniments: Patek Philippe box, outer card, Certificate of Origin, Self Winding Movements brochure, swing tag, Patek Philippe pouchFootnotes:In 2018, Patek Philippe launched the 5738/50P-001 to commemorate 50 years of the Golden Ellipse. Limited to 100 pieces, this magnificent enamelled and engraved watch honours the second oldest watch in the manufacturer's collection. When the Ellipse was first launched in 1968, its design was hailed as a striking combination of audacity and harmony. The balanced proportions were inspired by the 'Golden Section,' the divine proportions discovered by ancient Greek mathematicians. This tribute watch's dial has a spectacular volute pattern that has been painstakingly engraved by hand on the 18K white gold plate and subsequently enamelled to produce a striking design.Having only been launched less than 2 years ago and with such a limited production run, the Golden Ellipse 50th Anniversary is something that is usually unattainable and the current lot offers an opportunity to obtain a truly beautiful watch that rarely comes to auction.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

Saint Basil the Great standing with his right hand raised, his left holding a jewel encrusted bible, dressed in a blue robe with richly embroidered alizarin cloak, Saint Irene standing to his right holding a golden cross against a gilded ground surmounted by Christus Pantokrator seated upon clouds, all contained within a scrolling cartouche, age wear, gilt loss 31cm by 26cm Religious icons are sacred images venerated by Orthodox believers as representations of the splendour of the divine, and are also believed to offer a direct conduit between the worshipper and saint or holy person depicted. Deriving from the art of the Byzantine Empire, with influences from the Ancient Egyptian and Greek traditions, the painting of Russian icons remained true to these old traditions, without the influence the Renaissance had on Western counterparts. Whilst a certain freedom exists when representing biographical saints, allowing for truly unique images, when it comes to details such as the clothes, or even the form of a beard, Russian icons are subject to the canon of the Byzantium. Full of symbolism, nothing is without meaning - even the colours used have particular significance. Gold signifies the radiance of Heaven, and white the resurrection of Christ. Red represents divine life whilst blue the human, with figures of Christ or Mary often depicted wearing both to signify the divine in earthly form. The only colour never used is grey, as it signifies the mixing of good and evil. It is also common to include Greek calligraphic text to name the saint or event depicted. The Byzantine practice of using a metal cover, or oklad, to protect religious icons was adapted in Russia to indicate the light and beauty of God’s world, and so these covers are often of silvered or gilt metal, sometimes even decorated with precious and semi-precious stones. Icons are believed to have an inherent sanctity which imparts the experience of divine beauty and holiness. russianicon.com/