We found 7021 price guide item(s) matching your search

A 15ct gold Edwardian bar brooch set circular faceted aquamarine compete with safety chain L x 4.5cm 2.68g,  a Edwardian 15ct gold stick pin with seed pearl set horse shoe and ruby set whip L x 5cm 1.16g  and a Edwardian bar brooch set oval faceted cut peridot 0.75ct L x 5.5cm 2.94g (3)

Quantity of studio pottery circus themed figures including 3 elephant figures 2 with riders and the other detached from it's base and 1 ear A/F, ring master (lacking his whip) and colourful pedestals, tallest 26cm high

An Edwardian Novelty Equestrian Brass Ink Stand Having Oak Horseshoe Shaped Base Raised on Four Brass Feet with Brass Trim Bucket Inkwell with Riding Hat Lid and Horseshoe Pen Stand with Whip Mount (AF) 15.5cm High

Original vintage World War Two propaganda poster featuring a caricature by the British cartoon artist KEM Kimon Evan Marengo (1904-1988), produced for the Ministry of Information with a quote in Persian - The cult of the sages was hidden and the madmen were scattered The evil hand of the court has been extended - adapted from the Shahnameh / Book of Kings by the renowned Persian poet and author Ferdowsi (Abul-Qasem Ferdowsi Tusi; 940-019/1025CE). Great design depicting Hitler on a throne as the mythical figure Zahhak with the faces of Mussolini and Tojo as the evil king's snakes growing out of his shoulders, holding a sword and a whip with prisoners tied on poles and kneeling on the ground, guards with swastika armbands saluting him and a monkey character with devil horns and tail holding a bloodied sword by his horse hoof feet. Good condition, pinholes, staining, creasing, small tears on edges. Country of issue: UK, designer: Kimon Evan Marengo, size (cm): 34x23, year of printing: 1943.

Automat "Der Dompteur" von Frank Nelson, um 1980Geschnitzte und bemalte Holzfiguren eines Dompteurs mit beweglichem Kopf und Kiefer und eines Tigers mit beweglichem Kopf und Schwanz, auf Holzsockel mit großflächigem Hintergrund, Mechanismus mit Handkurbelantrieb, Herstelleretikett auf der Rückseite: "Frank Nelson, Modelmaker and Woodcarver, 99 Bridge Lanes, Hebden Bridge 3175", Höhe 36 cm, gut funktionierender Zustand, kleiner Farbabrieb über dem linken Auge des Tigers. Beiliegend das Programm einer Sommerausstellung von Frank Nelson in der Serpentine Gallery und eine Postkarte mit einem ähnlichen Werk. - Der Dompteur schlägt einmal mit der Peitsche und fordert den Tiger auf, seinen Trick vorzuführen. Der Tiger dreht den Schwanz, schüttelt den Kopf und weigert sich. Der Dompteur läßt seine Peitsche zweimal knallen, aber der Tiger weigert sich immer noch. Der Dompteur läßt seine Peitsche dreimal knallen, der Tiger willigt schließlich ein, nickt, dreht sich um und steckt seinen Kopf in den Mund des Dompteurs. - "Der Dompteur" wurde in einer Auflage von zehn Stück produziert und entstand während Nelsons früher Karriere. Nelson beschreibt es als ein ziemlich altes Stück, aber als eine der besten Ideen, die er je hatte. "Wenn man dem Ende eine Wendung geben konnte, war alles zum Besten." - Literatur: Andrea Robertson, 1992, "Museum of Automata", S. 73; Frank Nelson, "Rude Mechanicals, a Moving Experience", siehe unter: https://www.youtube.com/watch?v=dVLrzu95IaI. Watch and Listen on:Youtube.com/AuctionTeamBreker Start Price: EUR 1000 Zustand: (2/2)The Tamer Automaton by Frank Nelson, c. 1980Carved and painted wood figures of the tamer with articulated head and jaw, the tiger with articulated head and tail, on wood base with big top backdrop, hand-turned mechanism and maker’s label on reverse: "Frank Nelson, Modelmaker and Woodcarver, 99 Bridge Lanes, Hebden Bridge 3175", ht. 14 in. (36 cm), good working condition, small paint rub above tiger’s left eye. Included are the program from a summer show by Frank Nelson at the Serpentine Gallery and a postcard of a similar piece. - Note: The tamer cracks his whip once and asks the tiger to perform his trick. The tiger rotates his tail, shakes his head and refuses. The tamer cracks his whip twice but the tiger still refuses. The tiger cracks his whip thrice, the tiger at last agrees, nods, turns around and places his head in the tamer’s mouth. - Produced in an edition of ten, "The Tamer" was created during Nelson’s early career. He describes it as quite an old piece but one of the best ideas he had ever had. "If you could put a twist in the tail, all was for the better." - Literature: Andrea Robertson, 1992, "Museum of Automata", p. 73; Frank Nelson, "Rude Mechanicals, a Moving Experience", please see: https://www.youtube.com/watch?v=dVLrzu95IaI. Watch and Listen on:Youtube.com/AuctionTeamBreker Start Price: EUR 1000 Condition: (2/2)

Fabulous brown leather bear with iconic Keith Haring chalk outline in hot pink covering the body. Hot pink whip stitched patch on the body. Hot pink collar and claws. The eyes and nose are quite unique findings with Coach embossed on two. Coach embossed leather patch on back #D1729-F20818. Artist: Keith HaringIssued: 20th centuryDimensions: 14"L x 11.50"W x 14"HManufacturer: CoachCountry of Origin: United StatesCondition: New with tag and leather care card.

Fabulous black leather bear with iconic Keith Haring chalk outlines covering the body with a matching whip stitched eye patch. Plush outer arms, tail and lightning strike on the chest. Unique metal fittings for nose, eyes and mouth. Coach embossed leather tag on back #D1729-F20819. Artist: Keith HaringIssued: 20th centuryDimensions: 14"L x 11.50"W x 14"HManufacturer: CoachCountry of Origin: United StatesCondition: New with tag and leather care card.

A nice silver plated novelty ladle, 39cm long, modelled as a horse riding whip and having jocket cap bowl

A quantity of display models relating to slavery, to include leather whip, ball and chain, handcuffs, etc.

A quantity of display models relating to slavery, to include leather whip, ball and chain, handcuffs, etc.

A quantity of display models relating to slavery, to include handcuffs, leather whip, ball and chain, etc.

riding crops and whip plus another item

A group of silver salt spoons, including: a Victorian pair with whip terminals. David Pettifer, Birmingham, 1850. Designed with twisted stems and fluting to reverse of bowls, 8.8cm long, together with: a George IV cast spoon, of heavy gauge and decorated with a serpent coiling down the stem, London, 1827, probably Samuel Whitford; 12.2cm long; a pair of Fiddle pattern salt spoons, London, 1852, George Adams, engraved with crest for Viscount Ebrington, eldest son of Earl Fortescue, 10.2cm long; and a Roman style silver gilt spoon with ball finial, London, 1859, Charles Thomas Fox & George Fox, 7.3cm long, total weight approx. 2.8ozt (6)

A collection of walking sticks, canes and parasols to a Victorian brass stick stand, to include; a 'Waterloo, Rifle Brigade' ebonised swagger stick, horn handled whip and walking stick, two parasols, etc (12)

A late 19th/early 20th century coaching whip by Crawley & Son, Peterborough, applied with brass ring mounts, makers name to the largest ring, presentation engraving to the handle, copper makers plaque to the end, 185cm longCondition reportWear/loss of thong, general dents, marks and tarnishing to the brass rings. 

Middy White Knuckle Thriller 8m pole No 200-75 24 strong, MCB; Pac Hawk Imagination Range Super-Whip carbon pole, 6m, 6pc, light use. (2)

A mid 20th century silver collared and antler handled riding whip marks rubbed, probably London together with a brass killing head riding crop and another riding crop and a silver topped gentleman's cane cut down (4).

A Swaine & Adney 15ct gold mounted riding whip, London 1903, the antler handle over a leather and bamboo shaft with two gold ferrules, one inscribed, ' May from Jack & Harry 1903', 58cm long

Nimrod Long's buttons, four buttons each with central fox mask above the name Nimrod, and four buttons of York Union Hunt Club (8)Nimrod Long was born in 1835 at the hunt kennels at Badminton where his father Will Long was huntsman to the Duke of Beaufort. His career began as whip to the Duke of Beaufort's and he had spells with the Belvoir, South Berks, Essex Union and Brocklesby Hunt

Victorian oak wall hanging whip or stick rack, sloped arch pediment carved with central grotesque mask with extended scrolling foliage, the upright supports cut with rests, x-framed back, two lower hooksDimensions: Height: 86cm  Length/Width: 63cm 

Lonsdale: A Late Victorian Silver-Mounted Postillion’s Whip, London 1899, the handle cast with an Earl's coronet98cm long and a lariat (2)Provenance: Purchased as lot 6142a and part lot 1627 from the sale of the Earl of Lonsdale's Collection, Lowther Castle, April, May and June 1947Whip - topper with numerous dents to the entire circumference. Braiding of the handle and shaft good with some engrained dirt. Collar with some very minor dents. Rope tip lacking. Lariat - as found.

Two Antler handled leather covered riding crops by Swaine, one with carriage whip attached.

Quantity of 20th century riding crops, hunting whips etc to include swaine hunting whip example antler handle, leather thong, the shaft (A/F examples) (5)Est 50-70

British Colonial interest -Indian Calcutta police appointment certificate issued to Mr L H Stanforth - 9th Dec 1922 . Together with his police issue cosh, whip and whistle on chain.

Two late 19th Century Victorian 15ct gold hunting interest brooches to include a hunting horn design brooch and a riding whip brooch. Both marked 15ct. Measures 6.2 and 6.5cm.

Collection of 19th Century and antique jewellery to include a rose metal stick with reverse carved classical figure and seed pearls, yellow metal pin with coral finial, silver butterfly wing pendant signed HWK, matching brooch (a/f), jet horseshoe mourning brooch, silver riding whip brooch and two other stick pins. Pendant measures 5.5cm.

An Antique Bulls Pizzle whip/riding crop, length 77cm.

* Fashion Buttons. A collection of approximately 420 fashion buttons, mostly early 20th century, including silvered metal, brass, pierced metal, glass (some marbled), resin and other plastics, shell/mother-of-pearl and pearlised plastic, wood, designs include: floral, fish, heads, seashells, horse's heads and horseshoes (including a pair with saddle, horseshoe & whip motif), Roman coin-like, a pair of metal buttons depiting a charioteer, another showing 3 people in a boat, a few Oriental-themed (lady with parasol in a garden, lady with large parasol, Oriental scenes, a lady riding a large fish, etc), and a few animals including birds, snails, dragonflies, various sizes and shapes, some small sets, including a set of 6 Czechoslovakian red or blue glass 4 cm buttons, with silver-coloured dragonfly, on original display card titled La Mode, all mounted on card display boards (29.5 x 22.5 cm and smaller), this group also includes a set of 144 small shell(?) buttons still mounted on the orignial display card and in original card box with lift-off lid (box probably originally contained several cards of these buttons)QTY: (Approximately 420)NOTE:Provenance: The Dr Alison Smith Lean Button Collection.

Four leather whips. Two handcrafted leather Horse Whip Sticks with globular leather heads the lengths 60cm, 62cm, together with two leather Horse training whips, the lengths 140cm and 180cm, mid 20th century. (4)

Three shooting stick seats together with an umbrella with cane handle, a cane walking stick and a leather bound plaited riding whip. (6)

A Crawley & Son London, coaching whip believed to be holly with brown leather handle, with rope end, stamped, 230cm long overall.

BACK TO THE FUTURE PART III (1990) - Borax Advertisement Sign - A borax advertisement sign from Robert Zemeckis' Back to the Future Part III. As Marty McFly (Michael J. Fox) and Emmett "Doc" Brown (Christopher Lloyd) prepared to leave Hill Valley, advertisements were visible outside the general store.This metal sign features an advertisement for the 20 Mule Team Borax Bill packaged soap with Borax Bill Jr holding an equestrian whip, a mule figure, and a box of Borax soap. A picture hanging wire is attached to the back. This lot exhibits grime buildup, metal warping, scratches, and holes. Dimensions: 34.5" x 23.5" x 1" (87.75 cm x 59.75 cm x 2.5 cm) Additional Provenance: Letter of Authenticity from Fashion Stables John Queirolo.Estimate: $800 - 1,600Bidding for this lot will end on Wednesday, March 13th. The auction will begin at 9:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Tuesday, March 12th or Thursday, March 14th.

UNDERWORLD: RISE OF THE LYCANS (2009) - Kosta's Armor with Whip - Kosta's armor with whip from Patrick Tatopoulos' Underworld: Rise of the Lycans. Kosta wore his armor as he oversaw the lycan workers, and then later whipped Lucian (Michael Sheen) for escaping.This costume consists of a hard foam helmet with synthetic hair ponytail marked on the interior for "Kosta DBL/Horse Wrangler" in black on a strip of tape, and "Damien Ettena" in silver-color on the helmet interior; a black and gray canvas shirt with wool panels marked "Kosta Hero" on the interior tag; a cuirass with attached pauldrons and back plate made of hard foam with "Kosta Stunt" hand-marked on the interior in black ink on strips of tape, as well as numbers and letters such as "3," "2," "7," "R," and "B" written on the interior; a pair of black leather vambraces marked "Kosta DBL Left" and "Larry R;" black leather fingerless gloves; a black belt marked "DD Medium" on the interior; a leather fauld with tie closure; black leather trousers with "Kosta Stunt" marked on the interior on tape; and a pair of black leather grieves. Also included are extra swatches of black leather and cloth, as well as a faux leather whip with metal tips. This lot exhibits scuffs and scratches in the leather, ripped seams, and discoloration on the interior labels.Estimate: $2,000 - 4,000Bidding for this lot will end on Wednesday, March 13th. The auction will begin at 9:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Tuesday, March 12th or Thursday, March 14th.

WW1 Trench Art Plaque made from brass, tin and Copper: WW1 Army Service Corps Swagger stick/ Whip: RAF Swagger stick: Pair of WW2 Home Guard Leather Gaiters: Post War REME Officers Stable Belt, waist size approx. 34 inch.

Pair of Malacca Cane Bone Handled Carriage Riding Whips - One Presented to E.J. Green from C.R.S 1935A pair of vintage carriage riding whips made of Malacca cane with bone handles. One of the whips is engraved with the initials "E.J. Green" and the other whip is engraved with the initials "C.R.S 1935". Both whips are in good condition.

A leather bull whip with treen handle.

Viceregal School. Cuzco. Peru. Late 17th Century - Early 18th Century."Our Lady of Cocharcas on an Altar, Venerated by a Military Officer, a Villager, and Two Indigenous People."Oil on panel.28.5 x 22.5 cm.This is a vibrant and colourful folk art altar painting, almost flat or "retablo" style. It depicts one of the most revered Peruvian Marian advocations, associated with the locality of Cocharcas (in Chincheros). The worship of Our Lady of Cocharcas dates back to the late 16th century. She is depicted holding a bouquet of roses and "amancay" (a lily native to the South American highlands) in her right hand. In her left hand, she carries the Christ Child who is holding the world, while giving blessing. At her feet, there are figures praying—an aristocratic military officer, perhaps the donor or the person who commissioned the work for personal worship; a villager who may be his mother or a portrayal of any local woman; and two indigenous Peruvians, adorned in festive attire, celebrating before their Patroness, holding what seem to be a musical instrument and a whip. This painting strongly reflects the costumbrist character of Peruvian art, in this simple depiction of a daily event in the artist's society and culture, worshipping their Patroness on an altar during festivities.

Francisco Gomez de Valencia (Granada 1657 - Mexico, first half of the 18th century)"Memento Mori"Oil on burlap. Signed and dated 1681 on the back.140 x 107 cm.An exquisite depiction of the transience of existence, painted by Francisco Gómez de Valencia and dated 1681 on the back of the canvas: "Franc• Gomez fat. año [year] 1681".This Spanish Baroque painter, born in Granada in 1657, was the son of the painter Felipe Gómez de Valencia and followed his father's style as a member of the family workshop, one of the most active Granada workshops in the second half of the 17th century, influenced, like many others of the period, by Alonso Cano, "el Racionero" who was artistically dominant at the time.In 1679, his father passed away, and he took over the workshop until at least 1685, the date of the last documented appearance of the painter in Granada. The oil painting we have here for auction dates from this period.Professors Gloria Espinosa and María Teresa Suárez, in a recent and highly interesting article (2023) in which they reveal new documentary sources about the artist's biography and a previously unknown canvas, conclude that "Francisco Gómez de Valencia must have arrived in Mexico around 1687" and not in 1699, as previously thought in other studies. The painter, after three undocumented years, reappears in 1688 in Mexico City, in a document which reports on his genealogy, previously unknown until the publication of said article. Further information provided by Espinosa and Suárez regarding the Granadan painter is from 1693 when he was appointed Family of the Holy Inquisition, a position that provided economic stability, "in addition to the promotion and social prestige he desired," reasons why he is likely to have left his home town. The last piece of information about Gómez de Valencia, also in New Spain, dates back to 1711 where his delicate health at the age of 54 is documented.Of his probable extensive production, eleven canvases are currently kept in the Museum of Fine Arts of Granada —among them, the "Virgin of Sorrows" and the "Lamentation before Dead Christ," with clear influences from his father, from Flemish painters, and "el Racionero" — and the "Assumption of the Virgin" in the National Museum of San Carlos, Mexico. In addition, we would like to highlight the "Presentation of the Virgin in the Temple," attributed by Raquel Prados in 1999, and another artwork which was unknown until last year when Espinosa and Suárez brought it to light. It is an "Ascension of Christ," which is reproduced in the aforementioned article, and is kept in the National Center for Conservation and Registration of Movable Artistic Heritage of Mexico, where, along with more than five hundred paintings, it had remained shut up in the so-called 'Pandora's Box' for almost half a century. For more information, please refer to the article, which we cite in the bibliography.To these two canvases, we now add the "Memento Mori" presented in this auction, further enriching a catalog that surely has much more to discover. It is essential to note that our painting is dated, unlike most of his corpus, allowing us to place it with total certainty in Granada, as in 1681, as Raquel Prados reports, he "resided in Placeta de Chavarría with his mother, brothers, and Ana de Valencia, his wife." By that time, in fact, our painter had already taken over the family workshop two years earlier and had taken on the commissions that Felipe Gómez de Valencia had left behind orphaned.In this painting we can appreciate the sense of sweetness in colours and an ease in drawing that he inherited from his father. With delicate strokes, he captures a baroque, theatrical scene, almost like a meditation from cell in a convent, in a still life, indoor setting.The human soul or guardian angel reminds a repentant knight of the transience of life, emphasising the vanity of existence. In a room with a bed and canopy, the praying figure is led by the song of the angel, who hints with a pointing hand that nature decomposes, but that the soul can be immortal; it shows him a still life full of symbols: at the centre a skull or skeleton shines, a "memento mori," a reminder that death is inevitable; an hourglass reminds him of the passage of time; it rests on a book, which traditionally alludes to excessive pride in learning. But everything passes.And after these, other objects allude hopefully to the afterlife. The painting has a moralistic message that encourages the viewer to consider their own mortality and how they live their life. This still life compares the vain nature of mortal life with the possibility of eternal life. The Cross is presented as the purpose of his commitment, as well as the rosary that will allow him to live in prayer, and the whip hanging from the table, inviting him to live in penance and mortification.It seems that the painter is devoted to the Virgin Mary, whom he places above, being crowned as Queen and Lady by the Holy Trinity.To conclude, this serene painting does not suggest decay or sadness but carries a legacy of hopeful aspirations beyond life itself. Reference bibliography:- Espinosa Spínola, Gloria y Suárez Molina, María Teresa. (2023). Francisco Gómez de Valencia, un pintor del siglo XVII entre Granada y México. “Boletín de Arte-UMA”, n.º 44, Departamento de Historia del Arte, Universidad de Málaga, pp. 75-85. https://dx.doi.org/10.24310/ba.44.2023.16195- Prados, Raquel. (1999). Un lienzo inédito de Francisco Gómez de Valencia. “Cuadernos De Arte De La Universidad De Granada”, 30, 303–310. https://revistaseug.ugr.es/index.php/caug/article/view/9101

TWO WALKING STICKS, A SWAGGER STICK MARKED EGYPT 44, a leather whip and African walking cane

An antler horn malacca riding crop with silver collar hallmarks indistinct, the collar with foliate scroll decoration and shaped initialled cartouche, leather whip, 26½in. (67.3cm.) long. * Overall clean and tidy, good.

An unusual white metal mounted porcupine quill swagger stick / whip 28in. (71cm.) long. * good condition.

A collection of WWI & WWII items to include Verners Pat VIII compass stamped Suiss stamp E Koehn, a French bayonet, bull whip, photograph of 2nd Artists Rifles, kit bags & gaiters etc.

A CONTINENTAL STAINED GLASS ROUNDEL probably 17th century, of an enthroned Bishop, 22.5cm diameter; a Flemish roundel, 16th century, of a man and two women shearing sheep with the word “Junius” and a symbol of a scorpion for the month of June in a series from “Labours of the Months”, 13cm diameter; and a Swiss stained glass panel of a ploughman and his wife holding a whip, inscribed “Ulli Sumer im dorff Sumisswald und Verena Kiser sein ehegm 1702” (Ulrich Sumer in the village of Sumisswald and Verena Kiser his lawful wedded wife 1702), 16cm diameter (3)

Vintage 1980s LJN toys Thundercats Action figures, Lion-O with battle matic action, with claw shield and sword, Panthro with Nunchuks, Tuska Warrior with rifle, Tygra old, with Wilykat and Bolo Whip, Ratar-O, Grune the Destroyer with club, Hachiman, Mumm-Ra with headdress, Captain Shiner, Vultureman and Safari Joe, spare Lion-O sword & Snowman of Hook Mountain helmet, all in good to excellent original condition. (12 items)

A Hunting Whip with antler handle and plaited leather shaft and thong, the steel collar engraved ' D.H.F. 24.8.37', Swaine & Adeney stud to handle, a bamboo Hunting Whip with antler handle, and two other Hunting Whips with leather thongs

Collection of stock/stick pins one particularly 9ct gold with fox head and hunting crop/whip, another with a Swallow together with a silver gilt enamelled brooch/badge 'Chairman Moose Ladies Circle'. (B.P. 21% + VAT)

A riding whip with silver collar and antler handle together with a pair of riding vintage riding breeches and a brass Roman style letter opener.

2nd-3rd century A.D.. Displaying a figural scene in relief with an arch decorated with egg-and-dart motifs and resting on smooth pillars with foliate capitals; the upper field dominated by Sol wearing a radiate crown with seven rays and driving a facing quadriga, holding a globe and whip in his left hand; the central field showing the Dioscuri on horseback, raising their right arm in salutation of their divine sister Helen of Troy at the centre, the twin on the left, whose horse is trampling a naked prisoner, followed by an armoured warrior holding an oval shield and spear, wearing a crested helmet in pseudo-Attic style, the twin on the left, whose horse is trampling over a big fish, followed by a woman dressed in a long garment and raising her hand in salute; the lower field showing worshippers preparing an offering meal; a coiled serpent to each top corner; mounted on a custom-made display stand. Cf. Tudor, D., Corpus Monumentorum Religionis Equitum Danuviorum (CMRED), II. The analysis and interpretation of the monuments, Leiden-Brill, 1976, for discussion and iconography; Aimone, M., Byzantine and Sasanian Silver, Enamels and Works of Art, London, 2020. 321 grams total, 10.6 cm including stand (4 in.). Acquired before 2000.From a Los Angeles collector.with Artemis Gallery, Colorado, USA, 22 September 2016, no.58.Private American collection, New York, USA.Accompanied by an academic report by Dr Raffaele D’Amato.The complex iconography of the plaque relates to the pre-Christian religions of the Lower Danube region. It was concentrated on the figure of Sol Invictus, the sun god, who was often represented driving a quadriga. This cult came from the Near East but spread into the Roman Empire with imperial patronage; symbolism like this was part of the cult of Mithras that was found throughout the empire from Britain (a temple to Mithras can still be seen in the modern City of London) to its eastern coasts in the ancient colonies of Thracia and Dacia, Moesia, Pannonia and Dalmatia. The rest of the plaque shows worshippers (probably the donors of the votive plaque) who are preparing the offering meal, while the riders on horseback, the divine twins Castor and Pollux, evoke the cult of the Danubian rider. Their sister Helen of Troy stands at an altar of Sol like a priestess, representing fertility. As suggested by Aimone, the presence of the two horsemen seems suggest a military context, a connection underlined by the presence of the fully armoured soldier at the left. This iconography was very popular in the Roman Empire and lasted until the 4th century A.D., being also the subject of other artworks, like the fabulous tray in the recently published Wyvern collection (Aimone, 2020, pp.95ff.). [No Reserve]

Circa 35 B.C.-5 A.D.. Obv: BASILEWS BASILEWN MEGALOU AZOU legend, emperor on horseback right, holding whip and raising right hand, bow on his back. Rev: Kharosthi legend around Athena standing right, holding transverse spear and shield, A monogram below. 2.29 grams, 14.63 mm. . Property of a South West London gentleman. [No Reserve]

260-268 A.D.. Rome, joint reign. Obv: IMP CP LIC GALLIENVS PF AVG, radiate, cuirassed bust right. Rev: PM TR P IIII COS III PP, Sol walking left, holding whip and raising right hand. RIC V-1 (J); Rome 119. 3.28 grams, 21 mm. . Acquired since the 1970s.From the private collection of a Surrey, UK, gentleman. [No Reserve]

Circa 1st century B.C.-3rd century A.D.. With inset carnelian cloison, intaglio Sol standing with whip. Cf. Chadour, A.B., Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994, item 137, for type. 5.17 grams, 20.88 mm overall, 17.37 mm internal diameter (approximate size British L, USA 5 3/4, Europe 11.24, Japan 10) (3/4 in.). Acquired before 2000.From the collection of a European gentleman living in the UK.

A GEORGE IV MAHOGANY BOOT AND WHIP RACK CIRCA 1825 108cm high, 98.5cm wide, 40cm deep

A pair of African carved hardwood figural bookends, height 18cm, together with a corded leather whip.

A Japanese bronze censer in the form of Kinko riding a carp, Meiji period, 32cm h; 22cm w Fin and man's whip detached but not lost, another fin and horn from fish missing

A Victorian rhinoceros horn riding whip, 65.5cm long, with gilt metal terminal, please note we cannot export this item outside of the UK

A flexible bamboo hunting whip with antler handle, silver collar and plaited lash, shaft 69cm, initialled AVK, (marks rubbed).

An early-20th century hunting whip with bamboo and stag antler handle and plaited leather lash, the silver collar marked JSH 1916 and hallmarked London 1915, shaft 55cm.

Three silver-mounted hunting whips without lashes, a spare woven lash, a hand-held lash and a carriage whip, (6).

A silver-mounted hunting whip, the leather-covered shaft with antler handle and woven leather lash, 46cm shaft, the mount marked M R Jebb 1920, dated London 1920.

13 Japanese menuki, mostly of shakudo with applied decoration, including a pair in form of a hand with a plaited whip or riding crop, another pair in the form of a bunch of foliage bound at the base, and another in the form of a mace or sceptre. GC £50-80