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Plinius Secundus. C. Plinii Secundi Historiae mundi libri XXVII ex Postrema ad vetustos codices collatione cum annotationibus (de Sigismundi Gelenii) et indice. Mit 4 wiederholten Holzschnitt-Druckermarken und zahlreichen figürlichen, teils größeren Metallschnitt-Initialen von H. Holbein d. J. Basel, H. Froben u. N. Episcopius, 1539. 18 Bll., 671 S., 114 Bll. (Index). Folio. Zeitgen. blindgepr. Schweinsleder über abgefasten Holzdeckeln mit 2 Messingschließen (etwas fleckig und berieben, teils wurmstichig, Rücken mit Rückständen eines ehem. Etiketts). VD 16, P 3540. - Adams P 1566. - Spätere Ausgabe von Froben mit Kommentar von S. Ghelen. Der Index von J. Camers mit eigenem Titelblatt. Titel mit altem Besitzvermerk "Joannis Carpentarij" in Tinte, verso mit Holzschnitt-Exlibris von Johann Georg Wagner. Der Schweizer Dramatiker Johannes Carpentarius (1522-1590, d.i. Hanns Wagner) aus Bremgarten im Aargau wurde um 1543 zum Lateinschulmeister in Solothurn ernannt und war ab 1581 Mitglied des Grossen Rates der Stadt Solothurn. - "Natural history was an ancient form of scientific knowledge, most closely associated with the writings of the Roman encyclopedist Pliny the Elder (ca. 22-78). His loquacious and witty Historia naturalis offered an expansive definition of this subject. Pliny's natural history broadly described all entities found in nature, or derived from nature, that could be seen in the Roman world and read about in its books; art, artifacts, and peoples as well as animals, plants, and minerals were included in his project. He compiled twenty thousand of these singular pieces of information in his work, through personal observation, the reports of others, and the writings of one hundred authors. Pliny did not see himself as the creator of an entirely new enterprise. Rather, he compiled a comprehensive and well-organized guide to the overwhelming amount of information about the natural world that was already available in antiquity." (P. Findlen, "Natural History", in: The Cambridge History of Science: Vol. 3, 2003) - Leicht gebräunt. In den weißen Rändern etwas wurmstichig, Index stärker betroffen, vereinzelt mit geringfügigem Buchstabenverlust. Sehr vereinzelt mit Marginalien in Tinte von alter Hand. Schönes, breitrandiges Exemplar. With 4 repeated woodcut printer's marks and numerous figural, partly larger metalcut initials by H. Holbein the Younger. Contemporary blindstamped pigskin over wooden boards with 2 brass clasps (somewhat stained and rubbed, partly wormholes, spine with residues of a former label). - Later edition by Froben with commentary by S. Ghelen. The index by J. Camers with its own title page. Title with old ownership note "Joannis Carpentarij" in ink, woodcut bookplate by Johann Georg Wagner on verso. The Swiss playwright Johannes Carpentarius (1522-1590, d.i. Hanns Wagner) from Bremgarten in Aargau was appointed Latin schoolmaster in Solothurn around 1543 and was a member of the Great Council of the city of Solothurn from 1581. - Slightly browned. Somewhat worm-eaten in the white margins, index more heavily affected, sporadically with minor loss of letters. Very occasional marginalia in ink by old hand. Nice copy with wide margins.

Antonio Labacco. Libro d'Antonio Labacco appartenente a l'architettura nel qual si figurano alcune notabili antiquita di Roma. Mit gestochenem Titel und 27 Kupfertafeln, davon 4 doppelblattgroß. Venedig, Porro 1576. Titelbl., 1 w. Bl., 1 Bl. Vorrede, Tafeln, 1 Bl. Text. Folio. Späterer Pp. mit Kleisterpapierbezug (gebräunt, berieben und bestoßen, Rücken unfachmännisch mit Tesa überklebt). Dritte außerhalb Roms gedruckte Ausgabe. - EDIT16 CNCE 35550. Adams L2. Univ. Cat. Books on Art II, 1062. Brunet III, 705. Graesse IV, 55f. Katalog Ornamentstichslg. Berlin 1840. - Seltenes Exemplar mit beiden Textblättern: "Antonio Labacco alli lettori" und "Delli Porti di Claudio, & Traiano". - Prachtvoll illustriertes Tafelwerk zur römischen Architektur der Antike. Die Erstausgabe erschien 1552, die letzte 1773. Kupfer teils in spiegelverkehrten Nachstichen nach der Erstausgabe. Labacco (geb. um 1495) war u.a. ab 1526 an der Ausführung von Befestigungsbauten in Parma und Piacenca beteiligt und wurde bekannt als Verfasser des "Libro appartenente all'architettura", einer Sammlung von ihm gezeichneter Restitutionen antik-römischer Bauten. - Die Kupfer irrig nummeriert 3-33 (doppelblattgroße Tafeln mit doppelter Nummerierung). In unseren Exemplar Tafel 33 nicht als Falttafel an doppelblattgroße Tafel 31+32 montiert. - Die beiden Textblätter wasserrandig, das letzte am Innensteg eingehängt. Buchblock angebrochen. Papierbedingt gebräunt und teils braun- und fingerfleckig. Die Tafeln überaus gratig und mit sehr schönem Plattenton. Gutes Exemplar mit den seltenen beiden Textblättern. Architecture - With engraved title and 27 copper plates, 4 of which doublepaged. Title page, 1 white fol., 1 fol. preface, plates, 1 fol. text. Folio. Later hardcover (browned, rubbed and bumped, spine unprofessionally pasted over with tape). - Third edition printed outside Rome. - Rare copy with both text leaves: 'Antonio Labacco alli lettori' and 'Delli Porti di Claudio, & Traiano'. - Splendidly illustrated plate work on Roman architecture of antiquity. The first edition was published in 1552, the last in 1773. Plates partly in mirror-inverted engravings after the first edition. Labacco (born around 1495) was involved in the construction of fortifications in Parma and Piacenca from 1526 and became known as the author of the 'Libro appartenente all'architettura', a collection of restitutions of ancient Roman buildings drawn by him. - The plates erroneously numbered 3-33 (double-page plates with double numbering). In our copy plate 33 not mounted as folding plate to double-page plates 31+32. - The two text leaves with waterstains, the last one hinged at the inner margin. Book block broken. Paper browned and partly with brown and fingerstains. The plates exceedingly burnished and with very fine plate tone. A good copy with the rare two text leaves.

Salvador Dalí (1904-1989)The Sacred Love of Gala, from After 50 Years of Surrealism (Field 74-8J; M&L 674)Etching with drypoint and pochoir in colours, 1974, signed in pencil, numbered from the deluxe edition F of 35 in roman numerals, printed by Atelier Rigal, Paris, published by Transworld Art, New York, with their blindstamp, on Japan paper, with full margins, sheet 670 x 515mm (26 3/8 x 20 1/4in)With the Dali Trade authentication inscription and signature in pencil verso (8/29/24)

Terry Frost (1915-2003)Lemon Glow, from Six Artists: The Royal College of Art Portfolio 1992 (Kemp 129)Screenprint in colours, 1991, signed and dated in pencil, numbered from the edition of 10 in roman numerals, a proof impression aside from the edition of 50, printed by the Printmaking Workshop of The Royal College of Art, published by the Royal College of Art, London, on Saunders Waterford wove paper, the full sheet printed to the edges, sheet 560 x 760mm (22 1/2 x 29 7/8in)

Salvador Dalí (1904-1989)Freud with a Snail Head, from After 50 Years of Surrealism (Field 74-8G; M&L 672)Etching with drypoint and pochoir in colours, 1974, signed in pencil, numbered from the deluxe edition F of 35 in roman numerals, printed by Atelier Rigal, Paris, published by Transworld Art, New York, with their blindstamp, on Japan paper, with full margins, sheet 672 x 510mm (26 1/2 x 20 1/8in)With the Dali Trade authentication inscription and signature in pencil verso (8/29/24)

Salvador Dalí (1904-1989)The Museum of Genius and Fancy, from After 50 Years of Surrealism (Field 74-L; M&L 676)Etching with drypoint and pochoir in colours, 1974, signed in pencil, numbered from the deluxe edition F of 35 in roman numerals, printed by Atelier Rigal, Paris, published by Transworld Art, New York, with their blindstamp, on Japan paper, with full margins, sheet 670 x 508mm (26 3/8 x 20in)With the Dali Trade authentication inscription and signature in pencil verso (8/29/24)

Salvador Dalí (1904-1989)A Shattering Entrance on the American Stage, from After 50 Years of Surrealism (Field 74-8H; M&L 673)Etching with drypoint and pochoir in colours, 1974, signed in pencil, numbered from the deluxe edition F of 35 in roman numerals, printed by Atelier Rigal, Paris, published by Transworld Art, New York, with their blindstamp, on Japan paper, with full margins, sheet 676 x 550mm (26 5/8 x 20 1/8in)With the Dali Trade authentication inscription and signature in pencil verso (8/29/24)

Salvador Dalí (1904-1989) The Laurels of Happiness, from After 50 Years of Surrealism (Field 74-8D; M&L 665) Etching with drypoint and pochoir in colours, 1974, signed in pencil, numbered from the deluxe edition F of 35 in roman numerals, printed by Atelier Rigal, Paris, published by Transworld Art, New York, with their blindstamp, on Japan paper, with full margins, sheet 509 x 675mm (20 x 26 3/4in) With the Dali Trade authentication inscription and signature in pencil verso (8/29/24)

Salvador Dalí (1904-1989)Gala's Castle, from After 50 Years of Surrealism (Field 74-8K; M&L 675)Etching with drypoint and pochoir in colours, 1974, signed in pencil, numbered from the deluxe edition F of 35 in roman numerals, printed by Atelier Rigal, Paris, published by Transworld Art, New York, with their blindstamp, on Japan paper, with full margins, sheet 672 x 513mm (26 1/2 x 20 1/4in)With the Dali Trade authentication inscription and signature in pencil verso (8/29/24)

18ct Art Deco yellow gold French Remontoir full hunter pocket watch. The 30mm case numbered 212036 is heightened with diamonds and a single sapphire. The watch having a gold face with single hour hand, Roman numerals, 18ct gold dust cover, 21 gms (with movement), suspended from an 18ct and platinum fancy link fob chain, approx 31 cms in length, approx 7.1 gms. Condition ReportThe winder is missing.

* FRANK COLCLOUGH (SCOTTISH 1941 - 2023), STILL LIFE WITH PEARS & TIGER VASE oil on board, signed, titled verso framed and under glassimage size 26cm x 26cm, overall size 44cm x 44cm Note: Frank Colclough was born in Wick, Caithness and lived in London before settling back in Scotland in 1975. He originally worked as a design draughtsman while studying art at Camberwell Art School and worked as a professional artist since 1981. All Frank Colclough early contemporary paintings were in watercolour, but over recent years he worked in acrylic and oils. The inspiration for Frank Colclough paintings stems from his admiration of the Scottish colourist movement. This is reflected in his paintings which consist mainly of marine views of the Scottish West Coast and colourful still life studies. Frank Colclough contemporary paintings appear in many private and public art collections. The RSW, RGI and RSA have also regularly exhibited his work. Frank was a frequent, popular and very successful contributor to The Scottish Contemporary Art Auctions from 2008 for many years.

* FRANK COLCLOUGH (SCOTTISH 1941 - 2023), SUNSET: AILSA CRAIG oil on board, signed, titled versomounted, framed and under glassimage size 20cm x 20cm, overall size 43cm x 43cm Note: Frank Colclough was born in Wick, Caithness and lived in London before settling back in Scotland in 1975. He originally worked as a design draughtsman while studying art at Camberwell Art School and worked as a professional artist since 1981. All Frank Colclough early contemporary paintings were in watercolour, but over recent years he worked in acrylic and oils. The inspiration for Frank Colclough paintings stems from his admiration of the Scottish colourist movement. This is reflected in his paintings which consist mainly of marine views of the Scottish West Coast and colourful still life studies. Frank Colclough contemporary paintings appear in many private and public art collections. The RSW, RGI and RSA have also regularly exhibited his work. Frank was a frequent, popular and very successful contributor to The Scottish Contemporary Art Auctions from 2008 for many years.

* FRANK COLCLOUGH (SCOTTISH 1941 - 2023), CAUGHT NAPPING watercolour on paper, signed, titled versomounted, framed and under glassimage size 17cm x 18cm, overall size 41cm x 42cm Note: Frank Colclough was born in Wick, Caithness and lived in London before settling back in Scotland in 1975. He originally worked as a design draughtsman while studying art at Camberwell Art School and worked as a professional artist since 1981. All Frank Colclough early contemporary paintings were in watercolour, but over recent years he worked in acrylic and oils. The inspiration for Frank Colclough paintings stems from his admiration of the Scottish colourist movement. This is reflected in his paintings which consist mainly of marine views of the Scottish West Coast and colourful still life studies. Frank Colclough contemporary paintings appear in many private and public art collections. The RSW, RGI and RSA have also regularly exhibited his work. Frank was a frequent, popular and very successful contributor to The Scottish Contemporary Art Auctions from 2008 for many years.

* FRANK COLCLOUGH (SCOTTISH 1941 - 2023), EIGG FROM CAMUSDARACH acrylic on board, signed, titled versomounted, framed and under glassimage size 25cm x 30cm, overall size 52cm x 56cm Note: Frank Colclough was born in Wick, Caithness and lived in London before settling back in Scotland in 1975. He originally worked as a design draughtsman while studying art at Camberwell Art School and worked as a professional artist since 1981. All Frank Colclough early contemporary paintings were in watercolour, but over recent years he worked in acrylic and oils. The inspiration for Frank Colclough paintings stems from his admiration of the Scottish colourist movement. This is reflected in his paintings which consist mainly of marine views of the Scottish West Coast and colourful still life studies. Frank Colclough contemporary paintings appear in many private and public art collections. The RSW, RGI and RSA have also regularly exhibited his work. Frank was a frequent, popular and very successful contributor to The Scottish Contemporary Art Auctions from 2008 for many years.

* FRANK COLCLOUGH (SCOTTISH 1941 - 2023), HOMEWARD BOUND, ARISAIG acrylic on board, signed, titled versomounted, framed and under glassimage size 15cm x 20cm, overall size 36cm x 40cmLabel verso: The Annan Gallery, Glasgow.Note: Frank Colclough was born in Wick, Caithness and lived in London before settling back in Scotland in 1975. He originally worked as a design draughtsman while studying art at Camberwell Art School and worked as a professional artist since 1981. All Frank Colclough early contemporary paintings were in watercolour, but over recent years he worked in acrylic and oils. The inspiration for Frank Colclough paintings stems from his admiration of the Scottish colourist movement. This is reflected in his paintings which consist mainly of marine views of the Scottish West Coast and colourful still life studies. Frank Colclough contemporary paintings appear in many private and public art collections. The RSW, RGI and RSA have also regularly exhibited his work. Frank was a frequent, popular and very successful contributor to The Scottish Contemporary Art Auctions from 2008 for many years.

* FRANK COLCLOUGH (SCOTTISH 1941 - 2023), CLYDE PUFFER acrylic on board, signed, titled versomounted, framed and under glassimage size 15cm x 13cm, overall size 38cm x 34cm Note: Frank Colclough was born in Wick, Caithness and lived in London before settling back in Scotland in 1975. He originally worked as a design draughtsman while studying art at Camberwell Art School and worked as a professional artist since 1981. All Frank Colclough early contemporary paintings were in watercolour, but over recent years he worked in acrylic and oils. The inspiration for Frank Colclough paintings stems from his admiration of the Scottish colourist movement. This is reflected in his paintings which consist mainly of marine views of the Scottish West Coast and colourful still life studies. Frank Colclough contemporary paintings appear in many private and public art collections. The RSW, RGI and RSA have also regularly exhibited his work. Frank was a frequent, popular and very successful contributor to The Scottish Contemporary Art Auctions from 2008 for many years.

* FRANK COLCLOUGH (SCOTTISH 1941 - 2023), FRUIT AND FREESIA acrylic on board, signed, titled versomounted, framed and under glassimage size 30cm x 24cm, overall size 59cm x 50cm Note: Frank Colclough was born in Wick, Caithness and lived in London before settling back in Scotland in 1975. He originally worked as a design draughtsman while studying art at Camberwell Art School and worked as a professional artist since 1981. All Frank Colclough early contemporary paintings were in watercolour, but over recent years he worked in acrylic and oils. The inspiration for Frank Colclough paintings stems from his admiration of the Scottish colourist movement. This is reflected in his paintings which consist mainly of marine views of the Scottish West Coast and colourful still life studies. Frank Colclough contemporary paintings appear in many private and public art collections. The RSW, RGI and RSA have also regularly exhibited his work. Frank was a frequent, popular and very successful contributor to The Scottish Contemporary Art Auctions from 2008 for many years.

* FRANK COLCLOUGH (SCOTTISH 1941 - 2023), VIEW FROM IONA TO MULL & BEN MORE oil on board, signed, titled versoframed and under glassimage size 36cm x 26cm, overall size 56cm x 46cmNote: Frank Colclough was born in Wick, Caithness and lived in London before settling back in Scotland in 1975. He originally worked as a design draughtsman while studying art at Camberwell Art School and worked as a professional artist since 1981. All Frank Colclough early contemporary paintings were in watercolour, but over recent years he worked in acrylic and oils. The inspiration for Frank Colclough paintings stems from his admiration of the Scottish colourist movement. This is reflected in his paintings which consist mainly of marine views of the Scottish West Coast and colourful still life studies. Frank Colclough contemporary paintings appear in many private and public art collections. The RSW, RGI and RSA have also regularly exhibited his work. Frank was a frequent, popular and very successful contributor to The Scottish Contemporary Art Auctions from 2008 for many years.

* FRANK COLCLOUGH (SCOTTISH 1941 - 2023), MOORINGS, CRINAN acrylic on board, signed, titled versomounted, framed and under glassimage size 14cm x 16cm, overall size 35cm x 37cm Note: Frank Colclough was born in Wick, Caithness and lived in London before settling back in Scotland in 1975. He originally worked as a design draughtsman while studying art at Camberwell Art School and worked as a professional artist since 1981. All Frank Colclough early contemporary paintings were in watercolour, but over recent years he worked in acrylic and oils. The inspiration for Frank Colclough paintings stems from his admiration of the Scottish colourist movement. This is reflected in his paintings which consist mainly of marine views of the Scottish West Coast and colourful still life studies. Frank Colclough contemporary paintings appear in many private and public art collections. The RSW, RGI and RSA have also regularly exhibited his work. Frank was a frequent, popular and very successful contributor to The Scottish Contemporary Art Auctions from 2008 for many years.

* FRANK COLCLOUGH (SCOTTISH 1941 - 2023), WAIT FOR ME acrylic on board, signed, titled versoframed and under glassimage size 29cm x 67cm, overall size 51cm x 81cm Note: Frank Colclough was born in Wick, Caithness and lived in London before settling back in Scotland in 1975. He originally worked as a design draughtsman while studying art at Camberwell Art School and worked as a professional artist since 1981. All Frank Colclough early contemporary paintings were in watercolour, but over recent years he worked in acrylic and oils. The inspiration for Frank Colclough paintings stems from his admiration of the Scottish colourist movement. This is reflected in his paintings which consist mainly of marine views of the Scottish West Coast and colourful still life studies. Frank Colclough contemporary paintings appear in many private and public art collections. The RSW, RGI and RSA have also regularly exhibited his work. Frank was a frequent, popular and very successful contributor to The Scottish Contemporary Art Auctions from 2008 for many years.

ROTHERHAM ART DECO MAHOGANY MANTLE CLOCKwith brass foliate face and Roman numerals, stamped on the back 'Rotherhams enough movement A08321', with plaque on the inside of door, 20 x 14 x 9cm

CARTIER, NEW YORK: PENDULE DE BUREAU EN ÉMAIL, NACRE, CORAIL, ONYX ET DIAMANTS, CIRCA 1930Conçue comme un écran vertical, le cadran rectangulaire serti d'une marqueterie de nacre blanche 'turbo marmoratus' et 'pinctada margaritifera', les index en chiffres romains décorés d'émail noir et sertis de diamants taille rose, les aiguilles assorties, dans un boîtier rectangulaire en or jaune, nacre blanche et émail noir, décoré de bâtons de corail 'corallium rubrum', soutenu par deux arches en onyx sur un piédestal en or jaune et émail noir, mouvement mécanique signé Longines no.2978568, signée Cartier N.Y, numérotée, poinçons français pour l'or 18K (750°/00), poinçon de maître pour Maurice Couët, accompagnée de la clé de remontage, hauteur 17.00 cm, largeur 11.60 cm, profondeur 8.40 cm, poids brut 2285,98 g.Footnotes:Provenance: Christie's Geneva, jeudi 21 mai 1992, lot 744, voir catalogue de vente 'Jewellery by Cartier', page 158-159.La « pendule écran » a été introduite par Cartier en 1922, rapidement devenue l'une des créations les plus emblématiques de la période Art déco. Inspirée des paravents chinois des dynasties Ming et Qing, elle reflète l'influence asiatique avec ses batons de corail et l'éventail « ruyi » utilisé pour l'aiguille des heures, un symbole chinois de bonne fortune. Ces éléments décoratifs, associés à des matériaux luxueux comme la nacre, l'émail et les diamants, confèrent à la pendule une allure unique et sophistiquée. La nacre, avec son éclat irisé, capte et reflète la lumière, tandis que le corail apporte une touche de couleur vive et contrastée, soulignant l'harmonie et la virtuosité du design. Ce design raffiné, mêlant matériaux précieux, illustre parfaitement l'élégance et le savoir-faire de la maison Cartier.Cette pendule de prestige porte également la marque du talent exceptionnel de Maurice Couët, horloger et artisan renommé, étroitement associé à la maison Cartier. Couët a rejoint Cartier en 1911 et est rapidement devenu l'une des figures majeures de la création horlogère de la maison, spécialisé dans les pendules de luxe. Il est particulièrement connu pour ses pendules dites « mystérieuses », des chefs-d'œuvre techniques qui donnaient l'impression que les aiguilles flottaient librement, sans connexion visible avec le mécanisme. Son ingéniosité et sa maîtrise technique ont repoussé les limites de l'horlogerie décorative, et son influence a grandement contribué à faire des créations de Cartier des pièces d'exception. Les pendules signées par Maurice Couët, souvent ornées de matériaux précieux comme la nacre, le corail et les diamants, sont aujourd'hui considérées comme des trésors de collection très recherchés.Voir 'Cartier', Hans Nadelhoffer, Editions du Regard, pages 48 and 58, 1984.Voir 'Le temps de Cartier', Jader Barracca, Giampiero Negretti, Franco Nencini, page 177, Fondation Cartier pour l'art contemporain, 1989.Veuillez noter que ce lot est soumis aux restrictions liées à la CITES en cas d'exportation hors de l'Union Européenne.CARTIER NEW YORK: ENAMEL, MOTHER-OF-PEARL, CORAL, ONYX AND DIAMOND TABLE CLOCK, CIRCA 1930Designed as a vertical screen, the rectangular dial inlaid with 'turbo marmoratus' and 'pinctada margaritifera' white mother-of-pearl, to rose-cut diamonds set black enamel Roman hour numerals and hands, within a mother-of-pearl and black enamel rectangular case, decorated with 'corallium rubrum' coral batons, supported by two onyx arches on a pedestal of yellow gold and black enamel, mechanical movement signed Longines no.2978568, signed Cartier N.Y, numbered, French assay marks for 18 carat gold, maker's mark for Maurice Couët, accompanied by the winding key, height 17.00 cm, width 11.60 cm, depth 8.40 cm, gross weight 2285.98 grams.Provenance: Christie's Geneva, Thursday 21 May 1992, lot 744, see auction catalogue 'Jewellery by Cartier', page 158-159.The 'screen clock' was introduced by Cartier in 1922 and quickly became one of the most iconic creations of the Art Deco period. Inspired by Chinese table screens from the Ming and Qing dynasties, it reflects Asian influence with its coral batons and the 'ruyi' fan used as the hour hand, a Chinese symbol of good fortune. These decorative elements, combined with luxurious materials such as mother-of-pearl, enamel, and diamonds, give the clock a unique and sophisticated appearance. The mother-of-pearl, with its iridescent shimmer, captures and reflects light, while the coral adds a vibrant and contrasting touch of colour, highlighting the harmony and virtuosity of the design. This refined design, blending precious materials, perfectly illustrates Cartier's elegance and craftsmanship.This prestigious clock also bears the mark of the exceptional talent of Maurice Couët, a renowned watchmaker and craftsman closely associated with Cartier. Couët joined Cartier in 1911 and quickly became one of the leading figures in the company's luxury clockmaking, specialising in high-end timepieces. He is particularly known for his 'mystery clocks,' technical masterpieces that created the illusion of floating hands with no visible connection to the mechanism. His ingenuity and technical mastery pushed the boundaries of decorative horology, and his influence greatly contributed to making Cartier's creations exceptional. Clocks signed by Maurice Couët, often adorned with precious materials such as mother-of-pearl, coral, and diamonds, are now considered highly sought-after collector's items.See 'Cartier', Hans Nadelhoffer, Editions du Regard, pages 48 and 58, 1984.See 'Le temps de Cartier', Jader Barracca, Giampiero Negretti, Franco Nencini, page 177, Fondation Cartier pour l'art contemporain, 1989.Please note, this lot will be subject to CITES regulations if exported outside the European Union.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

KLEMM, Walther(1883 Karlsbad - 1957 Weimar) 12 Blätter zu Don QuijoteHolzschnitte?. Signatur unten rechts. (1914). Druckplatten in verschiedenen Formaten. Papier je ca. 38 x 37,5 cm. 12 Szenen aus dem Roman "Don Quijote" von Miguel de Cervantes, illustriert von Walther Klemm. Verlag: G. Kiepenheuer, WeimarMaler, Grafiker und Hochschullehrer, studierte - nach Ermutigung durch Emil Orlik - an der Wiener Kunstgewerbeschule sowie Kunstgeschichte an der Wiener Universität. Klemm war Teil der Wiener Secession (1904), der Künstlerkolonie Dachau und der Berliner Secession (1910). Tierdarstellungen wie diese häufen sich in Klemms Werk nach dessen Berufung als Professor für Grafik an die Großherzoglich-Sächsische Hochschule für Bildende Kunst 1913. Literatur : https://www.deutsche-biographie.de/sfz42698.html. Aufrufzeit 26. | Okt. 2024 | voraussichtlich 10:46 Uhr (CET) KLEMM, Walther(1883 Karlsbad - 1957 Weimar) 12 sheets on Don QuixoteWoodcuts?. Signature lower right. (1914). Printing plates in various formats. Paper each approx. 38 x 37.5 cm. 12 scenes from the novel "Don Quixote" by Miguel de Cervantes, illustrated by Walther Klemm. Publisher: G. Kiepenheuer, WeimarPainter, graphic artist and university lecturer, studied - after encouragement from Emil Orlik - at the Vienna School of Arts and Crafts and art history at Vienna University. Klemm was a member of the Vienna Secession (1904), the Dachau artists' colony and the Berlin Secession (1910). Depictions of animals such as these became more frequent in Klemm's work after his appointment as professor of graphic art at the Grand Ducal Saxon Academy of Fine Arts in 1913. Literature : https://www.deutsche-biographie.de/sfz42698.html. Aufrufzeit 26. | Oct. 2024 | probably 10:46 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Große süddeutsche Stutzuhr. 18. Jahrhundert. Höhe: 69,5 cm. Geschwärztes, allseits geschweiftes, 3-Seiten verglastes Holzgehäuse mit figürlichen, floralen und ornamentalen Applikationen in der Art von Leopold Hoys (1713 Wien - 1797 Bamberg, 1741 Uhrmachermeister). Zifferblatt mit Abstellvorrichtung für ehemaliges Schlagwerk und Repetition, mittig gravierter Totenkopf "UNA EX HIS", Pendelsichtfenster, römische Stundenkartuschen, Ziffernring mit arabischer Minutenanzeige. Schlagwerk auf Tonfeder mit Pendel an Federaufhängung im 19. Jahrhundert ergänzt. Mit Ergänzungen restauriert, Frontscheibe fehlt. * Partnerauktion Bergmann. Literatur : Pröstler (1994) Abbildung Nr. 119, Abeler (2010). Aufrufzeit 23. | Okt. 2024 | voraussichtlich 16:44 Uhr (CET) Large South German mare clock. 18th century. Height: 69.5 cm. Blackened wooden case, curved on all sides, glazed on three sides with figural, floral and ornamental applications in the style of Leopold Hoys (1713 Vienna - 1797 Bamberg, 1741 master clockmaker). Dial with stop device for former striking mechanism and repeater, engraved skull "UNA EX HIS" in the center, pendulum window, Roman hour cartouches, chapter ring with Arabic minute track. Striking mechanism on gong with pendulum on spring suspension added in the 19th century. Restored with additions, front window missing. * Partner auction Bergmann. Literature : Pröstler (1994) illustration no. 119, Abeler (2010). Aufrufzeit 23. | Oct. 2024 | probably 16:44 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

An Art Deco longcase clock of small proportions or 'grandmother clock', in rosewood veneer, the silvered dial with engraved Roman numerals, set in a square enclosed hood with a chrome rimmed door, the case fronted by a dark tinted glass panel and chrome on either sides. Spring driven eight day movement, Westminster chime quarter stricking on rods, with pendulum. 23cm wide x 16.5cm deep x 137cm high.

Zenith. A niello open face keyless wind pocket watch with fine engravings by Alphonse MuchaZenith. Montre de gousset en nielle à cadran ouvert et remontoir au pendant décoré de gravures par Alphonse MuchaModel: Collection des 4 saisons par Alphonse Mucha, modèle PrintempsDate: Circa 1900Movement: Jewelled manual windDial: White, black Roman numeral hour markersCase: Brushed an polished hinged round, fine engravings depicting an allegory of spring, No.4512886Signed: Case, dial & movementSize: 52mmFootnotes:On the eve of the 1900 Universal Exhibition in Paris, Georges Favre-Jacot, who was passionate about Art Nouveau, signed an exclusive contract with Alphons Mucha to create a collection of 4 watches inspired by Mucha's seasons. These rare watches undoubtedly symbolise the deepest passions of Georges Favre-Jacot, who was keen to combine his watchmaking expertise with the art of Mucha.For further information on this lot please visit Bonhams.com

Bullyland, a boxed Roman Tower Playset Art. Nr. 56200. Condition appears Good to Excellent within Fair Plus to Good box. See Photo. 

AN ITALIAN CARVED GILTWOOD CONSOLE TABLE PROBABLY ROME, 18TH CENTURY AND LATER The serpentine fronted giallo antico marble top supported by a carved figural group depicting Time Conquered by Cupid, the bearded seated figure of Chronos modelled clutching an hour glass and with attendant figure of Cupid and a rabbit by his feet 92cm high, 154cm wide, 77cm deep Provenance: The Hon. Claude J. Yorke, and thence by descentLiterature: The Connoisseur, May 1965, p.3Illustrated: The Connoisseur, May 1965, p.3This sculptural console table epitomises furniture being made at the end of the 17th and beginning of the 18th centuries for the most extravagant Italian Baroque interiors. Early designs for such sculptural and figural tables were published in Giardini's Disegni diversi (A. Gonzalez-Palacios, 'Giardini and Passarini; facts and hypotheses', The Burlington Magazine, June 2014, p. 371, figs. 22-25). One of the earliest prototypes was the Patrizi table and looking-glass frame in the Palazzo Patrizi near S. Luigi dei Francesi, Rome (ibid., p. 372, fig. 26). Enrico Colle illustrates a number of such console tables with these very sculptural figural supports (E Colle, Il Mobile Barocco in Italia, Arredi e Decorazioni d' Interni dal 1600 al 1738, Milan, 2000, pp. 114-119, no. 25). Other examples include early 18th century Roman giltwood tables in Palazzo Colonna, Rome; two of them in the Sala dei Paesaggi, which feature pairs of reclining slaves, by the hand of Isidoro Beati, while the remaining six (four in the Sala Grande and two in the Sala della Colonna Bellica), also with figures of Moors, are documented as the work of the sculptor Giovanni Battista Antonini and his atelier in the early 18th century. Another console table supported by a carved giltwood figure of Chronos is in The Cleveland Museum of Art, Ohio (). An early 18th century sculpted base for a Baroque ebony cabinet by Giacomo Herman with supports of two leaning nude youths sculpted in tutto tondo entwined with oak leaves and acorns (Sotheby's, London, 4 December 2007, lot 60). Condition Report: Generally good, structurally secure with wear and tear consistent with age and use. There is wear and tear consistent with age and use, scratches, dents and scuffing and some minor constructional shrinkage cracks. Re-gessoed and re-gilt. The redecoration means that it's almost impossible to determine what woods are used but wear and chips on or around the plinth reveal deal (possibly Baltic). Further, it's not straightforward to state with confidence the ages of different parts, but the frame supporting the marble top (covered in a yellow ochre wash) appears to be 20th century (pre 1950s), and it's likely the S-scroll supports at the back are a similar age. The reverse of the plinth is concave as though designed to fit around architecture. That said it seems plausible that the figures, rockwork and trees are 18th century with the later elements added. There are no apparent major losses or damage. The marble top is is good order with a repaired crack through its centre (visible metal rod fixed to the underside) and a small repair to front right corner. Overall a handsome and intriguing table or stand. Condition Report Disclaimer

AFTER FRANCOIS DUQUESNOY (1597-1643)- A WHITE MARBLE FIGURE OF THE 'SLEEPING CUPID' ITALIAN, 19TH CENTURY Depicted asleep on his left side, bow by his side, unsigned, on corresponding shaped oval Portoro marble plinth 39cm high, 56cm wide overall The sculpture of the sleeping boy God by the Flemish baroque sculptor Duquesnoy in "la gran maniera greca" inspired a series of depictions of sleeping children popular in the 18th and 19th century. The theme of Cupid sleeping appears frequently in classical Greek and Roman art, later becoming a universal symbol of absent or languishing love during the Renaissance period.

* Italian School. Emperor Vespasian (reigned 69-79 AD), possibly Florence, 16th century, circular bronze relief portrait of the Roman Emperor Vespasian shown in profile, facing left, crowned with laurels, the background with filigree pattern, outer border lettered VESPAS.AUG.X, with the thinner outer border containing repeated cross, dot and lozenge motifs, diameter 104 mm (4 1/8 ins)QTY: (1)NOTE:Provenance: Estate of Michael Jaffe (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge.Vespasian (9-79 AD) became Roman Emperor following Nero's suicide. He established political stability after the year of civil war known as the Year of the Four Emperors, established the Flavian dynasty, and built the Flavian Amphitheatre, better known as the Colosseum in Rome.

An Art Deco shagreen and ivory desk clock c.1920the circular ivory dial with silvered chapter ring with black Roman numerals, minute track with pierced blued steel hands, 8 day movement , square crossbanded shagreen surround with silvered easel strut support height 19cm.,Condition:No key. Movement untested. Otherwise in good condition commensurate with age IMPORTANT NOTEThis item has been registered as exempt from the UK Ivory Act 2018. Ivory declaration submission number reference: D1A6RU2M

A DUTCH BOOK OF HOURS FOR USE OF ROME LATE 15TH CENTURY,illuminated manuscript on vellum (tempera, ink and gold), Latin and Dutch; Gothic textura script, one column ruled for 19 lines; 455 pgs., 6.6cm x 11cm; Three fully illustrated pages, 6 title pages, 27 pages of illuminated borders etc.; tissue interleaves face the full page illustration; 18th century leather binding, inscribed with 'Roomsch Getijde Boek’ to spine (Roman Book of Hours). Incomplete, pages cut outProvenance: Private Dutch CollectionThe core text of a Book of Hours is a series of prayers, readings and psalms known as 'The Hours of the Virgin. These prayers were to be recited daily at eight set 'hours' to Mary, the Mother of God, who would act as an intercessor between man and God. Such devotions were a simplified imitation of the Divine Office, said by members of the clergy and monastic orders every day in the quest for salvation. The ‘Use of Rome’ refers to a book of hours intended for the "use" of Rome specifically, this will differ from a book of hours made for the use of Paris, or Utrecht, or Sarum (Salisbury). These differences might be reflected in the order and wording of certain prayers or the veneration of local saints or religious events. Entire cycles of prayer could also be added or excluded based on personal preference, as could a variety of additional texts. Other differences between books of hours arose from the need to accommodate the diversity of regional worship. Within the medieval church, certain aspects of the liturgy were determined, to at least some degree, by local custom, and individual books of hours were made to reflect these variations. The book opens with the twelve months of the year, divided into the specific saint days. The first illuminated leaf features the private scene of the annunciation, as Virgin Mary is kneeling to pray in her chamber when Archangel Gabriel appears to her. He announces that she will conceive a son by the power of the Holy Spirit. Above the angles head is a white dove, the physical manifestation of the Holy Spirit, with gold rays which are pointing directly at Virgin Mary. Archangel Gabriel also points to Mary using his herald’s wand, which is terminated in a fleur-de-lys, the ancient symbol of royalty. The frame of the scene features several flowers and insects. The blue flowers are possibly Gentian blue which are native primarily to northern temperate areas of the world, especially alpine regions. The red flower is most likely a potted Carnation. The symbolism of the carnation is identical with that of the rose, in the Netherland and Germany carnations were preferred over roses. The carnation was, therefore, seen as a flower of love and the goddess Venus, however, as adapted by Christians, the carnation was a symbol of the divine love of God. The strawberry as a symbol is not only widespread but relatively early in origin. It is seen as the perfect fruit as it has no thorns nor stone and it is sweet in taste. The white flowers are seen to represent innocence and the leaves which are of trefoil form, were seen as a symbol of perfect righteousness. The illumination also features two moths or butterflies as well as a snail. Butterflies and flies were symbols for the soul and eternal life. It was common in the Netherlands for the scene of the Annunciation to feature insects. It is interesting to note that this illumination does not feature a white lily. Almost all scenes of the Annunciation included them, often known as the Madonna lily, as it is a symbol of her purity and perfection, both carnal and spiritual. The second illuminated leaf is a depiction of the episode from the life of the Virgin Mary. She is presented seated figure, presumably holding the new testament in her lap, with the old testament lying at her feet. The scene is set within a gothic architectural courtyard. The Holy Spirit once again appears in the form of a white dove, with rays of gold radiating down on the twelve apostles and Mary.In the Acts, it is described that after Jesus ascended to heaven, the Apostles waited in the Holy City for the sending of the promised Consoler, united around the Virgin Mary. Following the betrayal by Judas Iscariot, the decision was made to have Matthias take his place. Once the twelve apostles were complete again, they continued praying while awaiting the coming of the Holy Spirit as Jesus had promised them. Finally, on the day of Pentecost, suddenly a sound came from heaven like the rush of a mighty wind, and it filled all the house where they were sitting. And there appeared to them tongues as of fire, distributed and resting on each one of them. And they were all filled with the Holy Spirit (Acts 2:2-4). Once again, the scene is framed by botanical illuminations, this time the flax flower, and a variety of irises. The iris flower is the only symbolic rival to the white lily of the Virgin, and its first appearance as a religious symbol is in the work of the early Flemish masters. The symbolism of the iris and the lily at first appears to be identical, and the substitution of the iris for the lily seems to be the result of some confusion between ‘lys’ and ‘fleur-de-lys,’ accentuated by the likeness between the iris and the lilies of the French royal standard with which the people of the Netherlands were familiar, since they were emblazoned on the shield of the Dukes of Burgundy. In the Netherlands, in the fifteenth century, symbolism was usually very precise, and there does seem to be a slight difference in the use of the two. The lily is used exclusively as the symbol of virginal purity, more particularly in relation to the fact that the Virgin Mary was a mother, but the iris, the royal lily, appears to be the emblem or attribute of God incarnate. Interestingly, the pea is also featured which was a symbol humility as it was considered a humble plant that grew toward heaven. As it produced many fruits it represented the virtue of holy works. In direct contrast, it could also be seen as a symbol of instability and the danger of sin, because it has heavy foliage and a frail stem which often needed further support. The illumination also features a prominent dragonfly and a peacock. Earthly life, which was full of sin, was often represented by crawling insects such as beetles, caterpillars, and locusts, whereas life in the heaven was represented by flying insects such as butterflies, moths, dragonflies, and damselflies. Dragonflies were therefore used as a religious symbol of the eternal life of the soul. Beginning in Early Christianity, peacocks symbolized the opportunity for an eternal life in heaven enabled by Christ’s sacrificial death. Illustrations of peacocks were so frequent and widespread in Christian art.The last full-page illumination features the uncommon scene known as the Metterza. The term is derived from the medieval vernacular me is third, referring to Saint Anna, mother of the Virgin Mary, who places herself third in the hierarchy of the divine family, next to Mary and Jesus. This scene was popular in Germany since the 14th century, and later the term and its iconography spread throughout Italy and Northern Europe in the 15th century. Hence the three figures in this illustration are St Anne, the mother of Mary, Virgin Mary and baby Jesus. The figure of St Anne is seated on a large wooden throne, at her feet sits Virgin Mary with baby Jesus lying in her arms. The background also features a peacock along with a characteristic pink sandstone wall and turret. The frame around the scene features flowers such as gentians, irises, flax and most importantly roses. The insects featured are moths and flies. As mentioned above, symbolically the rose was seen to represent the divine love of God.

An Art Deco style Garrard & Co Ltd clock. The dial with Roman numerals, the geometric case with burr walnut veneer and mounted on metal feet, a presentation plaque to the top, H13cm

An Art Deco Mantel clock the eight-day duration movement striking on a bell with an outside countwheel, the square chrome dial with black Roman numerals with the rectangular white and brown variegated marble case surmounted by a spelter hound, height 29cm.

DEMETRE CHIPARUS (ROMANIAN 1886-1947): A FRENCH ART DECO COLD PAINTED BRONZE AND IVORY MODEL OF A GIRL WITH PARAKEET KNOWN AS ‘INDISCREET’Circa 1925 Modelled with arm held out, silencing a parakeet, on faceted marble and onyx base, signed to the base, 30cm high (including base) Provenance: Property of a Deceased Estate.Condition: In very good overall condition. The bird is removable from the arm, the outstretched arm has some minor movement.This model, known by the title ‘Indiscrete’ rarely appears on the market and this smaller version is even more scarce. This model was acquired from a Department Store at some point in the 1930s by the present owner’s great aunt. It is known that the dealer, Phillips and MacConnal, was the first to offer Chiparus figures in London after 1929, when they show cased his statuettes (and those of other sculptor’s work) at the Idea Home Exhibition in London. Significantly, this contributed to introducing Chiparus’ work to the receptive fashion conscious  London clientele. The department store of Warning and Gillow also offered these decorative pieces in their stores and through a pioneering mail order catalogue. See ‘Chiparus Master of Art Deco’, Alberto Shayo, page 60 and ‘Art Deco and other Figures’, Bryan Cayley, page 74 for an illustration of the two versions of ‘Indiscete’, one 45cm and the smaller version 31cm high. Footnotes: This lot contains ivory and has been registered in accordance with the Ivory Act (section10). Reference No. 3U1TVWZS<span style="font-size:12.0pt;line-height: 107%;font-family:"Garamond",serif;color:#454038"> Prospective buyers should be aware that some countries have limitations on importing items made from endangered species, including materials such as coral, ivory, and tortoiseshell. Therefore, it is advisable for potential buyers to familiarize themselves with relevant customs regulations before placing bids, particularly if they intend to import this lot into another country. 

THREE BOXES AND LOOSE GLASSWARE, to include two Dartington crystal decanters with stoppers, two cut glass decanters, aeroplane in a bottle (Spitfire), Lymington glass Mystiques, six crystal dessert bowls, two Royal Doulton crystal 'Jasmine' whiskey glasses, vintage Art Deco style quartz marble base, mirrored mantle clock, white dial with Roman numerals, 1960's Italian glass and silver plated wine claret jug with serpent handle, stamped on the base Distillerie Buton Boligna Italia, a pair of glass and silver plated smaller liqueur serpent handle jugs stamped Distillerie Buton, five J. Preziosi Lavorato a Mano Italian champagne flutes, and five wine glasses, a selection of coloured glassware, to include amber glass candle holders, a blue Dartington vase etc. (sd) (3 boxes + loose)

Allen Ruppersberg (American, b.1944) 'The Ten Historical...' Landfall Press Lithograph Portfolio 2012, each signed and editioned Roman numeral 'I', a complete portfolio of 'The Top Ten Historical Similarities (and differences) Between Prints and Photographs', (10) altered lithographs with digital elements, only two Roman numeral subscriber impressions made, in original fabric covered book with metallic lettering Property from: Collection of Dr. & Mrs. Christopher Graf, Woodlot Gallery, Sheboygan, Wisconsin Condition: no damage to art noted, portfolio having minor scuffs and stains Category: Fine Art > Prints & Multiples Estimated Sale Time: 10:53 am (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4Photograph #5

Ca. AD 300. A Roman gold ring with an oval bezel engraved with an image of the Roman Emperor Licinius. He is facing left with an inscription in latin LIC referring to the empror. It is a legionary ring that belonged to a supporter or a high ranked soldier in his legions. Very rare. Size: D:18.14mm / US: 8 / UK: P 1/2; Weight: 11.8g Provenance: Property of a London Ancient art collector, formerly in a Mayfair private collection of Mr. P. S., formerly acquired on the UK art market since the 1970s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. AD 100 - 300.A Roman gold ring with an oval bezel, securings a large banded agate cabochon.Size: D:16.31mm / US: 5 3/4 / UK: L; Weight: 3.11gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market since the 1970s.

Ca. AD 300 - 500.A Roman pale green glass jug, presenting with a circular concave base and globular body. The body tapers to a short neck and a folded rim that connects to the jug's shoulders with a thin, curved handle. For similar see: The Cesnola Collection of Cypriot Art, Ancient glass, Cat. 155.Size: 90mm x 80mm; Weight: 45gProvenance: Private UK collection; From an old British collection formed in the 1990s.

Ca. AD 100 - 300.A Roman bronze panther brooch. The spots were created with enamel and it's head is raised. On the reverse, there are hoops to secure the spring and the pin. For similar see: MET Museum Accession Number: 47.100.18.Size: 38mm x 17mm; Weight: 10gProvenance: Property of a London gallery; previously acquired at the art market in Vienna; formerly in an Austrian collection formed prior to 2000.

Ca. AD 100 - 300.A Roman red/ orange carnelian intaglio depicting the goddess Diana, set in a high carat, possibly later gold ring. The goddess is shown standing, holding a bow in her right hand and drawing an arrow from her back quiver, with her left hand. At her feet is a hunting dog.Size: D:19.15mm / US: 9 1/4 / UK: S; Weight: 12.2gProvenance: Property of a London Ancient art collector, formerly in a Mayfair private collection of Mr. P. S., formerly acquired on the UK art market since the 1970s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.This piece comes with an authentication report by Sami Fortune, ancient jewellery specialist.

Ca. 100 BC - AD 100.A Roman free-blown shallow glass bowl with an applied disc foot. The bowls interior curves inward slightly, forming a very gentle dip in the centre. There are two horizontally applied handles on the rim. For similar see: The Cesnola Collection of Cypriot Art, Ancient glass, fig. 9.Size: 325mm x 60mm; Weight: 670gProvenance: Important London collection of Ancient art; formed in 1970-80s then passed by descent. 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 100 - 300.A Roman gold ring with a round bezel securing a large red/ orange carnelian intaglio, depicting a procession of two stags. For similar see: El Legado de Hefesto, n. 406.Size: D:2.52mm / US: 4 1/2 / UK: I 1/2; Weight: 3.03gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

Ca. AD 100 - 300.A Roman bronze ring with an almond-shaped bezel depicting a herma or herm. A herma or herm is a sculpture with a head atop a plain, usually squared lower section. This example features a bearded male head with two raised plants to either side.Size: D:17.73mm / US: 7 1/2 / UK: O 1/2; Weight: 7gProvenance: Property of a London Ancient art collector, formerly in a Mayfair private collection of Mr. P. S., formerly acquired on the UK art market since the 1970s.

Ca. AD 100 - 300.A fine pair of ancient Roman gold earrings decorated with pearl pendants. Hanging from the hoop is a gold thread with scrolling wire-work and a small gold granulation at the centre. The pendant terminates with a rounded pearl bead. The gold hoop is embellished with a small gold disc near the hinge. For similar see: MET Museum Accession Number: 74.51.3817.Size: 35-35mm x 14-14mm; Weight: 3gProvenance: Private collection of an Oxford professional, formed in the 1970s-1990s on the UK art market.

Ca. AD 100 - 300. A Roman cast-bronze figurine of a standing eagle. The eagle has a raised head turned to its left with naturalistic features. The figurine has meticulous feather detailing on the head, chest, and wings. The eagle stands atop a pair of narrow, clawed feet. The turned head displays teardrop-form eyes, a planar brow, a petite incised mouth and an intimidating, aquiline beak. For similar, see: Christie's, Online Auction 18699, Antiquities, Lot. 168. Size: 65mm x 22mm; Weight: 120g Provenance: Private UK collection; previously acquired on the Holland art market in the 1990s.

Ca. AD 100 - 300.A Roman carnelian intaglio depicting a kneeling soldier facing left, wearing a helmet and holding a long spear. The intaglio is stylised, typical of the new style introduced in the last part of the first century. During this period this kind of jewel was fashionable among most of society. For similar see: Catalogo illustrato della glittica nella collezione Santarelli, n. i. A2.Size: 10mm x 9mm; Weight: 0.5gProvenance: Private UK collection; previously acquired on the Swiss art market in the 1990s.

Ca. AD 100 - 300 .A rare Roman bronze kohl vessel with a tall polygonal body, flat base and narrow neck that connects to a short, everted rim. On the walls of the vessel, there are two ribbed hoops on one side and protruding round hoops on the other side. The surface is adorned with geometrical and floral incised motifs.Size: 110mm x 25mm; Weight: 215gProvenance: Private UK collection; previously acquired on the Holland art market, P.C., pre 2000.

Ca. AD 100 - 300.A Roman pale green glass vessel with a circular, concave base and globular body. The body tapers to a short, wide neck and carinated vertical rim. A gorgeous silvery iridescence adorns the exterior, while one side of the interior is coated in a shimmering iridescent hue. For similar see: The Cesnola Collection of Cypriot Art, Ancient glass, Cat. 170.Size: 125mm x 120mm; Weight: 195gProvenance: Private collection, London, UK; Ex. F. Piket 1980s, Netherlands.

Ca. AD 100 - 200.A Roman bronze phalera depicting Cupid with incised outstretched wings and a detailed face. Cupid is wearing a large tunic and has a geometric hairstyle with a lunar-shaped diadem.Size: 50mm x 45mm; Weight: 135gProvenance: Private UK collection; previously acquired on the Holland 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 100 - 300 .A Roman gold legionary brooch with a flower-shaped gold frame and incised petals, off the frame hangs two chains with leaf-shaped finials. The frame secures a carnelian intaglio depicting the head of the god Serapis, crowned by Victory on the legionary eagle. For similar see: MET Museum Accession Number: 17.191.296 (model).Size: 75mm x 35mm; Weight: 10gProvenance: Private UK collection, acquired on the US art market; Ex. private Collection (1926-2019), Chicago, formed in the 1970s-2000s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. AD 300 - 400.A Roman crossbow legionary brooch with rounded dots on the terminals at the top and sides. The brooch has a flat tailpiece with several incised lines at either end of the central ridge. The original pin and fastening shaft are still intact. For similar see: MET Museum Accession Number: 1999.42.Size: 75mm x 50mm; Weight: 45gProvenance: Private UK collection; previously acquired on the Holland art market in the 1990s.

Ca. 100 BC - AD 200.An Egypto-Roman gold snake ring comprised of a long conical body adorned with incised scales only on the top, connected to a raised square head with stamped eyes and scales. Snake jewellery was not limited to Egypt in the Ptolemaic and Roman Periods. Bracelets with animals, including snakes, appeared in Western Asia from about the eighth century BC and spread to Greece in the fifth century BC and came to Egypt during the Ptolemaic Dynasty.Size: D:18.34mm / US: 8 1/4 / UK: Q; Weight: 7gProvenance: Property of a London gallery; previously acquired at the art market in Vienna; formerly in an Austrian collection formed prior to 2000. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. 30 BC - AD 200.A Roman-Egyptian silver snake ring comprised of a long conical body adorned with incised scales, connected to a raised square head with stamped eyes and scales. Snake jewellery was not limited to Egypt in the Ptolemaic and Roman Periods. Bracelets with animals, including snakes, appeared in Western Asia from about the eighth century BC and spread to Greece in the fifth century BC and came to Egypt during the Ptolemaic Dynasty.Size: D:15.39mm / US: 4 1/2 / UK: I 1/2; Weight: 6gProvenance: Property of a London gallery; previously acquired at the art market in Vienna; formerly in an Austrian collection formed prior to 2000.

Ca. AD 100 - 300.A Roman red carnelian intaglio depicting the god Asclepius, standing in a relaxed position with his hand on his hip. He wears a long robe on the lower part of his body and is naked on the top, which is a typical depiction of the clothing of a deity. The intaglio is set in a high carat, possibly later gold ring.Size: D:17.53mm / US: 7 1/4 / UK: O; Weight: 8gProvenance: Property of a London Ancient art collector, formerly in a Mayfair private collection of Mr. P. S., formerly acquired on the UK art market since the 1970s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. AD 200 - 300.A Roman silver-gilt patera with a flat decorated handle. On the top of the handle is a double arrow with heart-shaped points surrounded by a motif of dots. The bowl is deep, with high walls and an extremely polished surface. For similar see: MET Museum Accession Number: 47.100.29.Size: 160mm x 90mm; Weight: 105gProvenance: Private London collection; acquired on the European art market prior to 2000. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. AD 100 - 300. A Roman bronze eagle figurine with realistic features, standing on a base. The figurine has detailed feathers on its body and wings and a long tail that extends over the edge of the base. For similar see: Christie's, Live Auction 18699, Antiquities, Lot. 168. Size: 55mm x 20mm; Weight: 90g Provenance: Private UK collection; previously acquired on the Holland art market, P.C., pre 2000.

Ca. AD 300 - 400.A Roman open-work silver ring, with a hoop adorned with an open phytomorphic motif. The hoop widens at the shoulders to a floral form, which elongates onto a flat bezel inscribed with 'FIDEM.' For a similar example, see El legado de Hefesto, nos. 464, 465.Size: D:17.53mm / US: 7 1/4 / UK: O; Weight: 5gProvenance: Property of a London gallery; previously acquired at the art market in Vienna; formerly in an Austrian collection formed prior to 2000.

Ca. AD 100 - 300.A large collection of Roman glass fragments from unguentaria, bowls and bangles. The group is composed of mosaic glass and coloured glass. The coloured glass is turquoise, blue, yellow, white brown and red. For similar see: The Cesnola collection of Cypriot art, Ancient Glass from the MET Museum.Size: 2-50mm x 2-35mm; Weight: 690gProvenance: Prince collection, 1990s-2014; Ex. Private collection 1970s-1990s.