Ca. 100-300 AD. Roman. A beautiful colourless with green tinge glass flask with a spherical body, a long, flaring cylindrical neck, and a wide mouth encircled by a thin blue-coloured, spiral trail that descends along the top part of the neck. Excellent condition. Flasks such as this one were used in Roman times to serve liquids and archaeological excavations show that they had an Empire-wide distribution. By the Late Roman period (4th-5th century AD), good quality glass tableware such as this one were less common and could have been used as a showpiece and perhaps even as an indicator of social standing or wealth within the Late Roman household, especially when displayed in the public area of the house. For more information, see Bayley, J., Freestone, I., & Jackson, C. (2015). Glass of the Roman World. Oxford And Philadelphia: Oxbow Books, 91; 184. Size: L:180mm / W:80mm ; 53g. Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
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Ca. 100-300 AD. Roman. A superb glass beaker with a slightly everted rounded rim, an incised spiral decoration below, a deep blue-coloured ring foot, and striking multi-colour iridescence. Glass beakers were a common drinking vessel in the Roman period. However, by the Late Roman period (4th-5th century AD), good quality glass tableware such as this one were less common and could have been used as a showpiece and perhaps even as an indicator of social standing or wealth within the Late Roman household, especially when displayed in the public area of the house. For more information, see Bayley, J., Freestone, I., & Jackson, C. (2015). Glass of the Roman World. Oxford And Philadelphia: Oxbow Books, 88; 135. Size: L:90mm / W:75mm ; 84g. Provenance: Private collection of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Ca. 300-400 AD. Late Roman. A dark-coloured glass jug with a near-spherical body, a cylindrical neck decorated with a spiral trail, a splayed lip tooled into a wide trefoil spout, and a green-coloured thick handle. The jug displays areas of beautiful silver iridescence throughout its surface. Good condition. By the Late Roman period (4th-5th century AD), good quality glass tableware such as this jug - which was kept in the dining/reception rooms or the entrance room of a house - was not common and could have been used as a showpiece and perhaps even as a status symbol, suggesting that glass vessels played an important role in late Antique dining and society. For more information, see Bayley, J., Freestone, I., & Jackson, C. (2015). Glass of the Roman World. Oxford And Philadelphia: Oxbow Books, 88; 135. Size: L:90mm / W:65mm ; 64g. Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market before 2000.
Ca. 200 AD. Middle-Imperial Roman. A beautifully preserved female terracotta figure standing with her weight on her right leg, her left bent forward at the knee, her left hand forward, her right arm akimbo. She is dressed like an elite woman of the Middle Imperial period, wearing a high-belted chiton and a himation pulled up over her right shoulder and knotted between her legs, with folds cascading below the knot and along her sides. Her wavy, centre-parted hair is tied in a bun at the back of her head. The bright orange colour of the clay may indicate a North African provenance. Good condition. This figure may have been a votive offering to a goddess in the manner of the female terracotta figurines found in 2009/2010 at Alexandria in Egypt in the Boubasteion - a temple built for the Graeco-Egyptian goddess Bubastis, the equivalent of the Greek Artemis. The figurines found in the Boubasteion were buried as an ex-voto for the goddess Bubastis, who had a protective function and a fertility character in Ptolemaic Egypt. For more information, see Zerefos, V., Zerefos, C. S., & Vardinoyannis, M. V. (2018). Hellenistic Alexandria: Celebrating 24 centuries. Oxford: Archaeopress Publishing Ltd, 51-60. Size: L:185mm / W:95mm ; 292g. Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market before 2000.
Ca. 2055 -1650 BC. Middle Kingdom. An articulated wooden tomb figure. The statuette's surface contains traces of white at the waist where a kilt would be and red at the chest where exposed skin would be, showing this was once painted, though most of the paint has been worn away. It features a round head with hair or a wig, and a long body that is truncated part way down the legs. Two arms are attached separately so that this is articulated and could be arranged in different positions. Scenes of models like this one were placed in tombs and burial shafts before and during the Middle Kingdom, though it was during the Middle Kingdom that they were used most widely and during which there was the greatest variety of scene types. These scenes typically depict boats, workshops, soldiers, cattle inspections, scribes, sedan chairs, and, as in this case, food production. The purpose of these scenes was to provide the deceased with important services and servants in the afterlife, and the models were placed on and around the coffin.Size: L:with stand 175mm / W:65mm ; 218g. Provenance: From the important collection of a London doctor A.R; passed by descent to his son; formerly acquired before 2000 on the UK art market.
Ca. 664-332 BC. Late Period. A pale blue-glazed faience shabti on a modern stand. The head wears a striated lappet wig and a false beard, with exquisitely detailed facial features modelled on the front, ears peeking out in front of the wig. The figure is mummiform, and two hands emerge at the sides of the chest, holding an adze and hoe (farming/irrigation implements) vertically. On the back, an incised rendering of a seed bag is slung over the left shoulder, and a dorsal column runs down the rear. The front of the body contains faint traces of a column of black-glazed hieroglyphs, now mostly vanished and illegible. This inscription would probably have included the name and some titles of the tomb-owner. The Egyptian idea of Paradise ('Sekhet Aaru' - 'the Field of Reeds') was an idealised reflection of Egypt itself, and this meant bountiful agriculture - something that required servants and farmhands to be taken to the afterlife. Shabti like this one were buried as grave goods, sometimes in groups of hundreds, to be brought to life for that very purpose. From the reign of Thutmose IV they were typically depicted with an adze, a hoe, and a seed bag to fulfil this function, taking the chores of Paradise off the deceased's hands. During this period, they were called upon using the Book of the Dead (chapter 6). Size: L:160mm / W:50mm ; 102g. Provenance: From the important collection of a London doctor A.R; passed by descent to his son; formerly acquired before 2000 on the UK art market.
Ca. 664-30 BC. Late Period - Ptolemaic Dynasty. A bronze statuette of Osiris on a modern stand. He wears an atef crown, plumed on each side with ostrich feathers and decorated on the front with a uraeus cobra. The modelled face also wears a false beard, and his mummiform body holds the signature crook and flail, crossed over his torso. This would have been given as a votive offering to a shrine or temple of the god in exchange for his favour. Osiris was the god of the underworld and renewal after death, but also of renewal in the physical world, like the regeneration of the crops after winter. Osiris' cult boomed in the 1st millennium BC, and this period saw a rapid increase in the number of bronze votives like this one given in exchange for anything from a fertile harvest to a pleasant afterlife. Size: L:210mm / W:53mm ; 232g. Provenance: From the important collection of a London doctor A.R; passed by descent to his son; formerly acquired before 2000 on the UK art market.
Ca. 664-332 BC. Late Period. A pale blue-glazed faience shabti on a modern stand, with a reddish-brown colouring over the upper half of the front. The head wears a lappet wig and a false beard, with detailed facial features and ears modelled on the front. The figure is mummiform, and two incised hands emerge on the chest, holding an incised adze and hoe each (farming/irrigation implements). On the back, an incised rendering of a seed bag is slung over the left shoulder, and a dorsal column runs down the rear. The front of the bound and mummiform legs and stomach is incised with a column of hieroglyphs, saying the formulaic 'the illuminated one, the Osiris. The illuminated one, the Osiris'. The first iteration of the phrase is clear against the red section, while the repetition on the blue section is fainter. The term 'the Osiris' is often attached to the deceased individual in Egyptian funerary literature, as part of a human's journey to the next life included merging with the god Osiris, so it here references the dead person more than the god. Similarly, the term 'the illuminated one' is typically attached to the deceased; it probably refers to how the deceased was also considered to merge with the sun god Ra at one point on their journey, juxtaposing their integrations with both Osiris and Ra. There is no name given on this shabti, suggesting it might have been produced for a non-specific buyer, with the intention of adding the name of whoever bought it later onto the blank dorsal column. The Egyptian idea of Paradise ('Sekhet Aaru' - 'the Field of Reeds') was an idealised reflection of Egypt itself, and this meant bountiful agriculture - something that required servants and farmhands to be taken to the afterlife. Shabti like this one were buried as grave goods, sometimes in groups of hundreds, to be brought to life for that very purpose. From the reign of Thutmose IV they were typically depicted with an adze, a hoe, and a seed bag to fulfil this function, taking the chores of Paradise off the deceased's hands. During this period, they were called upon using the Book of the Dead (chapter 6). Size: L:120mm / W:35mm ; 55g. Provenance: From the important collection of a London doctor A.R; passed by descent to his son; formerly acquired before 2000 on the UK art market.
Ca. 664-332 BC. Late Period. A glazed faience shabti. The head wears a lappet wig and a false beard, with detailed facial features modelled on the front. The figure is mummiform, and two modelled hands emerge on the chest, holding an incised adze and hoe each (farming/irrigation implements). An incised seed bag is shown strung over his left shoulder, and a dorsal column runs down the back. The front of the bound and mummiform legs and stomach is incised with a hieroglyphic inscription. An area at the top of the inscription is damaged, but the part below shows that this belonged to a priest of the goddess Mut. Mut has a highly important deity from the New Kingdom onwards, the goddess of motherhood and the wife of Amun himself. She was particularly popular in Thebes, where many of these shabtis are found, and her cult was centred at Karnak. The Egyptian idea of Paradise ('Sekhet Aaru' - 'the Field of Reeds') was an idealised reflection of Egypt itself, and this meant bountiful agriculture - something that required servants and farmhands to be taken to the afterlife. Shabti like this one were buried as grave goods, sometimes in groups of hundreds, to be brought to life for that very purpose. From the reign of Thutmose IV they were typically depicted with an adze, a hoe, and a seed bag to fulfil this function, taking the chores of Paradise off the deceased's hands. During this period, they were called upon using the Book of the Dead (chapter 6). Size: L:105mm / W:30mm ; 45g. Provenance: From the important collection of a London doctor A.R; passed by descent to his son; formerly acquired before 2000 on the UK art market.
ART DECO DIAMOND ENCRUSTED PENDANT ON CHAIN, having diamond drop (1.0ct approx.) below the pierced geometric fan shaped pendant, set with circular and baguette shaped diamonds, 10.7gms overall, in fitted 'Russells Ltd' of Liverpool and Manchester jewellery box Provenance: private collection Cheshire, consigned via our Colwyn Bay office Condition: a fine example which appears in good overall condition, all stones present, unmarked probably platinum
LAURENCE STEPHEN LOWRY R.A. (British, 1887-1976) limited edition (of 750) colour lithograph - The Contraption, signed in pencil lower right, Fine Art Trade Guild blind stamp lower left, 31.5 x 29.8cms Provenance: purchased by vendor in a Fishguard art gallery in the 1970's, consigned via our Carmarthen office Presentation & Condition: no apparent problems, some scuffs / minor losses to frame, framed and glazed Please note that this lot may be subject to Droite de Suite ar 4% of the hammer price (please see terms / enquire)
LAURENCE STEPHEN LOWRY R.A. (British, 1887-1976) limited edition (of 850) colour lithograph - The Cart, signed in pencil lower right, Fine Art Trade Guild blind stamp lower left, 49.5 x 40cms Provenance: purchased by vendor in a Fishguard art gallery in the 1970's, consigned via our Carmarthen office Presentation & Condition: no apparent problems, blind stamp slightly hidden under mount, framed and glazed Please note that this lot may be subject to Droite de Suite ar 4% of the hammer price (please see terms / enquire)

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