European, Asian Arts, Antiques, Samurai Swords

Lot: 1 - Maria Magdalena (Samaritan woman) & Jesus, by Old master, Oil painting study, 18th century, Italy

Maria Magdalena (Samaritan woman) and Jesus, by Old master, Oil painting study or an old copy, 17th-18th century, Italy. Size of the stretcher: 17.8” x 11.75” inches = 44.5 cm x 29.8 cm. Size of the frame: 21.75 x 15.75” = 54.4 cm x 39.4 cm Weight of the frame: 840 g = 2 lb. Weight of painting on stretcher: 520 g = 1 lb. 3 oz. Signature: none. Condition: very good for the age. Provenance: purchased at the big and reputable auction house in Italy. Full painting is located in another collection. Attributed to Lavinia Fontana. The last 2 photos show the original painting and the signature of the artist on original painting, which is not for sale.

Lot: 1C - Important Chinese carved agate temple Fu Dog, Late Qing Dynasty

Masterpiece of temple arts. Height: 88 mm = 8.8 cm = 3.5 inches; Length: 145 mm = 14.5 cm = 5.75 inches; Weight: 568 g = 1 lb.4.1 oz.; Mohs’ hardness. 9.0-10.0; Provenance: Private collection of American Doctor MD. Appraisal by Gem Era, Fine Gemstones, November 24, 1979. Agate. Chinese temple lion or Fu Dog. Grey-black color. Dog has one foot on large ball of banded agate, showing colors of gray white and black. Appraised value $4,500.00. References: Similar agate statue was sold for $64,363 http://www.sothebys.com/en/auctions/ecatalogue/2018/gems-of-chinese-art-from-speelman-collection-hk0795/lot.3459.html

Lot: 1E - Chinese Carved Nephrite Jade Bi Disk, Tang Dynasty (618-907 AD)

Archaic reddish brown nephrite, with 6 dragon heads on the outer ring, and 8 dragons (cloud design) on each side. Outer diameter: 5.45 inches = 138 mm = 13.8 cm; Weight: 8.6 oz. = 243 g; Condition: Perfect condition, no defects; Mohs’ hardness: 7.0-7.5; References: “Jade a study in Chinese Archaeology & Religion”, by Berthold Laufer, New York, 1974, originally published in Chicago, in 1912.

Lot: 1I - Japanese Samurai’s silk Kimono, Japan, Edo period, circa 1700

Japanese Samurai’s silk Kimono, Japan, Edo period, circa 1700 There is a beautiful painted picture inside the kimono, depicting eagle, pines, some fruits and mountain (possibly Mount Fuji). Length: 107 cm; Weight: 380 g; Condition: used, but perfect for the age, some damage at the bottom. Hand stitched with white thread. Authenticity guaranteed.

Lot: 1O - Antique hunting steel sword “KOHL Stuttgart” with leather scabbard, Germany

German antique hunting sword inscribed 'Kohl, Stuttgart'. The steel blade (attracted to the magnet) etched with floral motifs and arrows, with stag horn grip handle, in leather scabbard, with hunting knife missing. • Length of the sword with handle: 62.7 cm; • Length with a handle and scabbard: 65.5 cm; • Length of the blade: 48.2 cm; • Length of the scabbard: 50. 5 cm; • Weight of the sword: 620 g • Weight of the sword in scabbard: 840 g • Condition: used, a lot of original old grease, but no defects • Provenance: Private collection of arms and swords in Florida, USA. Auction results: $1,550 https://www.ebay.com/itm/164332947909?hash=item264301c9c5:g:95IAAOSwqHFcyv97

Lot: 1P - Napoleonic French cavalry saber sword with scabbard, Model AN IX, 1810AD

Napoleonic French cavalry saber sword with scabbard, Model AN IX, 1810 AD; Genuine antique sword with scabbard, “D with crown” mark. Length with a handle: 39.4 inches = 99.5 cm; Length of the scabbard: 32.6 inches = 83 cm; Weight of the sword: 1lb 12.5 oz.= 808 g;Weight of the sword in scabbard: 1 kg 312 g = 1312 g = 2 lb. 14.3 oz.Condition: the sword is used, but no defects. The blade has natural beautiful patina. Provenance: Private collection of arms and swords in Florida, USA.

Lot: 1S - Chinese Zhou Dynasty bronze short sword blade, 1046 BC – 256 BC

Chinese Zhou Dynasty bronze short sword blade, 1046 BC – 256 BC. East Asia, China, Eastern Zhou Dynasty, ca. 4th to 3rd century BCE. A cast-bronze blade from a short sword (known as a duan jian) formed via the lost wax technique. The elongated blade features a pair of shallow fullers that run the entire length, sharpened edges, and a pointed tip, all in front of a squat tang used for attaching the armament to its handle, each fuller is decorated with thick, zigzagging bands. The entire weapon is covered in layers of brown and green patina with petite spots of azurite patina in scattered areas. Size: 12" L x 1.4" W (30.5 cm x 3.6 cm) Provenance: Private San Diego, California, USA collection; ex-Piscopo Estate, California, USA, acquired 1990's Condition Report: Professional repair in 2 areas, with resurfacing and overpainting along new material and break lines. Chipping to tang, blade edges, and blade faces, with softening to some zigzag decorations, and light earthen deposits. Great patina throughout. Historical reference: From its inception in the third millennium B.C., the sword served equally as a weapon and as a symbol of social status and power. During the first millennium B.C., in the hands of the nomadic peoples of the Eurasian steppes, it became, along with the bow, one of the primary cavalry weapons of the ancient world. Groups such as the Scythians, the Yuezhi, the Xiongnu, and the Xianbei achieved a succession of federations and kingdoms in Eurasia by combining the use of sword and bow with an unparalleled skill in horsemanship. Archaeological investigations of burial sites have established the importance of the sword both as a valued possession and a sign of rank in various nomadic societies. While burial context has made it possible to identify some types of swords with specific nomadic peoples, others, like this example, are difficult to attribute with certainty. The complex techniques required for the manufacture of this sword, the combined use of bronze and steel, and the presence of gold decoration all indicate its origin in a society with advanced metalworking skills and a relatively high level of material wealth. Swords similar to this one have been found in Yunan in southwestern China and in Ningxia in the northwest. The Ningxia finds also include many other examples of similarly advanced metalworking, suggesting that this sword may have originated in that region, perhaps around the time of the late Warring States period.

Lot: 1T - Original antique Jian 劍 - Chinese double edged steel sword with leather scabbard, Ming dynasty (1368-1644) or earlier

Original antique Jian 劍- Chinese double edged steel sword with leather scabbard, Ming dynasty (1368-1644) or earlier. There is a signature in 5-6 Chinese characters in the middle of the blade, which is hard to read. There is another rectangular mark with some illegible characters at the base of the blade, on the same side. Length: 27.25 inches = 69.3 cm; Blade length: 21.75 inches = 55 cm; Leather scabbard length: 20.75 inches = 53 cm; Weight of sword + scabbard: 1128 g = 1 kg 128 g = 2 lb. 7.8 oz. Weight of sword only: 2 lb. 3.2 oz. = 997 g; Weight of scabbard only: 4.6 oz. = 131 g; Steel (iron) blade is attracted to magnet. Ornamented copper handle is heavy, massive and not attracted to magnet; Condition: the blade has some superficial rust, the leather scabbard is cut at the very point. Provenance: private collection of museum curator, St Petersburg, Florida, USA Reference: The jian (Mandarin Chinese: [tɕjɛ̂n], Chinese: 劍, English approximation: /dʒjɛn/ jyehn, Cantonese: [kiːm˧]) is a double-edged straight sword used during the last 2,500 years in China. The first Chinese sources that mention the jian date to the 7th century BCE, during the Spring and Autumn period;[1] one of the earliest specimens being the Sword of Goujian. Historical one-handed versions have blades varying from 45 to 80 centimeters (18 to 31 inches) in length. The weight of an average sword of 70-centimetre (28-inch) blade-length would be in a range of approximately 700 to 900 grams (1.5 to 2 pounds).[2] There are also larger two-handed versions used for training by many styles of Chinese martial arts. Professional jian practitioners are referred to as jianke (Chinese: 劍客; pinyin: jiànkè; lit. 'sword guests' or "swordsmen"; a term dating from the Han dynasty).[3] In Chinese folklore, it is known as "The Gentleman of Weapons" and is considered one of the four major weapons, along with the gun (staff), qiang (spear), and the dao (sabre). These swords are also sometimes referred to as taijijian or "tai chi swords", reflecting their current use as training weapons for tai chi practitioners, though there were no historical jian types created specifically for tai chi.[4] Reference about screw: The screw was one of the last of the simple machines to be invented. It first appeared in Mesopotamia during the Neo-Assyrian period (911-609) BC, and then later appeared in Ancient Egypt and Ancient Greece where it was described by the Greek mathematician Archytas of Tarentum (428–350 BC).

Lot: 2B - Japanese genuine antique Samurai button + wooden nail, circa 1650 AD

Japanese genuine antique Samurai button + wooden nail, circa 1650 AD Origin: from the genuine wooden box of the iron Samurai armor; Material: Bone? Shell? Size: 18 mm; Weight: 0.21 g. The last 2 photos - microscopy x 50.

Lot: 2M - Etruscan small pottery oil jar (6.35 cm) - 600 BC - 550 B.C.

Height: 2.5 inches = 6.35 cm; Width: 1.75 inches = 4.45 cm Weight: Condition: very good, paint loss. Provenance: from the collection of wealthy gentleman, who was also an antique art collector, who lived by himself and left very little information about any of his collection of the items. Part of his life he has lived in California and in his last years - in San Juan, Puerto Rico. Estate Evaluators report: All his antique items were numbered as if they were cataloged, but because of the mess found on the property, by people looking for valuables thing, the documents related to the artifacts went missing. All his collection items were insured, but the documents are in legal hands.

Lot: 2N - Etruscan pottery 6 cm- small oil jar, 600 B.C. - 550 B.C.

Genuine ancient Etruscan terracotta oil jar from US collector. Height: 2.3/8" = 6.0 cm; Width: 2.1/8" = 5.4 cm; Provenance: from the collection of wealthy gentleman, who was also an antique art collector, who lived by himself and left very little information about any of his collection of the items. Part of his life he has lived in California and in his last years - in San Juan, Puerto Rico. Estate Evaluators report: All his antique items were numbered as if they were cataloged, but because of the mess found on the property, by people looking for valuables thing, the documents related to the artifacts went missing. All his collection items were insured, but the documents are in legal hands.

Lot: 2X - Rare petal shaped 126 mm Viking iron arrowhead from Kievan Rus, 800 AD-1200 AD

Rare petal shaped 126 mm Viking iron arrowhead from Kievan Rus, 800 AD-1200 AD Very rare petal shape of arrowhead, used to cause 3-4 cm lacerations - long cutting wounds. Arrowhead was found along the “Varangians to the Greeks” trade route, on the bank Dnieper river. Length: 95 mm = 12.6 cm; Weight: 15.07 g; Strong attraction to magnet. Tanged. Provenance: private collection in Ukraine; Condition: some genuine patina and stable rust, overall perfect condition; The “trade route from the Varangians to the Greeks” was a medieval trade route that connected Scandinavia, Kievan Rus' and the Eastern Roman Empire. The route allowed merchants along its length to establish a direct prosperous trade with the Empire, and prompted some of them to settle in the territories of present-day Belarus, Russia and Ukraine. The majority of the route comprised a long-distance waterway, including the Baltic Sea, several rivers flowing into the Baltic Sea, and rivers of the Dnieper river system, with portages on the drainage divides. An alternative route was along the Dniestr river with stops on the Western shore of Black Sea. These more specific sub-routes are sometimes referred to as the Dnieper trade route and Dniestr trade route, respectively. The route began in Scandinavian trading centers such as Birka, Hedeby, and Gotland, crossed the Baltic Sea, entered the Gulf of Finland, and followed the Neva River into Lake Ladoga. Then it followed the Volkhov River upstream past the towns of Staraya Ladoga and Velikiy Novgorod, crossed Lake Ilmen, and continued up the Lovat River, the Kunya River and possibly the Seryozha River [ru]. From there, a portage led to the Toropa River [ru] and downstream to the Western Dvina River. From the Western Dvina, the ships went upstream along the Kasplya River and were portaged again to the Katynka River (near Katyn), a tributary of the Dnieper. Along the Dnieper, the route crossed several major rapids and passed through Kiev. After entering the Black Sea, it followed its west coast to Constantinople.[1] The Varangian Guard (Greek: Τάγμα των Βαράγγων, Tágma tōn Varángōn) were a part of Byzantine Army and personal bodyguards of the Byzantine emperors from the 10th to the 14th centuries. Initially the guard was composed of Varangians who came from Kievan Rus'.

Lot: 3B - 76 cm long, Khazar Empire semi-nomadic iron sword, 650-965 AD

76 cm long, Khazar Empire semi-nomadic iron sword, 650-965 AD Length: 76 cm = 30 inches; Length of the blade: 69 cm = 27.25 inches; Weight: 448 g; Condition: genuine stable rust, do not required additional preservation; Provenance: Private collection in London, United Kingdom; before - Private Oxfordshire collection; formerly acquired on the European art market from pre-2000 collections.

Lot: 3C - Lozenge tanged 83 mm Viking iron arrowhead from Kievan Rus, 800 AD-1200 AD

This lozenge shaped arrowhead was found along the “Varangians to the Greeks” trade route, on the bank Dnieper river. Length: 83 mm; Weight: 10.45 g; Iron - strong attraction to magnet. Stepped tanged. Provenance: private collection in Ukraine; Condition: some genuine patina and stable rust, overall perfect condition; The “trade route from the Varangians to the Greeks” was a medieval trade route that connected Scandinavia, Kievan Rus' and the Eastern Roman Empire. The route allowed merchants along its length to establish a direct prosperous trade with the Empire, and prompted some of them to settle in the territories of present-day Belarus, Russia and Ukraine. The majority of the route comprised a long-distance waterway, including the Baltic Sea, several rivers flowing into the Baltic Sea, and rivers of the Dnieper river system, with portages on the drainage divides. An alternative route was along the Dniestr river with stops on the Western shore of Black Sea. These more specific sub-routes are sometimes referred to as the Dnieper trade route and Dniestr trade route, respectively. The route began in Scandinavian trading centers such as Birka, Hedeby, and Gotland, crossed the Baltic Sea, entered the Gulf of Finland, and followed the Neva River into Lake Ladoga. Then it followed the Volkhov River upstream past the towns of Staraya Ladoga and Velikiy Novgorod, crossed Lake Ilmen, and continued up the Lovat River, the Kunya River and possibly the Seryozha River [ru]. From there, a portage led to the Toropa River [ru] and downstream to the Western Dvina River. From the Western Dvina, the ships went upstream along the Kasplya River and were portaged again to the Katynka River (near Katyn), a tributary of the Dnieper. Along the Dnieper, the route crossed several major rapids and passed through Kiev. After entering the Black Sea, it followed its west coast to Constantinople.[1] The Varangian Guard (Greek: Τάγμα των Βαράγγων, Tágma tōn Varángōn) were a part of Byzantine Army and personal bodyguards of the Byzantine emperors from the 10th to the 14th centuries. Initially the guard was composed of Varangians who came from Kievan Rus'.

Lot: 3M - Ancient Greek bronze bullet shape arrowhead #5 (3.75 g), 3000 BC-1500 BC

Three blades’ bronze arrowhead with socketed tang. Weight: 3.75 g; Length: 29 mm; Condition: authentic brown-gray patina. Provenance: private collection in Italy

Lot: 3N - Archaic Greek - Aegean Bronze Age, 56 mm- bronze bullet shape arrowhead, 3200 BC -1050 BC

Archaic Greek - Aegean Bronze Age, 56 mm- bronze bullet shape arrowhead, 3200 BC -1050 BC; Length: 56 mm = 5.6 cm = 2.20 inches Weight: 8.85 g. Condition: the edges are sharp, genuine stable brown patina. «In the second half of the nineteenth century, archaeologists began to focus on understanding prehistoric Greece and its extraordinary flowering during the Greek Bronze Age (about

Lot: 3O - Archaic Greek - Aegean Bronze Age, 68 mm- bronze drop shape arrowhead, 3200 BC -1050 BC

Archaic Greek - Aegean Bronze Age, 68 mm- bronze drop shape arrowhead, 3200 BC -1050 BC; Length: 68 mm = 6.8 cm = 2.68 inches; Weight: 4.28 g. Condition: the edges are sharp, genuine stable brown-green patina. «In the second half of the nineteenth century, archaeologists began to focus on understanding prehistoric Greece and its extraordinary flowering during the Greek Bronze Age (about

Lot: 3P - Roman phallus shaped bronze ring, size 8.0, 100 BC-200 AD

Roman phallus shaped bronze ring, size 8.0, 100 BC-200 AD Height: 40 mm = 4.0 cm; Diameter: 20 mm = 2.0 cm Inner diameter: 18 mm= 1.8 cm US Size: 7.5 – 8.0 Weight: 18.63 g; Last 4 photos made with x50 magnification.

Lot: 3S - Archaic Greek - Aegean Bronze Age, 49 mm- small bronze arrowhead, 3200 BC -1050 BC

Archaic Greek - Aegean Bronze Age, 49 mm- small bronze arrowhead, 3200 BC -1050 BC; Length: 49 mm = 4.9 cm = 1.93 inches; Weight: 2.51 g. Condition: the edges are sharp, genuine multicolored stable patina. «In the second half of the nineteenth century, archaeologists began to focus on understanding prehistoric Greece and its extraordinary flowering during the Greek Bronze Age (about

Lot: 3T - Archaic Greek - Aegean Bronze Age, 76 mm- bronze long arrowhead, 3200 BC -1050 BC

Archaic Greek - Aegean Bronze Age, 76 mm- bronze long arrowhead, 3200 BC -1050 BC; Length: 76 mm = 7.6 cm = 3 inches; Weight: 4.84 g. Condition: the edges are sharp, genuine stable multicolored green patina. «In the second half of the nineteenth century, archaeologists began to focus on understanding prehistoric Greece and its extraordinary flowering during the Greek Bronze Age (about

Lot: 3U - Archaic Greek - Aegean Bronze Age, 155 mm- bronze sharp spearhead, 3200 BC -1050 BC;

Archaic Greek - Aegean Bronze Age, 155 mm- bronze sharp spearhead, 3200 BC -1050 BC; Length: 155 mm = 15.5 cm = 6.10 inches; Weight: 22.70 g. Condition: the edges are sharp, genuine green patina, some rust spots. «In the second half of the nineteenth century, archaeologists began to focus on understanding prehistoric Greece and its extraordinary flowering during the Greek Bronze Age (about

Lot: 3V - Archaic Greek - Aegean Bronze Age, 293 mm- long bronze sharp spearhead, 3200 BC -1050 BC

Archaic Greek - Aegean Bronze Age, 293 mm- long bronze sharp spearhead, 3200 BC -1050 BC Length: 293 mm = 29.3 cm = 11.5 inches Weight: 117.93 g. Condition: the edges are sharp, genuine green & brown patina. «In the second half of the nineteenth century, archaeologists began to focus on understanding prehistoric Greece and its extraordinary flowering during the Greek Bronze Age (about

Lot: 4D - Ottoman antique iron armor: Helmet, Tabar axe, Dhal buckler shield

Ottoman antique iron armor: Helmet, Tabar axe, Dhal buckler shield Lot of Indo-Persian weaponry, including Tabar Axe, Kulah Khud Helmet, and Dhal buckler shield with etched figures, scenes and Arabic writing. Attracted to the magnet. Shield diameter: 18 inches = 45 cm; Axe length: 29.0” = 74 cm; Helmet diameter: 8 inches = 20 cm; Helmet weight: 1 kg 110 g = 2 lb. 7 oz. Provenance: private collection, California, USA. The tabar (also called tabarzin, which means "saddle axe" [in persian], Modern Turkish: teber) is a type of battle axe. The term tabar is used for axes originating from the Ottoman Empire, Persia, India and surrounding countries and cultures. As a loanword taken through Iranian Scythian, the word tabar is also used in most Slavic languages as the word for axe[1] (e.g. Russian: топор). Persia The tabarzin (saddle axe) (Persian: تبرزین; sometimes translated "saddle-hatchet") is the traditional battle axe of Persia (Iran). It bears one or two crescent-shaped blades. The long form of the tabar was about seven feet long, while a shorter version was about three feet long. What makes the Persian axe unique is the very thin handle, which is very light and always metallic.[2] The tabarzin was sometimes carried as a symbolic weapon by wandering dervishes (Muslim ascetic worshippers).[citation needed] The word tabar for axe was directly borrowed into Armenian as tapar (Armenian: տապար) from Middle Persian tabar,[3][4] as well as into Proto-Slavonic as "topor" (*toporъ), the latter word known to be taken through Scythian,[5][1] and is still the common Slavic word for axe.[1] India During the 17th and 18th centuries, the tabar battle axe was a standard weapon of the mounted warriors of Punjab, Sikh Khalsa army and what is now modern day India and Pakistan. Made entirely of metal or with a wood haft, it had a strongly curved blade and a hammer-headed poll and was often decorated with scroll work. Sometimes a small knife was inserted in the tabar's hollow haft. Arabia According to Adam Metz's "Islamic Civilization in the Fourth Century of the Hegira," the tabar was frequently not only a weapon used by police chiefs (Sahib al-Shurta), but also a mark of office for them. The dhal is a type of shield found in the Indian subcontinent.[1] They are nearly always geometrically round and yet they vary in diameter from about eight inches to twenty-four inches. Some are nearly flat while others are strongly convex or curved.[2] The edges may be flat or rolled back in the reverse direction to that of the curvature of the shield. Dhal shields were either made from metal or hide.[3]

Lot: 4K - Incense burner in the shape of the lion/tiger, 11th -12th century AD

Incense burner in the shape of the lion/tiger, 11th -12th century AD. Bronze finial coming from an incense burner in the shape of the head of the lion or tiger. Origin: Eastern Iran or Afghanistan; The head with pair of erected ears and nice face details including round recessed eyes for inlays, a pointed nose, and an open mouth. Perforated neck for the scented smoke to escape. For a complete incense burner in the shape of a lion see The Metropolitan Museum, Credit Line: The David Collection, Copenhagen (48/1981). Length: 38mm. Width: 27 mm; Weight: 65g. Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s. Reference: Feline predators were among the most popular forms for incense burners produced in the eastern parts of the Seljuq realm. Anatomy, proportion, and detail are commonly ignored in favor of abstraction and ornamentation. The thick “mustache,” prominent teeth, and protruding tongue are further expressive characteristics. With the feline standing on its four paws, its tail terminating in the head of a bird (of prey?) and its sharp beak pointing forward, evoking a weapon, this incense burner takes on a frightening and powerful dimension. The royal iconography of this piece is reinforced by the preciousness of the incense that it contained. https://www.metmuseum.org/art/collection/search/642232

Lot: 4L - Antique bronze eye cosmetic kohl tripod, Middle Asia, 1500BC- 800AD.

Antique bronze eye cosmetic kohl tripod, Middle Asia, 1500 BC- 800 AD. Made in Bactria or Persia, circa 1500 BC-800 AD. A delightful cast bronze vessel for holding kohl. The pot has a highly decorated rounded body with incised patterns and applied beaded lines. Three bent legs with hoof-like feet support it. Kohl is an eye cosmetic, still in use, made by grinding stibnite for use as mascara or eyeliner. Length: 80 mm; Width: 55 mm; Weight: 17 g; Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.

Lot: 4M - Antique copper or bronze bird finial, Europe? Near East?

Antique copper or bronze bird finial, Europe? Near East? Height: 6 cm; Length: 7.5 cm; Weight: 3.7 oz. = 104 g; Provenance private collection in Clearwater, Florida

Lot: 5 - Marie Elysa Bonaparte, sister of Napoleon, oil painting, circa 1810

Marie Anna Elysa Bonaparte, by unknown artist, oil painting. Not signed; Relined; Oil on canvas; Canvas on stretcher: 22.2 x 18.4 inches = 55.5 cm x 46 cm; Old wooden frame: 31 x 27.5 inches = 77.5 cm x 69 cm; References and history: Maria Anna (Marie Anne) Elisa Bonaparte Baciocchi Levoy, Princesse Française, Duchess of Lucca and Princess of Piombino, Grand Duchess of Tuscany, Countess of Compignano (3 January 1777 - 7 August 1820) was the fourth surviving child and eldest surviving daughter of Carlo Buonaparte and Letizia Ramolino, making her the younger sister of Napoleon Bonaparte. Her other elder siblings were Joseph and Lucien, whilst her younger siblings were Louis, Pauline, Caroline and Jerome. As princess of Piombino and Lucca, then grand duchess of Tuscany, she was his only sister to possess real political power, though her sharp tongue often caused troubles in her relations with him. Highly interested in the arts, particularly the theater, she encouraged them in the territories over which she ruled. Condition: Genuine, professionally relined, very good condition, natural aging of the oil paint, no visible defects;

Lot: 6 - Portrait of Jesus Christ, masterpiece antique Roman/Byzantium icon, 500-1500 AD;

Portrait of Jesus Christ, masterpiece antique Roman/Byzantium icon, 500-1500 AD; An antique masterpiece oil painting on canvas, portraying the Jesus Christ face, with the crown of thorns. The painting was made in the years of Renaissance or earlier. Old master painting, the canvas was relined in the early 19th century or 18th century. This subject matter often signifies Christs suffering, sacrifice, and the profound themes of redemption and salvation in Christian theology. It focuses on capturing the expression on Christs face, emphasizing the pain and humility associated with the crown of thorns. The use of color, light, and shadow would further enhance the emotional impact of the portrayal. Antique Religious Paintings and Art Collectibles. Dimensions: 10 x 8.45 inches = 25.2 cm x 21.4 cm; Weight: 237.27 g; Condition Report: Overall good vintage condition. Signs of wear and Age. Loss of paint. Refer to photos. Sold as is. Provenance: private collection in New York.

Lot: 7 - Portrait of Leopold I, King of Belgium , antique oil painting, early 1800's

We have three versions of the person on the painting: Version 1: Joachim-Napoléon Murat; born Joachim Murat; Italian: Gioacchino Napoleone Murat; German: Joachim-Napoleon Murat; 25 March 1767 – 13 October 1815) was a Marshal of France and Admiral of France under the reign of Napoleon. He was also the 1st Prince Murat, Grand Duke of Berg from 1806 to 1808, and King of Naples from 1808 to 1815. Murat received his titles in part by being Napoleon's brother-in-law through marriage to his younger sister, Caroline Bonaparte, as well as personal merit. He was noted as a daring, brave, and charismatic cavalry officer as well as a flamboyant dresser, for which he was known as "the Dandy King". Version 2: Inscription on canvas in the right upper corner: portrait of British General Sir Thomas Picton, killed in action at Waterloo, in 1815. Version 3: Portrait of Leopold I, King of Belgium. Possible attributions of the artist: 1. Sir Thomas Lawrence (1769 - 1830); 2. Sir William Beechey (1753 - 1839); 3. Jacques-Louis David (1748 - 1825); 4. Sir Martin Archer Shee (1769 - 1850) - high probability. http://www.npg.org.uk/collections/search/person/mp03564/sir-thomas-picton 5. George Dawe (1781-1829) England - highest possibility. Size of the frame: 29 in. x 25 in. = 72.5 cm x 62.5 cm; Size of the stretcher: 24 x 20 in. = 60 cm x 50 cm; Weight of the frame: 15 lb. = 6.75 kg; In the right upper corner there is a message in English: Thomas Picton General Served in Paris under the Duke of Wellington Killed in action and _____________Cavalry 1815. Version 2. This is a portrait of British General Thomas Picton. Discussion: The portrait was probably made in his younger years. Biography of Thomas Picton: Picton was the younger son of Thomas Picton, and was born in Poyston, Pembrokeshire, Wales. In 1771 he obtained an ensign's commission in the 12th Regiment of Foot, but he did not join until two years later. The regiment was then stationed at Gibraltar, where he remained until he was made captain in the 75th in January 1778, at which point he then returned to Britain. The regiment was disbanded five years later, and Picton quelled a mutiny amongst the men by his prompt personal action and courage, and was promised the rank of major as a reward. He did not receive it, and after living in retirement on his father's estate for nearly twelve years, he went out to the West Indies in 1794 on the strength of a slight acquaintance with Sir John Vaughan, the commander-in-chief, who made him his aide-de-camp and gave him a captaincy in the 17th foot. Shortly afterwards he was promoted major in the 58th foot. Condition Fine, normal age wear, no defects; Low Estimate: 100000.0; High Estimate: 250000.0;

Lot: 7A - Jean Baptiste Greuze (1725-1805) French, “Study of young girl head” Oil on canvas, Ex-Christie’s

Jean Baptiste Greuze (1725-1805) French, “Study of young girl head” Oil on canvas, Ex-Christie’s Jean Baptiste Greuze (1725-1805) French, oil on canvas. Titled 'Study of Young Girls Head'. Oil on canvas. Traces of Christies Auction stencils on the stretcher. Frame: 55 cm x 63.5 cm = 21” x 24.5” (inches) Stretcher: 33.5 cm x 41 cm = 13” x 16.25”

Lot: 7G - Diana, Princess of Wales portrait, masterpiece oil painting, by Elena Tsytko, 2023

Diana, Princess of Wales portrait, masterpiece oil painting, by Elena Tsytko, 2023 Size of the stretcher: 40.6 cm x 50.8 cm = 16 inches x 20 inches; Oil on canvas, varnish. There are three men in tuxedo at the background. Diana, Princess of Wales (born Diana Frances Spencer; 1 July 1961 – 31 August 1997) was a member of the British royal family. She was the first wife of Charles, Prince of

Lot: 8 - Old woman portrait, attributed to Wilhelm Leibl, 19th c

Portrait of an old woman, attributed to Wilhelm Maria Hubertus Leibl (1844-1900). Not signed. The portrait of the old woman, holding a Bible, is very alive, definitely has a soul and emanates good feelings. Approximate age: 1873-1878. Dimensions of the canvas: 31' x 43' = 77.5 cm x 107.5 cm. Dimensions of the frame: 43" x 57' inches = 109 cm x 142.5 cm. Original old wooden massive frame has a minor defect 4 x 2 inch (chip) in the left upper corner. On the back of the painting there is a sign of the company, which framed the painting: "5-F Rue N. D. Des Champs, Paris Paul Foinet, Van Eyck, Toiles & couleurs fines" « Pure Painting » In pictorial representation everything can be beautiful, including things that are not beautiful in life, for example, an ugly girl or an old woman; for in art it is a question of what is depicted, but only of how it is depicted, and beauty must lie in the painting itself, not in the subject. Wilhelm Trubner, Das Kunstverstandnis von heute (Art as it is understood today), 1892 Provenance: The painting was bought in 2006 on estate sale in Clearwater, FL, USA from 90-years old German Immigrant (who moved from Germany after Second World War) by respected antique art dealer Mr. Z in Clearwater. Bought by Eternity Gallery in 2010 from antique dealer Mr. Z . Magnification research: This is an oil painting on canvas with heavy brush strokes. Compare to background, the face has very defined details of the skin structure with significant and impressive look of the eyes. The hands are painted very well, showing details (cracked nails, etc.). Clothing is made in impressionistic nature, showing the bright red, deep green and brown colors. There is an old (not restored varnish), cracks all over the canvas, including background and body and face. Research under ultraviolet light: Considering the age of the painting, which is approximately 135 years, condition of the painting is almost perfect. There is a slight damage (size 2.5 x 1 inch) above the right hand which has been professionally restored. There are 3 tiny scratches (5-10mm) painted over, with dark paint, in the background. Research of the backside (verso) of the canvas: -How come a German artist made a painting on the French canvas? Speculations: Gustave Courbet (a very well know painter from France) took him to France, after he met him at a Gallery in Munich. The canvas stamped PAUL FOINET could be purchased in Paris. Condition: Original old wooden massive frame has a minor defect 4 x 2 inch (chip) in the left upper corner. Considering the age of the painting, which is approximately 135 years, condition of the painting is almost perfect. There is a slight damage (size 2.5 x 1 inch) above the right hand which has been professionally restored. There are 3 tiny scratches (5-10 mm) painted over, with dark paint, in the background. Low Estimate: 100000; High Estimate: 250000; Original: Yes; Medium: Oil Paint; Circa: 1875; Style: Classicism

Lot: 8B - Fishermen sail boats, oil on canvas, signed

Fishermen sail boats, oil on canvas, signed. Size of the frame: 29 x 17.25 inches = 74.5 cm x 44 cm; Size of the stretcher with canvas: 24 x 12 inches = 60.5 cm x 30.5 cm; Weight: 3 lb. 9.4 oz. = 1,615 g = 1 kg 615 g; Condition: perfect, no defects. Provenance: estate sale in Clearwater, Florida, USA.

Lot: 8C - Two beautiful nude girls, Art Nuveau lithograph, signed & numbered

Two beautiful nude girls, Art Nuveau lithograph, signed & numbered Print: 21” x 16.5” inches = 53.3 cm x 42 cm; Frame: 26.5” x 22” inches = 67.3 x 56 cm; Condition: vintage, but in excellent condition, framed and protected by acrylic Plexiglas.

Lot: 9 - Painting, still life of sunflowers 1950’s, signed by David Davidovich Burliuk (1882-1967),

Painting, still life of sunflowers 1950’s, signed by David Davidovich Burliuk (1882-1967), Size of the stretcher: 22.25” x 19.25” inches sight. Frame: (26” x 24” in frame}. Burliuk has painted several similar still life paintings in the early 1950's. Provenance: Estate of Lisabeth Scott. Hollywood CA. Authenticity report: According to our research: 1) The

Lot: 10A - Antique academic classical style Italian/English drawing of young woman, circa 1850, Italy;

Antique academic classical style Italian/English drawing of young woman, circa 1850, Italy; A masterpiece classic Italian portrait in academic style. The more you look at this portrait – the more peace and harmony come into your soul and heart. Drawing: 18 x 14 inches = 47cm x 35.5 cm; Frame: 33 x 29 inches = 83cm x 73 cm; Weight with frame: 16 lb. Condition of the drawing: perfect, covered with glass; Original carved wooden frame. Research in ultraviolet light: no overpaint or repairs. The carved wooden frame itself is a masterpiece. Shipping in USA: $300-$600, depending on carrier and urgency.

Lot: 11 - Antique engraving Duchess of Guise, Paris, France, 1684

Antique French engraving: portrait of Marie of Lorraine, Duchess of Guise, Paris, France, 1684. Engraving after Pierre Mignard (1612 1695). Marie de Lorraine (15 August 1615 3 March 1688) was the daughter of Charles de Lorraine, Duke of Guise and Henriette Catherine de Joyeuse and the last member of the House of Guise, a branch of the House of Lorraine.Size of the engraving: 9.75 x 14 = 24.4 cm x

Lot: 12 - Day Dreams of the blonde girl, - oil painting on canvas, by Vera Rabe, USA

Day Dreams of the blonde girl, - oil painting on canvas, by Vera Rabe, USA; Size of stretcher: 24 in. x 20 in. = 60 cm x 50 cm; Weight: 1 lb. 12 oz. = 800 g; Unframed; Condition: fine, some natural aging; Age: second half of 20th century; Artist studied in Provincetown, later moved to Florida.

Lot: 12A - Masterpiece, - Portrait of the blond nude, - oil painting on canvas, by Vera Rabe, USA;

Masterpiece, - Portrait of the blond nude, - oil painting on canvas, by Vera Rabe, USA; Size of stretcher: 24 in. x 30 in. = 60 cm x 75 cm; Weight: 2 lb. 5 oz. = 1080 g; Unframed; Condition: fine, some natural aging; Age: second half of 20th century; Artist studied in Provincetown, later moved to Florida.

Lot: 12B - Masterpiece, "Mystic flowers", - oil painting on canvas, by Vera Rabe, USA

Masterpiece, Mystic flowers, - oil painting on canvas, by Vera Rabe, USA; Size of stretcher: 24 in. x 20 in. = 60 cm x 50 cm; Weight: 1 lb. 12 oz. = 800 g; Unframed; Condition: fine, some natural aging, small 7-mm tear in the upper left corner; Age: second half of 20th century; Artist studied in Provincetown, later moved to Florida.

Lot: 18 - Doge’s Palace in Venice, by Ricco Azzuro, oil on canvas painting 19.5" x 27.5" inches

Signed in right bottom corner: Rico Azzuro; At the back: Rico Azzuro – Veedig – Dogenpalast; From Paris Art Gallery, Chicago Illinois; Size of the stretcher: 27.5” x 19.5” inches = 70 cm x 50 cm; Condition: there are two insignificant deepening on the surface in the left part of the painting: 4 cm x 2 cm and 0.5 cm x 0.5 cm, which are almost invisible, other than that - very fine condition. The Doge's Palace (Italian: Palazzo Ducale) is a gothic palace in Venice, northern Italy. The palace was the residence of the Doge of Venice, the supreme authority of the Republic of Venice. Its two most visible façades look towards the Venetian Lagoon and St. Mark's Square, or rather the Piazzetta. The use of arcading in the lower stories produces an interesting "gravity-defying" effect. There is also effective use of colour contrasts

Lot: 19 - Russian bronze casting, “Three Men in a Troika”, 1880, signed by Evgeni Ivanovich Naps.

Russian bronze casting, “Three Men in a Troika”, 1880, signed by Evgeni Ivanovich Naps. Size: 7.25” x 6” x 11” = 18.41 cm x 15.24 cm x 28 cm; Provenance: Private collection in Alabama, USA Biography: Evgeniy Ivanovich Naps is a Russian 19th Century sculptor. Yevgeniy Ivanovich Naps's work has been offered at auction multiple times, with realized prices ranging from 335 USD to 80,800 USD, depending on the size and medium of the artwork. Since 2008 the record price for this artist at auction is 80,800 USD for A Bear Attack, sold at Jackson's in 2013. Artist's alternative names: Evgeny Ivanovich Naps, Evgeny Naps, Yevgeniy Naps.

Lot: 21 - #9 Cubism, Menachem Helholz-Or “Venus dancer”, circa 1950s

Reserve price: $6,000; #9 Cubism, Menachem Helholz-Or “Venus dancer”, circa 1950s; “Abstract Dancer” Oil on canvas: 64 x 54 cm; High quality wooden frame, made in UK: 76.5 cm x 65 cm; Just cost of the frame was 200 GBP. Certified by Alon Zacaim, London, UK; Menachem Helholz-Or is a visual artist. Many works by the artist have been sold at auction, including 'A cubist fragmentation' sold at Bonham’s, New Bond Street: 'Impressionist and Modern Art' in 2009 for $7,451. On Sotheby’s his paintings were sold $8,000 and more. Biography Menachem Helholz-Or was born in Germany in 1911. Although his training was never formal, he was exposed to the influence of various German Artists of the Expressionist and Bauhaus Movements whilst in his youth, most notably Franz Marc, Heinrich Campendonk, Paul Klee and Auguste Macke. His later work shows the influence of several of these artists especially in his fusing together of Cubism and vivid Expressionist colour. In 1933, when Hitler came to power, Helholz-Or fled from Germany and settled in Palestine, where from 1937, after initial hardships, he was able to devote himself to his painting. His favored subjects include figurative scenes, marine life and schematic cities, some of which are based on Jerusalem, Jaffa and also memories of German cities and railway bridges, reminiscent of motifs used by Max Beckmann. He stood out in the nascent Israeli art scene because of his adherence to avant-garde rather than nostalgic forms. Helholz -Or also experimented with the prismatic effects of light, and like many other German artists of the period, his work fluctuated between an Expressionist version of Orphism (under the influence of the Delaunays) and Cubism. His townscapes and still lives owe much to Paul Klee, particularly his creation of "all-over" formal poetic patterning. In 1977 the artist was awarded a prize from the National Museum of Monaco.

Lot: 21A - Menachem Gueffen: reclining nude with a robe / Israeli/British/French realism. Print

Artist: Menachem Gueffen; Young Nude Reclining with a Robe; This is a high quality print from the original hand-signed ink drawing; Past Provenance: the art collection of the Israeli cultural icon Dahn Ben-Amotz. Artist Name: Menachem Gueffen; Title: Young nude reclining with a robe; Signature Description: Hand-signed in Hebrew on the left; Technique: Ink on paper; Size: 43.18 cm x 27.94 cm = 17

Lot: 21B - Menachem Gueffen, Young Woman Reclining & Mirror/ Israeli/British/French Realism, Print 17"x11"

Artist: Menachem Gueffen; Young Woman Reclining with a Mirror; This is a high quality print from the original hand-signed ink drawing; Past Provenance: the art collection of the Israeli cultural icon Dahn Ben-Amotz; Artist Name: Menachem Gueffen; Title: Young woman reclining with a mirror; Signature Description: Hand-Signed in Hebrew lower right; Technique: Ink on paper; Size: 43.18 cm x 27.94 cm

Lot: 21C - 1974 Press Photo Diana Rigg and Menachem Gueffen in London

1974 Press Photo Diana Rigg and Menachem Gueffen in London - RSH47281 This is an original press photo. Photo measures 8.5 x 10.5 inches. Photo is dated 2-2-1974.

Lot: 22B - Antique français 6 page Manuscript, 8 Juin 1823, signé

Antique français 6 page Manuscript, 8 Juin 1823, signé par un juge de Paix Ceyzériat, Restauration bourbonienne; Antique French 6 page Manuscript on thick paper, signed by Juge de Paix a Ceyzériat on 8 Juin 1823; Stamp 75 c; Stamp: Loi de 1816; Timbre royal; Signed and stamped: Juge de Paix a Ceizerait; Total fees: 10 franc 39 sou; Size closed book: 29.3 cm x 21 cm; Size of

Lot: 23 - Marble Beatrice of Dante, by Brogi 1853-1919, Italy

Stunning Beautiful Marble & Alabaster Beatrice bust, signed by Giovanni Brogi 1853-1919, Italian sculptor. Material: Marble and alabaster. You could decorate your palazzo or estate with real marble statue, which looks like from Renaissance time. Approximate weight: 50-70 lb. Height with base: 18 inches = 45 cm. Height without base: 16 inches = 40 cm. Base: 17 x 6.5 inches = 42.5 cm x 16.25 cm. Shipping: Recommended shipping in USA and internationally by UPS, FEDEX or Craters and Freighters with full insurance. International shipping is available, ask for shipping rates. Local pick up is available, - if you live or take vacation in Florida or Georgia. According to the autobiographic La Vita Nuova, Beatrice and Dante met only twice during their lives. Even less credible is the numerology behind these encounters, marking out Dante's life in periods of nine years. This amount of time falls in line with Dante's repeated use of the number three or multiples of, derived from the Holy Trinity. It is more likely that the encounters with Beatrice that Dante writes of are the two that fulfill his poetic vision, and Beatrice, like Petrarch's Laura, seem to blur the line between an actual love interest and a means employed by the poet. According to Dante, he first met Beatrice when his father took him to the Portinari house for a May Day party. At the time, Beatrice was eight years old, a year younger than Dante. Dante was instantly taken with her and remained so throughout her life even though she married another man, banker Simone dei Bardi, in 1287. Beatrice died three years later in June 1290 at the age of 24. Dante continued to hold an abiding love and respect for the woman after her death, even after he married Gemma Donati in 1285 and had children. After Beatrice's death, Dante withdrew into intense study and began composing poems dedicated to her memory. The collection of these poems, along with others he had previously written in his journal in awe of Beatrice, became La Vita Nuova. Following their first meeting, Dante was so enthralled by Beatrice that he later wrote in La Vita Nuova: Ecce Deus fortior me, qui veniens dominabitur mihi ("Behold, a deity stronger than I; who coming, shall rule over me.") Indeed, Dante frequented parts of Florence, his home city, where he thought he might catch even a glimpse of her. As he did so, he made great efforts to ensure his thoughts of Beatrice remained private, even writing poetry for another lady, so as to use her as a "screen for the truth". Dante's courtly love for Beatrice continued for nine years, before the pair finally met again. Condition: Very good, no cracks, there are several small chips at the base of the bust, the biggest chip is 1.5 cm long. Low Estimate: 30000; High Estimate: 60000; Condition: Excellent; Original: Yes; Circa: 1900;

Lot: 23C - Genuine antique Japanese iron Kote (arms guard) for Samurai's armor o-YOROI, Japan, Edo period

Genuine antique Japanese iron Kote (arms guard) for Samurai's armor o-YOROI, Japan, Edo period (1700-1800). Original antique Samurai iron kote (arms guard). The ō-yoroi (大鎧) is a prominent example of early Japanese armor worn by the samurai class of feudal Japan. The term ō-yoroi means "great armor."[1] Traditional Japanese armour had six main components (hei-no-rokugu, roku gu, or roku gusoku), 1) the dou or dō (chest armour), 2) kabuto (helmet), 3) mengu (facial armour), 4) kote (armoured sleeves), 5) sune-ate (shin armour), and 6) the hai-date (thigh armour).[1][2][3] The sangu was composed of the suneate (shin armour), kote (armored sleeves), haidate (thigh armour). These armour components were a combination of a cloth backing and various types of armour that was attached to the cloth backing. On an original authentic suit of Japanese armour (gusoku) the cloth backings, edgings, decorations etc. and the armour elements would all be matching to each other.[4] Width: 8.1 in = 20.5 cm; Length: 23.2 in = 59 cm; Weight: 31.04 oz. = 880 g; CONDITION: Old, very good considering the age of 200 years old. The cloth parts have insignificant damages, which is normal for the cloth over 200 years old. By the way, this is a type of armor that does not have the back of the hand originally. AGE: Over 200 yeas ago. It is the middle of Japanese Edo Period. MATERIAL: Mixed materials. (Iron plates and chains sewn into the cloth) TYPE: SAMURAI arm guard - KOTE This is serious and real old Japanese SAMURAI's armor, made by a great master. Provenance: private collection in Japan.

Lot: 23D - Genuine antique iron body guard -Dou (胴) of Samurai’s armor o-Yoroi, Edo period (1603-1868)

Genuine antique iron body guard -Dou (胴) of Samurai’s armor o-Yoroi, Edo period (1603-1868) Dō or dou (胴) "breastplate, cuirass" is one of the major components of Japanese armour worn by the samurai and ashigaru or foot soldiers of feudal Japan. The ō-yoroi (大鎧) is a prominent example of early Japanese armor worn by the samurai class of feudal Japan.

Lot: 23E - Genuine antique Japanese iron KABUTO of SAMURAI's ō-yoroi (大鎧) armor, Edo period (1603-1868)

Genuine antique Japanese iron KABUTO of SAMURAI's ō-yoroi (大鎧) armor, Edo period (1603-1868) The ō-yoroi (大鎧) is a prominent example of early Japanese armor worn by the samurai class of feudal Japan. The term ō-yoroi means "great armor."[1] Traditional Japanese armour had six main components (hei-no-rokugu, roku gu, or roku gusoku), 1) the dou or dō (chest armour), 2) kabuto (helmet), 3) mengu (facial armour), 4) kote (armoured sleeves), 5) sune-ate (shin armour), and 6) the hai-date (thigh armour).[1][2][3] The sangu was composed of the suneate (shin armour), kote (armored sleeves), haidate (thigh armour). These armour components were a combination of a cloth backing and various types of armour that was attached to the cloth backing. On an original authentic suit of Japanese armour (gusoku) the cloth backings, edgings, decorations etc. and the armour elements would all be matching to each other.[4] Width 13.2 in = 33.5 cm; Length 13.4 in = 34 cm; Height 5.9 in = 15 cm; Weight 55.02 oz. = 1560 g; CONDITION: Very good, considering the age of 250 years old, insignificant wear. There are some battle damages and there is a repair in the front part. Age: Over 250 years ago. It is the middle Japanese Edo Period. Authenticity: This kabuto is the old original, it is NOT a reproduction. Materia: All parts are made of iron. The main head is iron. SHIKORO (lower flapping part) is iron, too. Provenance: private collection in Japan.

Lot: 23F - Genuine antique iron Japanese Sode + Kote = shoulder & arms guard of Sanurai’s armor, Edo period, circa 1680 AD.

Genuine antique iron Japanese Sode + Kote = shoulder & arms guard of Sanurai’s armor, Edo period, circa 1680 AD. Sangu is the term for the three armour components that protected the extremities of the samurai class of feudal Japan. Traditional Japanese armour had six main components (hei-no-rokugu, roku gu, or roku gusoku), 1) the dou or dō (chest armour), 2) kabuto (helmet), 3) mengu (facial armour), 4) kote (armoured sleeves), 5) sune-ate (shin armour), and 6) the hai-date (thigh armour).[1][2][3] The sangu was composed of the suneate (shin armour), kote (armored sleeves), haidate (thigh armour). These armour components were a combination of a cloth backing and various types of armour that was attached to the cloth backing. On an original authentic suit of Japanese armour (gusoku) the cloth backings, edgings, decorations etc. and the armour elements would all be matching to each other.[4] The ō-yoroi (大鎧) is a prominent example of early Japanese armor worn by the samurai class of feudal Japan. The term ō-yoroi means "great armor."[1] Width 7.9 in = 20 cm; Length 26.7 in = 68 cm; Weight 49.38 oz. = 1400 g; Condition: Very good considering 225 years old age. Used in battles. There are some battle damages. About the damaged parts, we pack as carefully as possible, but those parts may peel off more when packing or transport. Please understand the situation.. Age: Over 200 years ago. It is the middle Japanese Edo Period. Authenticity: This is the old original iron kote. It is not a reproduction. MATERIAL: Mixed materials: cloth and iron. SODE (shoulder guard) is iron. KOTE (arms guard) is iron with cloth. Type: SAMURAI shoulder guard SODE and arms guard KOTE. This is real high quality old Japanese SAMURAI's armor, made by a great master. Provenance: private collection in Japan.

Lot: 23H - Genuine antique iron Japanese DO (body guard) of SAMURAI's armor YOROI, Edo period (1603-1868)

Genuine antique iron Japanese DO (body guard) of SAMURAI's armor YOROI, Edo period (1603-1868); Dō or dou (胴) "breastplate, cuirass" is one of the major components of Japanese armour worn by the samurai and ashigaru or foot soldiers of feudal Japan. The ō-yoroi (大鎧) is a prominent example of early Japanese armor worn by the samurai class of feudal Japan. The term ō-yoroi means "great armor."[1] Traditional Japanese armour had six main components (hei-no-rokugu, roku gu, or roku gusoku), 1) the dou or dō (chest armour), 2) kabuto (helmet), 3) mengu (facial armour), 4) kote (armoured sleeves), 5) sune-ate (shin armour), and 6) the hai-date (thigh armour).[1][2][3] The sangu was composed of the suneate (shin armour), kote (armored sleeves), haidate (thigh armour). These armour components were a combination of a cloth backing and various types of armour that was attached to the cloth backing. On an original authentic suit of Japanese armour (gusoku) the cloth backings, edgings, decorations etc. and the armour elements would all be matching to each other.[4] Age: made in the middle of Edo period (1650-1750); Width 13.0 in. = 33 cm; Length 9.8 in = 25 cm Height 29.5 in = 75 cm; Weight 169.30 oz. = 4,800 g; Condition: Good considering the age. Used in battles. There are damages, mostly to the internal cloth, which is natural and expected from 250 years old armor. About the damaged parts, - we pack as carefully as possible, but those parts may peel off more, when packing or transportation. Please understand the situation. This is the old original, NOT an imitation, made by an armor master. MATERIAL: Mixed materials: iron, cloth, silk, leather. The main body is iron. KUSAZURI (lower flapping part) are kneaded leather with iron. Provenance: private collection in Japan.

Lot: 23I - Antique bronze Samurai warrior, 25 cm, 7.71 kg

Antique bronze Samurai warrior, 25 cm, 7.71 kg Height: 51 cm; Width of the base: 25 cm; Weight: 17 lb. = 7.71 kg; Provenance: private collection in Sarasota, Florida, USA.

Lot: 24 - Alabaster sculpture Boy Feeding Goat, 19th-20th c, 15 inches

Alabaster boy feeding a goat, 19th-20th c. EXCEPTIONAL, turn of the XIX-XX century ALABASTER SCULPTURE OF A BOY FEEDING A GOAT: Height: 15 1/4 inches, no visible signature. Weight netto: 25 lb. Weight brutto with packing: 35 lb. Shipping in USA: FedEx of UPS. International shipping is available. Please, contact about rates. Condition: Professional repairs to goat ear and front and back legs, boy's right toe; Low Estimate: 5,000 US; High Estimate: 15,000 US; Condition: used, but excellent; Original: Yes; Circa: 1900

Lot: 24A - Bizen Kuni 備前国 Large WAKIZASHI, antique Japanese samurai sword

Bizen Kuni 備前国 Large WAKIZASHI, antique Japanese samurai sword. Antique wakizashi with silver inlay tsuba and fuchi kashira, in red wooden scabbard. The blade is long, wide and thick for a Wakizashi, signed 備前国. The Tang has 備前 国 - “Bizen kuni…… Ika Kire” signature and is cut off in the middle, which means the sword-smith was from famous Bizen school. The Bizen School is a school that originated in Bizen Province, corresponding to present-day Okayama Prefecture. Bizen has been a major production area of high quality iron sand since ancient times. The Ko-bizen school in the mid Heian period was the originator. The Bizen School consisted of schools such as Ko-bizen, Fukuoka-ichimonji, Osafune, and Hatakeda. According to a sword book written in the Kamakura period, out of the 12 best swordsmiths in Japan, who were convened by the Retired Emperor Go-Toba, 10 were from the Bizen School. The Tsuba and Fuchikashira have silver inlays. Tsuka is wrapped in leather. Scabbard shows signs of age and damage. Signature: Bizen kuni 備前国. Province: Bizen; Period: Edo or Muromachi; Nagasa: 535 mm = 21.06 inches; Sori: 12 mm = 0.47 inches; Total length: 780 mm = 30.71 inches; Motohaba: 30.5 mm = 1.20 inches; Sakihaba: 20.6 mm = 0.81 inches; Motokasane: 7 mm = 0.28 inches; Sakikasane: 4.5 mm = 0.18 inches; Blade Weight: 506 g; Total Weight: 956 g; Provenance: private collection in Japan. Shipping details: We ship to USA, Canada, Australia, Hong Kong and some countries in Europe. We do not ship to Belgium, China, Russia and some other countries. Please, check restrictions customs clearance for your country, by yourself.

Lot: 24B - Kikumon handachi wakizashi, signed: Yokoyama Kaga suke Fujiwara Sukenaga, 横山加賀介 藤原祐永 Edo period (1830-1851), Japanese samurai sword

Kikumon handachi wakizashi, signed: Yokoyama Kaga suke Fujiwara Sukenaga, 横山加賀介 藤原祐永 Edo period (1830-1851), Japanese samurai sword Late Edo period, Handachi Koshirae Wakizashi. In later Japanese feudal history, during the Sengoku and Edo periods, certain high-ranking warriors of what became the ruling class, would wear their sword

Lot: 24C - NBTHK green Tokubetsu Kicho token, Uda Kunimune 宇多国宗 (1429-1469) Katana in Shirasaya, Japanese samurai sword

NBTHK green Tokubetsu Kicho token, Uda Kunimune 宇多国宗 (1429-1469) Katana in Shirasaya, Japanese samurai sword. Signed: "Uda Kunimune." 宇多國宗 in 4 characters. NBTHK Tokubetsu Kicho Token green paper (extraordinary work), dated 1967, says: later generation of Uda smiths ( possibly 3rd generation 1429-1469AD). The original Uda founder dates to 1240s, and the paper says it's much later, probably 1429 to 1469. The Uda school was originated in. Uda is a city name in Yamato Province. Later generations Uda smiths - spread to different parts of Japan. In museum quality excellent polish, with prominent wavy hamon. Blade is very sharp, without any flaws, easily cuts paper. Nagasa (blade length): 67.3 cm. Sori (curvature): 2.1 cm. Motohaba (blade width at the bottom): 2.7 cm. Sakihaba (blade width at yokote): 1.9 cm. Motokasane (blade thickness at the bottom): 0.6 cm. Sakikasane (blade thickness at yokote): 0.5 cm. Province: Etchū; Start era: Eikyō (1429-1441); End era: Ōnin (1467-1469); Active period: 1429-1469; School: Uda; Teacher: Kunimune; Hawley rating: 20; Toko Taikan rating: ¥3M = $18,663 US; Fujishiro: Jo saku (superior made) Provenance: the sword is a consignment from a Japanese dealer, and he probably got it from wholesale auction. Shipping details: We ship to USA, Canada, Australia, Hong Kong and some countries in Europe. We do not ship to Belgium, China, Russia and some other countries. Please, check restrictions customs clearance for your country, by yourself. FUJISHIRO SWORDSMITH RATINGS. While not origami, the Fujishiro system of rating swordsmiths is widely used by collectors and students of Nihonto. It is based on the two volume set, Nihon Toko Jiten, by Matsuo Fujishiro. Fujishiro rated smiths of the Koto, Shinto and Shinshinto eras. This rating system applies to swordsmiths, unlike the NBTHK and NTHK origami which are awarded to a specific sword blade. In the Fujishiro rating system, the swordsmiths are rated: Chu Saku - "Average Made"; Chu Jo Saku - "Above Average Made"; Jo Saku - "Superior Made"; Jo Jo Saku - "Above Superior Made"; Sai Jo Saku - "Most Superior Made"; Fujishiro lists only the better swordsmiths of each era; thus any rating by Fujishiro is considered good. The Fujishiro books also show documented signatures (mei) of many of the swordsmiths listed, thus the books are widely used to compare swordsmith signatures (mei) for the purpose of authentication. Fujishiro also issues personal origami for sword blades (see right; oshigata for blade by Minamoto Yoshichika courtesy of Ron Polansky.).

Lot: 24D - NBTHK cert. KATANA 宇多國光 Uda Kunimitsu, Muromachi period, 1362-1394 AD

KATANA 宇多國光 Uda Kunimitsu, Muromachi period, 1362-1394AD, with NBTHK Certificate. KATANA in the Muromachi period. Tang is signed by Uda Kunimitsu (宇多國光). He is a representative Uda swordsmith who was active in Etchu province (present-day Toyama Prefecture) in Muromachi period. There have been several generations of swordsmiths with the same name. This work is from the Muromachi period. Start Era: Teiji (1362-1368) AD; End Era: Meitoku (1390-1394) AD; Active Period 1362-1394; Teacher: Kunimitsu; Hawley rating: 25; Toko Taikan rating ¥6M = 39,597.43 United States Dollar; Birds are depicted on fuchi and kashira. Copper Tsuba is also showing it’s age. Comes with NBTHK certificate #205713, KICHO (white papers) - "Important Work", which was issued on March 10, 1971, in Japan. Blade length: 650 mm = 25.59 in. Curvature: 14 mm = 0.55 in. Total length: 960 mm = 37.80 in. Motohaba: 26.9 mm = 1.06 in. Sakihaba: 18.5 mm = 0.73 in. Motokasane: 6.5 mm = 0.26 in. Sakikasane: 4 mm = 0.16 in. Blade Weight: 480 g; Total sword weight: 920 g; Provenance: Private collection in Japan; Shipping details: We ship to USA, Canada, Australia, Hong Kong and some countries in Europe. We do not ship to Belgium, China, Russia and some other countries. Please, check restrictions customs clearance for your country, by yourself.

Lot: 24E - 陸奥守橘為康 Mutsunokami Tachibana Tameyasu, Japanese samurai sword, large wakizashi, early Edo period (1661-1673)

陸奥守橘為康 Mutsunokami Tachibana Tameyasu, Japanese samurai sword, large wakizashi, early Edo period (1661-1673) Wakizashi is wide, thick and sturdy. A work from around the beginning of the Edo period (1603-1868), it has a beautiful silhouette with a slight curve. Sukashi tsuba is attached. Beautiful Notare wavy hamon. Jigane is Itame hada. The blade is very sharp. High end original tsuka with 2 menuki. All parts: - nagasa (blade), tsuba, tsuka, habaki, seppa, fuchi, kashira and saya are genuine and fit perfectly each other. Condition: This genuine antique sword is 350 years old. No wonder, - the blade has some scratches. As you can see on the photos – there are a lot of parallel scratches to the length of the blade, which have appeared during original forging or using the sword in the battles. Although you can't tell at a glance, there are two almost invisible tiny perpendicular microcracks (0.9 cm and 0.6 cm long) on the blade in the hamon area. You will need a magnifying loop to see them. They are not going through the whole hamon width. Hamon is much wider: up to 1.5 cm. All these scratches and microcracks do not affect integrity of the blade (opinion of Japanese experts). Signature: Mutsu no kami Tachibana Tameyasu 陸奥守橘為康 Nagasa: 535 mm = 21.06 in. Sori: 14 mm = 0.55 in. Total length: 815 mm = 32.09 in. Motohaba: 30.2 mm = 1.19 in. Sakihaba: 20.4 mm = 0.80 in. Motokasane: 7.2 mm = 0.28 in. Sakikasane: 5.3 mm = 0.21 in. Blade Weight: 560 g; Total Weight: 1023 g; ID: TAM 190; Province: Kii; Era: Kanbun; Active period: 1661-1673; Hawley rating; 15; Provenance: private collection in Japan. Shipping details: We ship to USA, Canada, Australia, Hong Kong and some countries in Europe. We do not ship to Belgium, China, Russia and some other countries. Please, check restrictions customs clearance for your country, by yourself.

Lot: 24F - Black wooden scabbard saya for Japanese Samurai sword Naginata

Black wooden scabbard saya for Japanese Samurai sword Naginata Length: 42.8 cm = 17 inches; Width: 4 cm = 1.5 inches; Weight: 156 g; Provenance: private collection in Japan

Lot: 24G - White wooden saya (scabbard) for Naginata - Japanese Samurai sword, Japan;

White wooden saya (scabbard) for Naginata - Japanese Samurai sword, Japan; Length: 42 cm = 16.5 inches; Width at the base: 5.5 cm = 2.15 inches; Weight: 132 g; Provenance: private collection in Japan;

Lot: 24H - Japanese blade antique wakizashi Samurai sword, Muromachi period(?), Japan

Japanese blade antique wakizashi Samurai sword, Muromachi period(?), Japan Blade length: 46.3 cm; Total sword length: 57.4 cm; Sori: 6 mm; Weight: 363 g; Condition: very good polishing, occasional rust on the blade, with thick stable black rust on the tang, correspondent to the age of several hundred years. Hamon: present to a certain extent; Age: Edo period (1603-1867) or earlier, possibly Muromachi period (1336-1573). Signature: Mumei (no signature) Provenance: private collection in Japan, then sold to private collection in California, USA

Lot: 24I - Japanese blade 45.2 cm, antique wakizashi Samurai sword, Japan

Japanese blade 45.2 cm, antique wakizashi Samurai sword, Japan Blade length: 34.9 cm; Total sword length: 45.2 cm; Sori: 7.5 mm; Weight: 235 g; Hamon effect: slightly visible; Condition: polishing is very good, several chips on the sharp edge, stable black rust on the tang, which corresponds to the age several hundred years. Age: Edo period (1603-1687) or earlier, possibly Muromachi period (1336-1573); Signature: Mumei (no signature) Provenance: private collection in Japan, then sold to private collector in California, USA

Lot: 25C - 備前 長船 祐宗 Bizen Osafune Sukemune, Orikaeshi mei wakizashi (previously katana),

備前 長船 祐宗 Bizen Osafune Sukemune, Orikaeshi mei wakizashi (previously katana). A rare Orikaeshi-Mei Wakizashi, signed 備前 長船 祐宗. As you can see, Tang's signature is wrapped. This sword originally had a fairly long blade (katana or tachi), but was modified to be shorter. Originally, Tang's signature should have been cut off when shortening, but this blade retains it by folding it back. A good swordsmith's work was left with his signature in this way. It is believed to be from the Muromachi period (1336-1574). The signature is Bizen Osafune Sukemune. Scabbard is easy to come off, Habaki is hard to remove. Signature: Bizen Osafune Sukemune Blade length : 501 mm (19.72 in.); Curvature: 11 mm (0.43 in.); Total length: 725 mm (28.54 in.); Motohaba: 27.2 mm (1.07 in.); Sakihaba: 17.8 mm (0.70 in.); Motokasane: 5.8 mm (0.23 in.) Sakikasane: 4 mm (0.16 in.); Blade Weight: 413 g; Total Weight: 655 g; Condition: perfect for the age: No flaws (kizu), except for very tiny, shallow and narrow several small lines 0.1 mm x 4 mm, parallel to the blade, on the spine of the blade, on one side. On the other side - you can see 2 narrow scars about 3 mm long and 0.2 mm wide (probably battle scars). You can see them with loop magnification. My conclusion is: these flaws are absolutely insignificant. Provenance: private collection in Japan; SUK 746; Province: Bizen; Start era: Eishō (1504-1521); End era: Eiroku (1558-1570); Active period: 1504-1567; Hawley: 15; Toko Taikan: ¥3M = $21,580 USD;

Lot: 25N - Antique Japanese iron tsuba: trees, clouds and bird design, signed by 武州 継国 Bushu Tsugukuni, Muromachi period (1333-1568?)

Antique Japanese iron tsuba: trees, clouds and bird design, signed by 武州 継国 Bushu Tsugukuni, Muromachi period (1333-1568?) Antique Japanese iron tsuba with 3 holes: trees, clouds and bird design signed by Bushu Tsugukuni; Weight: 83.78 g; Size: 64 mm x 60 mm; Size of nakago-ana (hole for the blade): 25 mm x 7 mm; Kozuka hitsu ana: 18 mm; Kogai hitsu ana: 17 mm; Attracted to the magnet; Provenance: private collection, Tallahassee, FL, USA

Lot: 25T - 越前住兼植 Echizen ju Kanetane, full long wakizashi 83 cm, Japanese samurai sword, (1532-1555 AD)

越前住兼植 Echizen ju Kanetane, full long wakizashi 83 cm, Japanese samurai sword, (1532-1555 AD) 越前住兼植 Echizen ju Kanetane; Kanetane from Echizen; Province: Mino and Echizen; Genuine antique long wakizashi with full matching antique koshirae. Total length of the sword = 32.65 inches = 83 cm; Total length with scabbard 36.25 inches = 92.8 cm; Blade length = 22.5 inches = 57 cm; Sori - 13 mm; Hamon – beautiful vivid, almost flat line hamon: Suguha (Straight). Tsuba – original antique, with design of some plants, signed possibly by the same sword-smith. The character on the right is "正□作" (Masa __ saku). The left side is - "包氏 (Kaneuji)". Tsuka – original antique, several hundred years old; Toko Taikan - ¥3M = $20,219 USD Hawley – 15; Provenance: private collection in Florida;

Lot: 26 - Bronze nude naked statue of young woman, playing with cicada, France

Antique charming statue of nude woman on a marble base. Height with base: 13.25 inches = 33 cm; Height of bronze statue only: 11.75 inches = 29.5 cm Weight: 7 lb. 5.1 oz. = 3,320 g = 3 kg 320 g; Provenance: private collection in Florida

Lot: 26A - Japanese antique Samurai tanto sword, 31 cm, used in hara-kiri, Edo period (1600-1868)

Japanese antique Samurai tanto sword, 31 cm, used in hara-kiri, Edo period (1600-1868)? Overall length: 477 mm = 47.7 cm; Length of the blade (nagasa) only: 310 mm = 31 cm. Blade is very sharp; Weight of tanto sword: 278 g; Total weight with scabbard: 389 g; Sori (curvature): 3 mm; Nakago (tang): one round hole; Habaki (collar) – present; TSUKA (handle): present; SAYA (scabbard): wood; Provenance: Private collection of arms in Florida. The tantō is a dagger, but is used as a knife. The blade is single or double edged with a length between 15 and 30 cm (1 Japanese shaku). The tantō was designed primarily as a stabbing weapon, but the edge can be used for slashing as well. Tantō are generally forged in hira-zukuri style (without ridgeline),[1][5] meaning that their sides have no ridge line and are nearly flat, unlike the shinogi-zukuri structure of a katana. Some tantō have particularly thick cross-sections for armor-piercing duty, and are called yoroi toshi.

Lot: 26B - Genuine antique iron Japanese sword guard TSUBA w/signature & gold inlaid mark, Edo period, circa 1600-1700 AD

Genuine antique iron Japanese sword guard TSUBA w/signature & gold inlaid mark, Edo period, circa 1600-1700 AD; Tasteful, high quality old iron tsuba, with running signature and gold inlaid mark, made by a great master. SIZE: 59 x 55 mm; Weight: 2.82 oz. = 80 g; CONDITION: Good considering the age of 200-300 years. AGE: Over 200 years ago, in the middle Edo Period. Authenticity: Genuine antique, NOT a reproduction. MATERIAL: Iron, gold; TYPE: Sword guard TSUBA suitable for a middle length sword WAKIZASHI Provenance: Private collection in Japan.

Lot: 26C - Mamemaki scene 豆撒き, genuine antique iron Japanese sword guard TSUBA, Edo period, circa 1600-1700 AD

Mamemaki scene 豆撒き, genuine antique iron Japanese sword guard TSUBA, Edo period, circa 1600-1700 AD; This tsuba is made marvelously, depicting a great relief design of the scene of MAMEMAKI (throwing soy beans). It is a traditional Japanese event, held on February 3rd to exterminate demons. This tsuba is crafted by a great sword master. Mamemaki. The main ritual associated with the observance of Setsubun is mamemaki (豆撒き, 'bean scattering'); this ritual sees roasted soybeans (known as fukumame (福豆, 'fortune beans')) either thrown out of the front door, or at a member of the family wearing an oni (demon or ogre) mask while shouting 'Devils out! SIZE: 65 mm x 60 mm; Weight: 3.53 oz. = 100 g; Condition: Genuine patina AGE: Over 200 years ago, made in the middle of Edo Period. Authenticity: Genuine antique, NOT a reproduction. Material: Iron, gold; TYPE: Sword guard TSUBA, suitable for a middle length sword WAKIZASHI. Provenance: private collection in Japan

Lot: 26G - Signed antique iron Japanese sword guard TSUBA for KATANA, with mountain landscape design, Kyoto, circa 1400-1700 AD

Signed antique iron Japanese sword guard TSUBA for KATANA, with mountain landscape design, Kyoto, circa 1400-1700 AD; Large tsuba, designed for katana sword, signed by a master, who used to live in Kyoto, Japan. Size: 75 mm x 70 mm; Weight: 3.53 oz. = 100 g; Condition: Very good, considering the age. Used for the katana sword. Age: circa 1400-1700 AD. Authenticity: Genuine antique, NOT an imitation. Material: Iron, gold; Provenance: private collection in Japan.

Lot: 26I - Kano Yasunobu: 1614-1685, Sansui landscape, Japanese scroll painting;

Kano Yasunobu: 1614-1685, Sansui landscape, Japanese scroll painting; Artist: Kano Yasunobu: 1614-1685 (early Edo period) Born in Kyoto. Learned from Kano Koui. The origin of Nakabashi Kano. Primary Material: Silk & Fabric; Technique: Hand-painted; Roller Ends: Bone; Condition: Refer to all pictures: insignificant stains and wrinkles. Width: 70.5 cm = 27.76 inches; Height: 204 cm = 80.31 inches; Weight: 630 g; Waist (including roller ends): 76.5 cm; Sales results from findartinfo.com: $30,000 USD, $5,000 USD, $3,000 USD; 1,800 EURO;

Lot: 26N - Wakizashi- 63 cm, Japanese Samurai sword, attributed to Edo period (1600-1868);

Wakizashi- 63 cm, Japanese Samurai sword, attributed to Edo period (1600-1868); Very sharp edge, with some hamon effect (temper line) present. Overall length: 630 mm = 63.0 cm = 24.8 inches; Length of the blade (nagasa) only: 489 mm = 48.9 cm = 19.25 inches; Weight: 445 g; Sori (curvature): 11 mm; Nakago (tang): three round holes; possibly was longer and went through modifications: was cut in order to make the sword shorter and more convenient in close up fight. Habaki (collar) – present; made of two metals: copper and brass. TSUKA (handle): absent; SAYA (scabbard): absent; Provenance: Private collection of arms in Florida. Wakizashi (脇差, "side inserted [sword]"): A general term for a sword between one and two shaku long (30 cm and 60 cm in modern measurement), predominantly made after 1600. Generally it is the short blade that accompanies a katana in the traditional samurai daisho pairing of swords, but may be worn by classes other than the samurai as a single blade, also worn edge up as the katana. The name derives from the way the sword would be stuck at one's side through the obi (sash/belt).[8]

Lot: 26U - Wakizashi, 33.2 cm - blade, Japanese Samurai sword, Edo period or earlier

Wakizashi, 33.2 cm - blade, Japanese Samurai sword, Edo period or earlier; Overall length: 442 mm = 44.2 cm = 17.4 inches; Length of the blade (nagasa) only: 332 mm = 33.2 cm = 13 inches; there is one 3-mm long chip on the blade; Weight: 266 g; SORI (curvature): 7.5 mm; Nakago (tang): one hole; TSUKA (handle): absent; SAYA (scabbard): absent; HABAKI (collar): absent; Provenance: Private collection of arms in Florida. References: Wakizashi (脇差, "side inserted [sword]"): A general term for a sword between one and two shaku long (30 cm and 60 cm in modern measurement), predominantly made after 1600. Generally it is the short blade that accompanies a katana in the traditional samurai daisho pairing of swords, but may be worn by classes other than the samurai as a single blade, also worn edge up as the katana. The name derives from the way the sword would be stuck at one's side through the obi (sash/belt).[8] Each Japanese sword is classified according to when the blade was made.:[10] • Jōkotō (上古刀 "ancient swords", until around 900 A.D.) • Kotō (古刀"old swords" from around 900–1596) • Shintō (新刀 "new swords" 1596–1780) • Shinshintō (新々刀 "new swords" 1781–1876) • Gendaitō (現代刀 "modern or contemporary swords" 1876– present)

Lot: 27B - Signed Masatsugu 正次 Tanto Japanese Samurai sword, Bunryaku period (1234-1235)

Signed Masatsugu 正次 Tanto Japanese Samurai sword. Signed: Masatsugu 正次. Period (era): Bunryaku (1234-1235); Active period: 1234-1235; Province: Bizen; School: Ko-Bizen Toko/Taikan rating: ¥9M= $51,921; Hawley rating: 20; Length: 11.7 inches = 29.7 cm; Weight: 159 g; 刃文, hamon effect: moderate; Very old black wooden saya. Provenance: Estate sale of American officer in Gordon, Texas, USA.

Lot: 27C - Forged by Kiyotsugu 清次, Japanese Yari spear 26.7 cm, Muromachi period (1336-1573)

Forged by Kiyotsugu 清次, Japanese Yari spear 26.7 cm, Muromachi period (1336-1573); Yari, forged by Kiyotsugu (清次...); Extremely sharp double edged blade, attracted to the magnet. Length: 267 mm = 26.7 cm Weight: 33 g; Provenance: Estate sale of a collector - American officer in Texas, USA; References: Yari (槍) is the term for a traditionally-made Japanese blade

Lot: 27D - Japanese Yari spear 39.6 cm, Muromachi period (1336-1573)

Japanese Yari spear 39.6 cm, Muromachi period (1336-1573); Extremely sharp double edged blade, attracted to the magnet. Length: 396 mm = 39.6 cm Weight: 131 g; Provenance: Estate sale of a collector - American officer in Texas, USA Yari (槍) is the term for a traditionally-made Japanese blade (nihonto)[2][3] in the form of a spear, or more specifically, the straight-headed spear.[4] The

Lot: 27E - Forged by 東都藤原國重作, Japanese Yari spear 54 cm, Muromachi period (1336-1573)

Exceptional Yari, forged by 東都藤原國重作 = “Toh-to Fujiwara Kunishige saku”. “Toh-to” is Edo (now Tokyo). Another optional translation: Kunishige Fujiwara, Toto. Extremely sharp double edged blade, attracted to the magnet. There were 3 sword-smiths with the name Fujiwara: 1) Fujiwara from Yamato province, Era Kagen 1303-1306; Hawley rating 20; ¥3.56M=$26,500 2) Fujiwara from Kaga province, Era Taiei (1521-1528); Hawley rating 20; ¥3.56M=$26,500 3) Fujiwara from Hizen province, Era Kanei ( 1624-1644): Hawley rating 20; ¥3.56M=$26,500 Length: 540 mm = 54 cm = 21.3 inches; Weight: 177 g; Original scabbard made from wood and covered by leather. Provenance: Estate sale of a collector - American officer in Texas, USA Yari (槍) is the term for a traditionally-made Japanese blade (nihonto)[2][3] in the form of a spear, or more specifically, the straight-headed spear.[4] The martial art of wielding the yari is called sōjutsu. Early yari are believed to have been derived from Chinese spears. These hoko yari are thought to be from the Nara period (710–794).[5][6] While they were present in early Japanese history, the term 'yari' appeared for the first time in written sources in 1334 and this type of spear did not become popular until the late 15th century.[1] The original warfare of the bushi was not a thing for commoners; it was a ritualized combat usually between two warriors who would challenge each other via horseback archery.[7] In the late Heian period, battles on foot began to increase and naginata, a polearm, became a main weapon along with a yumi (longbow).[8] The attempted Mongol invasions of Japan in 1274 and 1281 was one of the factors that changed Japanese weaponry and warfare. The Mongols employed Chinese and Korean footmen wielding long pikes and fought in tight formations. They moved in large units to stave off cavalry.[7] Polearms (including naginata and yari) were of much greater military use than swords, due to their significantly longer reach, lighter weight per unit length (though overall a polearm would be fairly hefty), and their great piercing ability.[7]

Lot: 27G - Antique Japanese(?) steel arrow head with wooden shaft, 35 cm

Antique Japanese(?) steel arrow head with wooden shaft, 35 cm, The arrow blade is strong and very sharp, attracted to the magnet. Length: 350 mm = 35 cm; Length of the steel arrowhead: 84 mm = 8.4 cm; The arrow shaft looks very old and firmly attached to the arrowhead Weight: 38 g; Provenance: Estate sale of a collector - American veteran officer in Fort Worth, Texas, USA.

Lot: 27J - Antique Japanese black bronze arrow head, 300 BC-300AD

Antique Japanese black bronze arrow head, 300 BC-300AD The arrow blade forged of antique bronze, not attracted to the magnet. The double edge of the tip blade is sharp. Length: 30 mm = 3 cm; Weight: 3.75 g; Provenance: Estate sale of a collector - American veteran officer in Fort Worth, Texas, USA

Lot: 27K - Antique Japanese green bronze arrow head, 300 BC-300 AD

Antique Japanese green bronze arrow head, 300 BC-300 AD The arrow blade forged of antique bronze with genuine antique patina, not attracted to the magnet. The double edge of the tip blade is sharp. Length: 54 mm = 5.4 cm; Weight: 7.77 g; Provenance: Estate sale of a collector - American veteran officer in Fort Worth, Texas, USA

Lot: 27L - Sawn off sword tang, Chrysanthemum crest, 備中守橘康廣 - Bitchu no kami Tachibana Yasuhiro, Japanese Samurai Sword

Sawn off sword tang, Chrysanthemum crest, 備中守橘康廣 - Bitchu no kami Tachibana Yasuhiro. The chrysanthemum family crest was a special symbol and could only be used by skilled swordsmiths recognized by the Imperial Court. Province: Bitchu; Era: Kenmu (1334-1338 AD)(?) Height: 18.6 cm = 7.4 inches; Width: 2.5 cm; Weight: 137 g; Condition: the sword was cut, only tang left with genuine authentic rust; Provenance: private collection in Japan.

Lot: 27M - Chinese nautical marine antique brass clock

Chinese nautical marine antique brass clock Diameter: 7.25 inches = 18 cm; Height: 3.12 inches = 8 cm; Weight: 1.674 kg = 1kg 674 g = 3 lb. 11 oz. Condition: needs cleaning and adjustment of the mechanism; Provenance: antique market in Tarpon Springs, Florida, USA

Lot: 27N - Antique hunting double edged dagger, India or Pakistan, 1900-1950?

Antique hunting double edged dagger, India or Pakistan, 1900-1950? Blade is sharp, made of steel, attracted to magnet; Handle: wooden; Guard and pommel: brass; There is one brass ring on the wooden handle. Length: 43.3 cm = 17 inches; Blade 29.4 cm = 11.62 inches; Weight: 537 g = 1 lb. 2.9 oz. Condition: there is some rust on the blade; Provenance: private collection of museum curator in St Petersburg, FL, USA.

Lot: 27O - Military very long sword with a scabbard - 42 inches, 20th century

Military very long sword with a scabbard - 42 inches, 20th century Military sword/sabre with a metal scabbard. Probably US, 20th century production, unmarked. Length: 42" with scabbard. Length of the sword: 40.2 inches = 102 cm; Length of the blade: 34.5 inches = 86.5 cm; Weight of the sword: 1108 g; Weight of the sword + scabbard: 1737 g; Weight of the scabbard: 620 g; Handle is covered with black leather; Condition Report: perfect blade, as is, some pitting to scabbard. Provenance: private collection, St Petersburg, Florida, USA.

Lot: 27P - Antique Eagle brandy flask walking cane, 19th century

Antique Eagle brandy flask walking cane, 19th century Height: 34.5 inches = 88 cm Weight: 602 g; Condition: Metal tip at the end is missing, the handle holds most of the time, but may pop up because of the spring force. Cork needs adjustment or replacement. Sold as is. Provenance: antique store in St Petersburg, FL, USA

Lot: 28 - A Navy officer's sword, Two Sicilies, signed “1849, Napoli Labruna”, Italy

A Navy officer's sword, Two Sicilies, signed “1849, Napoli Labruna”, Italy Century provenance: Kingdom of the Two Sicilies. Straight blade of hexagonal section, with light fuller and engraved at the forte, featuring trophies and racemes, on one side OF THE BLADE - a small inscription with date '1849 Napoli Labruna'. Brass hilt. Butt-plate with two valves, the front one with crowned shield surmounted by 6 flags, all in relief. Guard decorated with floral motifs in relief. Pommel decorated en suite. Horn grip with metal wire binding (minor damage and defects). Without scabbard. The sword was probably reused in the Unitarian period as the Bourbon lilies have been abraded. Interesting. Total Length: 94.3 cm. Blade length: 79.5 cm; Weight: 793 g = 1 lb. 12 oz. Very similar sword was sold for € 3.750, AT FINARTE, ON MARCH 30, 2023, SARZANA, ITALY https://www.finarte.it/auction/military-arms-and-memorabilia-sarzana-2023-03-30/a-navy-officer-s-sword-94448?lang=en A navy officer's sword, 1849 ESTIMATE: € 350 - 550 Sold: € 3.750 Regno delle Due Sicilie length 96.5 cm Straight, double-edged blade of lozenge section, the first part with groove and marked "Napoli 1849" (the name barely legible, probably "Mendozza"), remains of engraving with trophies and floral motifs. Brass hilt, shell-guard with anchor under crown and on six flags, quillon shaped as a lion's head, loop-guard with floral motifs and pommel with bees and thunderbolts. Horn grip with coils and metal wire binding. Leather scabbard with brass mounts engraved with floral motifs. The Kingdom of the Two Sicilies (Italian: Regno delle Due Sicilie)[1] was a kingdom in Southern Italy from 1816 to 1861 under the control of a cadet branch of the Spanish Bourbons.[2] The kingdom was the largest sovereign state by population and size in Italy before Italian unification, comprising Sicily and most of the area of today's Mezzogiorno in covering all of the Italian Peninsula south of the Papal States. The kingdom was formed when the Kingdom of Sicily merged with the Kingdom of Naples, which was officially also known as the Kingdom of Sicily. Since both kingdoms were named Sicily, they were collectively known as the "Two Sicilies" (Utraque Sicilia, literally "both Sicilies"), and the unified kingdom adopted this name. The king of the Two Sicilies was overthrown by Giuseppe Garibaldi in 1860, after which the people voted in a plebiscite to join the Kingdom of Sardinia. The annexation of the Kingdom of the Two Sicilies completed the first phase of Italian unification, and the new Kingdom of Italy was proclaimed in 1861. The Two Sicilies were heavily agricultural, like the other Italian states.[3]

Lot: 28A - Ex-Christie's antique Italian short, signed, tri-blade sword (1600-1750 AD)

Ex-Christie's antique Italian short signed tri-blade sword (1600-1750 AD). Italian short court sword with tri-foil blade, gilt enhanced hilt. Cast globe ferrule, knuckle guard with foliate scroll, clam shell guard with embossed accents, silver grip. Guard has images of the bust of the King (General, Commander) over 2 flags and 2 cannons. Tri foil blade with engraved foliate scroll, waving flags, figure of Madonna, and illegible family name: FLATTERIE? Blade length: 16 5/8" inches = 42.5 cm; Overall sword length: 23 5/8" inches = 60 cm; Christie's tag attached to guard. Condition: Blade natural dark staining, fleabite chips from battle usage. Provenance: private collection in Florida, USA.

Lot: 28B - “Mr. Micawber delivers some…” Staffordshire plate with scenes from Charles Dickens, England

“Mr. Micawber delivers some valedictory remarks”, drawings by Phiz. Fine b… china Crown, Staffordshire, England Diameter: 8 inches = 207 mm = 20.7 cm; Weight: 11.3 oz. = 320 g; Condition: used, but good condition, several hairline stable cracks

Lot: 28C - “Mr. Pickwick addresses the club” …Staffordshire plate with scenes from Charles Dickens, England

“Mr. Pickwick addresses the club”, drawings by Phiz. Fine b… china Crown, Staffordshire, England Diameter: 8 inches = 207 mm = 20.7 cm; Weight: 11.3 oz. = 320 g; Condition: used, but good condition, several hairline stable cracks

Lot: 28D - English porcelain tea set: 2 cups & 3 saucers, made by The Friendly Village, Johnson brothers, England

Friendly Village by Johnson Brothers is a traditional dinnerware pattern best known for its charming depictions of idyllic village scenes. First produced in 1953, this heirloom-quality pattern adds a timeless appeal to any table! Cup #1: 8.3 oz. = 235 g; H- 83 mm, D- 116 mm; Cup #2: 8.5 oz. = 239 g; H – 81 mm, D – 115 mm; Saucer #1 pink: 9.4 oz. = 268 g; D- 174 mm; Saucer #2 pink: 9.5 oz. = 270 g; D- 176 mm; Saucer #3 red: 9.0 oz. = 254 g; D- 179 mm;

Lot: 28E - 3 pieces - powder antique gunpowder translucent horn

3 pieces - powder antique gunpowder translucent horn; Length: 7.5 inches = 19 cm; Weight: 2.0 oz. = 58 g; Upper stopper: available; Lower stopper: available in its own scabbard; Provenance: Estate collection in Florida, USA A powder horn is a container for gunpowder, and was generally created from cow, ox or buffalo horn. The term may also be used for any personal container for gunpowder, although powder flask is the strictly correct term. Typically there was a stopper at both ends, in later examples spring-loaded to close automatically for safety.[1] The wide mouth was used for refilling, while the powder was dispensed from the narrow point. In some cases the point was closed and the mouth used for both, with a powder measure, a type of scoop used to dispense the powder, and in others both ends were open and the horn merely used as a funnel. The horn was typically held by a long strap and slung over the shoulder.[2] The inside and outside of a powder horn were often polished to make the horn translucent so that the soldier would be able to see how much powder he had left. The use of animal horn along with nonferrous metal parts ensured that the powder would not be detonated by sparks during storage and loading. Horn was also naturally waterproof and already hollow inside. Powder horns also served the important purpose of keeping black powder dry. They began to be replaced by copper flasks in the nineteenth century.[3] Powder horns were also used for the priming of large naval guns, and in blasting operations; apparently sometimes the horn shape was merely a convenient form of funnel in such cases, and was open at both ends and not used as a container. In America, a number of period horns dating from the French and Indian war throughout the American Revolution and beyond have been preserved in private collections with a few exceptions. Many decorated examples shed light on the life and history of the individuals that used them and can be classified as a medium of folk art. Powder horns were often decorated, most often with engraving, making a form of scrimshaw, which was sometimes supplemented with color. The powder horn was rendered obsolete by the innovations brought about by Hall, Sharps, Spencer and the later development of self-contained cartridges that were developed and marketed successfully by Oliver Winchester, after which manufactured metallic cartridges became standard

Lot: 28F - Antique pre-Civil war period, 1848, small gunpowder horn, 90 g

Antique pre-Civil war period, 1848, small gunpowder horn, 90 g The year of creation is inscribed on the top lid: 1848. Length along the great curvature: 9 inches = 23.0 cm; Weight: 3.2 oz. = 90 g; Upper stopper: available; Lower stopper: absent; Provenance: Private estate collection in Florida, USA. Discussion: Hi; nice powder horn. You may want to add since this powder horn is dated 1848, it is also a good example of a Mexican-American War period horn, as the treaty with Mexico was signed in Feb. 1848. Therefore, though the 1848 places this horn at the end of the Mexican-American War, it can rightfully be identified as that period horn. Might draw more interest than a pre-Civil war horn of a later period, such as ~1850. Just a thought; A powder horn is a container for gunpowder, and was generally created from cow, ox or buffalo horn. The term may also be used for any personal container for gunpowder, although powder flask is the strictly correct term. Typically there was a stopper at both ends, in later examples spring-loaded to close automatically for safety.[1] The wide mouth was used for refilling, while the powder was dispensed from the narrow point. In some cases the point was closed and the mouth used for both, with a powder measure, a type of scoop used to dispense the powder, and in others both ends were open and the horn merely used as a funnel. The horn was typically held by a long strap and slung over the shoulder.[2] The inside and outside of a powder horn were often polished to make the horn translucent so that the soldier would be able to see how much powder he had left. The use of animal horn along with nonferrous metal parts ensured that the powder would not be detonated by sparks during storage and loading. Horn was also naturally waterproof and already hollow inside. Powder horns also served the important purpose of keeping black powder dry. They began to be replaced by copper flasks in the nineteenth century.[3] Powder horns were also used for the priming of large naval guns, and in blasting operations; apparently sometimes the horn shape was merely a convenient form of funnel in such cases, and was open at both ends and not used as a container. In America, a number of period horns dating from the French and Indian war throughout the American Revolution and beyond have been preserved in private collections with a few exceptions. Many decorated examples shed light on the life and history of the individuals that used them and can be classified as a medium of folk art. Powder horns were often decorated, most often with engraving, making a form of scrimshaw, which was sometimes supplemented with color. The powder horn was rendered obsolete by the innovations brought about by Hall, Sharps, Spencer and the later development of self-contained cartridges that were developed and marketed successfully by Oliver Winchester, after which manufactured metallic cartridges became standard

Lot: 28G - Antique small gunpowder horn, 102 g, 1750 - 1850 AD

Antique small gunpowder horn, 102 g, 1750 - 1850 AD With primitive scrimshaw at bottom of inside steel brads. Leather and tar lid, original cork stopper. Semi translucent horn. Length along the great curvature: 9 inches = 23.5 cm; Weight: 3.6 oz. = 102 g; Upper stopper: available; Lower stopper: available; Provenance: Private estate collection in Florida, USA. A powder horn is a container for gunpowder, and was generally created from cow, ox or buffalo horn. The term may also be used for any personal container for gunpowder, although powder flask is the strictly correct term. Typically there was a stopper at both ends, in later examples spring-loaded to close automatically for safety.[1] The wide mouth was used for refilling, while the powder was dispensed from the narrow point. In some cases the point was closed and the mouth used for both, with a powder measure, a type of scoop used to dispense the powder, and in others both ends were open and the horn merely used as a funnel. The horn was typically held by a long strap and slung over the shoulder.[2] The inside and outside of a powder horn were often polished to make the horn translucent so that the soldier would be able to see how much powder he had left. The use of animal horn along with nonferrous metal parts ensured that the powder would not be detonated by sparks during storage and loading. Horn was also naturally waterproof and already hollow inside. Powder horns also served the important purpose of keeping black powder dry. They began to be replaced by copper flasks in the nineteenth century.[3] Powder horns were also used for the priming of large naval guns, and in blasting operations; apparently sometimes the horn shape was merely a convenient form of funnel in such cases, and was open at both ends and not used as a container. In America, a number of period horns dating from the French and Indian war throughout the American Revolution and beyond have been preserved in private collections with a few exceptions. Many decorated examples shed light on the life and history of the individuals that used them and can be classified as a medium of folk art. Powder horns were often decorated, most often with engraving, making a form of scrimshaw, which was sometimes supplemented with color. The powder horn was rendered obsolete by the innovations brought about by Hall, Sharps, Spencer and the later development of self-contained cartridges that were developed and marketed successfully by Oliver Winchester, after which manufactured metallic cartridges became standard

Lot: 28K - Antique small gunpowder translucent tan black horn, flint primer, 77 g

Antique small gunpowder translucent tan black horn, flint primer, 77 g; Length: 8 inches = 20 cm; Width: 2 3/16 inches; Weight: 2.7 oz. = 77 g; Upper stopper: available; Lower stopper: absent; Provenance: Estate collection in Florida, USA. A powder horn is a container for gunpowder, and was generally created from cow, ox or buffalo horn. The term may also be used for any personal container for gunpowder, although powder flask is the strictly correct term. Typically there was a stopper at both ends, in later examples spring-loaded to close automatically for safety.[1] The wide mouth was used for refilling, while the powder was dispensed from the narrow point. In some cases the point was closed and the mouth used for both, with a powder measure, a type of scoop used to dispense the powder, and in others both ends were open and the horn merely used as a funnel. The horn was typically held by a long strap and slung over the shoulder.[2] The inside and outside of a powder horn were often polished to make the horn translucent so that the soldier would be able to see how much powder he had left. The use of animal horn along with nonferrous metal parts ensured that the powder would not be detonated by sparks during storage and loading. Horn was also naturally waterproof and already hollow inside. Powder horns also served the important purpose of keeping black powder dry. They began to be replaced by copper flasks in the nineteenth century.[3] Powder horns were also used for the priming of large naval guns, and in blasting operations; apparently sometimes the horn shape was merely a convenient form of funnel in such cases, and was open at both ends and not used as a container. In America, a number of period horns dating from the French and Indian war throughout the American Revolution and beyond have been preserved in private collections with a few exceptions. Many decorated examples shed light on the life and history of the individuals that used them and can be classified as a medium of folk art. Powder horns were often decorated, most often with engraving, making a form of scrimshaw, which was sometimes supplemented with color. The powder horn was rendered obsolete by the innovations brought about by Hall, Sharps, Spencer and the later development of self-contained cartridges that were developed and marketed successfully by Oliver Winchester, after which manufactured metallic cartridges became standard

Lot: 28L - Antique gunpowder horn with a horn scoop & wooden cork

Antique gunpowder horn with a horn scoop & wooden cork; Weight: 4.2 oz. = 118 g; Length along large curvature: 8 inches = 20 cm; Upper stopper: available; Lower stopper: available; Provenance: private estate collection in Florida, USA A powder horn is a container for gunpowder, and was generally created from cow, ox or buffalo horn. The term may also be used for any personal container for gunpowder, although powder flask is the strictly correct term. Typically there was a stopper at both ends, in later examples spring-loaded to close automatically for safety.[1] The wide mouth was used for refilling, while the powder was dispensed from the narrow point. In some cases the point was closed and the mouth used for both, with a powder measure, a type of scoop used to dispense the powder, and in others both ends were open and the horn merely used as a funnel. The horn was typically held by a long strap and slung over the shoulder.[2] The inside and outside of a powder horn were often polished to make the horn translucent so that the soldier would be able to see how much powder he had left. The use of animal horn along with nonferrous metal parts ensured that the powder would not be detonated by sparks during storage and loading. Horn was also naturally waterproof and already hollow inside. Powder horns also served the important purpose of keeping black powder dry. They began to be replaced by copper flasks in the nineteenth century.[3] Powder horns were also used for the priming of large naval guns, and in blasting operations; apparently sometimes the horn shape was merely a convenient form of funnel in such cases, and was open at both ends and not used as a container. In America, a number of period horns dating from the French and Indian war throughout the American Revolution and beyond have been preserved in private collections with a few exceptions. Many decorated examples shed light on the life and history of the individuals that used them and can be classified as a medium of folk art. Powder horns were often decorated, most often with engraving, making a form of scrimshaw, which was sometimes supplemented with color. The powder horn was rendered obsolete by the innovations brought about by Hall, Sharps, Spencer and the later development of self-contained cartridges that were developed and marketed successfully by Oliver Winchester, after which manufactured metallic cartridges became standard

Lot: 28N - Antique small 26 g gunpowder horn

Antique small 26 g gunpowder horn; Length: 6.7 inches = 17 cm; Weight: 0.9 oz. = 26 g; Upper stopper: available. Lower stopper: missing Provenance: estate collection in Florida, USA. A powder horn is a container for gunpowder, and was generally created from cow, ox or buffalo horn. The term may also be used for any personal container for gunpowder, although powder flask is the strictly correct term. Typically there was a stopper at both ends, in later examples spring-loaded to close automatically for safety.[1] The wide mouth was used for refilling, while the powder was dispensed from the narrow point. In some cases the point was closed and the mouth used for both, with a powder measure, a type of scoop used to dispense the powder, and in others both ends were open and the horn merely used as a funnel. The horn was typically held by a long strap and slung over the shoulder.[2] The inside and outside of a powder horn were often polished to make the horn translucent so that the soldier would be able to see how much powder he had left. The use of animal horn along with nonferrous metal parts ensured that the powder would not be detonated by sparks during storage and loading. Horn was also naturally waterproof and already hollow inside. Powder horns also served the important purpose of keeping black powder dry. They began to be replaced by copper flasks in the nineteenth century.[3] Powder horns were also used for the priming of large naval guns, and in blasting operations; apparently sometimes the horn shape was merely a convenient form of funnel in such cases, and was open at both ends and not used as a container. In America, a number of period horns dating from the French and Indian war throughout the American Revolution and beyond have been preserved in private collections with a few exceptions. Many decorated examples shed light on the life and history of the individuals that used them and can be classified as a medium of folk art. Powder horns were often decorated, most often with engraving, making a form of scrimshaw, which was sometimes supplemented with color. The powder horn was rendered obsolete by the innovations brought about by Hall, Sharps, Spencer and the later development of self-contained cartridges that were developed and marketed successfully by Oliver Winchester, after which manufactured metallic cartridges became standard

Lot: 28P - Antique long gunpowder horn, 171 g

Antique long gunpowder horn, 171 g Length along the great curvature: 14.25 inches = 36 cm; Weight: 6.0 oz. = 171 g; Upper stopper: available; Lower stopper: available; Provenance: Private estate collection in Florida, USA. A powder horn is a container for gunpowder, and was generally created from cow, ox or buffalo horn. The term may also be used for any personal container for gunpowder, although powder flask is the strictly correct term. Typically there was a stopper at both ends, in later examples spring-loaded to close automatically for safety.[1] The wide mouth was used for refilling, while the powder was dispensed from the narrow point. In some cases the point was closed and the mouth used for both, with a powder measure, a type of scoop used to dispense the powder, and in others both ends were open and the horn merely used as a funnel. The horn was typically held by a long strap and slung over the shoulder.[2] The inside and outside of a powder horn were often polished to make the horn translucent so that the soldier would be able to see how much powder he had left. The use of animal horn along with nonferrous metal parts ensured that the powder would not be detonated by sparks during storage and loading. Horn was also naturally waterproof and already hollow inside. Powder horns also served the important purpose of keeping black powder dry. They began to be replaced by copper flasks in the nineteenth century.[3] Powder horns were also used for the priming of large naval guns, and in blasting operations; apparently sometimes the horn shape was merely a convenient form of funnel in such cases, and was open at both ends and not used as a container. In America, a number of period horns dating from the French and Indian war throughout the American Revolution and beyond have been preserved in private collections with a few exceptions. Many decorated examples shed light on the life and history of the individuals that used them and can be classified as a medium of folk art. Powder horns were often decorated, most often with engraving, making a form of scrimshaw, which was sometimes supplemented with color. The powder horn was rendered obsolete by the innovations brought about by Hall, Sharps, Spencer and the later development of self-contained cartridges that were developed and marketed successfully by Oliver Winchester, after which manufactured metallic cartridges became standard

Lot: 28R - Antique small 53 g, gunpowder horn

Antique small 53 g, gunpowder horn Length along the great curvature: 7 inches = 17 cm; Weight: 1.9 oz. = 53 g; Upper stopper: available; Lower stopper: absent; Provenance: Private estate collection in Florida, USA. A powder horn is a container for gunpowder, and was generally created from cow, ox or buffalo horn. The term may also be used for any personal container for gunpowder, although powder flask is the strictly correct term. Typically there was a stopper at both ends, in later examples spring-loaded to close automatically for safety.[1] The wide mouth was used for refilling, while the powder was dispensed from the narrow point. In some cases the point was closed and the mouth used for both, with a powder measure, a type of scoop used to dispense the powder, and in others both ends were open and the horn merely used as a funnel. The horn was typically held by a long strap and slung over the shoulder.[2] The inside and outside of a powder horn were often polished to make the horn translucent so that the soldier would be able to see how much powder he had left. The use of animal horn along with nonferrous metal parts ensured that the powder would not be detonated by sparks during storage and loading. Horn was also naturally waterproof and already hollow inside. Powder horns also served the important purpose of keeping black powder dry. They began to be replaced by copper flasks in the nineteenth century.[3] Powder horns were also used for the priming of large naval guns, and in blasting operations; apparently sometimes the horn shape was merely a convenient form of funnel in such cases, and was open at both ends and not used as a container. In America, a number of period horns dating from the French and Indian war throughout the American Revolution and beyond have been preserved in private collections with a few exceptions. Many decorated examples shed light on the life and history of the individuals that used them and can be classified as a medium of folk art. Powder horns were often decorated, most often with engraving, making a form of scrimshaw, which was sometimes supplemented with color. The powder horn was rendered obsolete by the innovations brought about by Hall, Sharps, Spencer and the later development of self-contained cartridges that were developed and marketed successfully by Oliver Winchester, after which manufactured metallic cartridges became standard

Lot: 28S - Antique, gunpowder horn, 272 g

Antique, gunpowder horn, 272 g Length along the great curvature: 12.5 inches = 31 cm; Weight: 9.5 oz. = 272 g; Upper stopper: available; Lower stopper: absent; Provenance: Private estate collection in Florida, USA. A powder horn is a container for gunpowder, and was generally created from cow, ox or buffalo horn. The term may also be used for any personal container for gunpowder, although powder flask is the strictly correct term. Typically there was a stopper at both ends, in later examples spring-loaded to close automatically for safety.[1] The wide mouth was used for refilling, while the powder was dispensed from the narrow point. In some cases the point was closed and the mouth used for both, with a powder measure, a type of scoop used to dispense the powder, and in others both ends were open and the horn merely used as a funnel. The horn was typically held by a long strap and slung over the shoulder.[2] The inside and outside of a powder horn were often polished to make the horn translucent so that the soldier would be able to see how much powder he had left. The use of animal horn along with nonferrous metal parts ensured that the powder would not be detonated by sparks during storage and loading. Horn was also naturally waterproof and already hollow inside. Powder horns also served the important purpose of keeping black powder dry. They began to be replaced by copper flasks in the nineteenth century.[3] Powder horns were also used for the priming of large naval guns, and in blasting operations; apparently sometimes the horn shape was merely a convenient form of funnel in such cases, and was open at both ends and not used as a container. In America, a number of period horns dating from the French and Indian war throughout the American Revolution and beyond have been preserved in private collections with a few exceptions. Many decorated examples shed light on the life and history of the individuals that used them and can be classified as a medium of folk art. Powder horns were often decorated, most often with engraving, making a form of scrimshaw, which was sometimes supplemented with color. The powder horn was rendered obsolete by the innovations brought about by Hall, Sharps, Spencer and the later development of self-contained cartridges that were developed and marketed successfully by Oliver Winchester, after which manufactured metallic cartridges became standard

Lot: 28T - Antique gunpowder horn, 213 g

Antique gunpowder horn, 213 g Length: 14.5” = 37 cm; Weight: 7.5 oz. = 213 g; Upper stopper: absent; Lower stopper: absent; Provenance; estate collection in Florida, USA. A powder horn is a container for gunpowder, and was generally created from cow, ox or buffalo horn. The term may also be used for any personal container for gunpowder, although powder flask is the strictly correct term. Typically there was a stopper at both ends, in later examples spring-loaded to close automatically for safety.[1] The wide mouth was used for refilling, while the powder was dispensed from the narrow point. In some cases the point was closed and the mouth used for both, with a powder measure, a type of scoop used to dispense the powder, and in others both ends were open and the horn merely used as a funnel. The horn was typically held by a long strap and slung over the shoulder.[2] The inside and outside of a powder horn were often polished to make the horn translucent so that the soldier would be able to see how much powder he had left. The use of animal horn along with nonferrous metal parts ensured that the powder would not be detonated by sparks during storage and loading. Horn was also naturally waterproof and already hollow inside. Powder horns also served the important purpose of keeping black powder dry. They began to be replaced by copper flasks in the nineteenth century.[3] Powder horns were also used for the priming of large naval guns, and in blasting operations; apparently sometimes the horn shape was merely a convenient form of funnel in such cases, and was open at both ends and not used as a container. In America, a number of period horns dating from the French and Indian war throughout the American Revolution and beyond have been preserved in private collections with a few exceptions. Many decorated examples shed light on the life and history of the individuals that used them and can be classified as a medium of folk art. Powder horns were often decorated, most often with engraving, making a form of scrimshaw, which was sometimes supplemented with color. The powder horn was rendered obsolete by the innovations brought about by Hall, Sharps, Spencer and the later development of self-contained cartridges that were developed and marketed successfully by Oliver Winchester, after which manufactured metallic cartridges became standard

Lot: 29 - Elegant Sevres porcelain & bronze vase, 25 in.= 62 cm, 1756-1850

Elegant Sevres porcelain & bronze vase, 25 in.= 62 cm. Signed by G. Poitevin. Lid is not original, it was made later. Height: 25 inches = 62.5 cm. Height with lid: 28.5 inches = 71 cm. Width: 9 inches = 22.5 cm. Weight: 10 lb. = 4.5 kg. Weight with packing: 15 lb. = 7 kg. Shipping in USA: UPS or FED-EX. International shipping is available, ask for terms, please. Shipping to Bangkok, Thailand $814. Condition: Excellent for the age, no cracks, and no chips, lid is not original; The Manufacture nationale de Sèvres is one of the principal European porcelain factories. It is located in Sèvres, Hauts-de-Seine, France. It is the continuation of Vincennes porcelain, founded in 1740, which moved to Sèvres in 1756. It has been owned by the French crown or government since 1759, and has always maintained the highest standards of quality. Almost immediately, it replaced Meissen porcelain as the standard-setter among European porcelain factories, retaining this position until at least the 19th century. Original: Yes; Circa: 1756-1850;

Lot: 30 - Sevres porcelain vase, with 2 bronze fauns, signed,1756-1850

Sevres porcelain vase, with 2 bronze fauns, signed. Signed by G. Poitevin. Lid is possibly not original. Height without lid: 19.5 inches = 49 cm. Height with lid: 25 inches = 62.5 cm. Weight: 19 lb. Weight with packing: 25-30 lb. Shipping in USA: UPS or FEDEX International shipping is available, ask for terms, please. Condition: Very good for the age, no cracks, no chips, used, lid is fixed with a new screw,; Example of overseas shipping: Shipping to Bangkok, Thailand - $814; Reference: The Manufacture nationale de Sèvres is one of the principal European porcelain factories. It is located in Sèvres, Hauts-de-Seine, France. It is the continuation of Vincennes porcelain, founded in 1740, which moved to Sèvres in 1756. It has been owned by the French crown or government since 1759, and has always maintained the highest standards of quality. Almost immediately, it replaced Meissen porcelain as the standard-setter among European porcelain factories, retaining this position until at least the 19th century. Original: Yes; Circa: 1756-1850;

Lot: 30A - Pair of genuine French Sevres porcelain vases, circa 1746-1764, France

Pair of genuine French Sevres porcelain vases, circa 1746-1764, France. Beautiful example of early Sevres vases, founded by Lois XV and Madame Pompadour in 1740. Front view: Blue cobalt, gilt, two different court scenes Back view: Royal monogram with two letters: L (for Louis XV) and P for Madame Pompadour. Height: 14 inches = 35.5 cm; Marks on the base: two interlaced L’s, painted in cobalt blue, either in in underglaze pigment, with two small “LL” inside and “S…” underneath. One vase has incised numbers into the clay at the base, which is a strong evidence of authenticity. Condition: Overall perfect condition, there are round holes in the bottom, which were used for the wires of electric lamps. Provenance: private collection in Clearwater, Florida, USA. References: In 1740, the Manufacture de Vincennes was founded, thanks to the support of Louis XV and his mistress Madame de Pompadour, in order to compete with factories such as Chantilly in France and Meissen in Germany.[1] In 1756, the manufactory was moved to a building in Sèvres, built at the initiative of Madame de Pompadour, near her château de Bellevue. From about 1745, the porcelain manufactory at Vincennes (established in 1740 on the grounds of a former hunting lodge, east of Paris) marked its wares with the royal cipher – two interlaced L’s. This is usually painted in cobalt blue, either in over-glaze enamel or in underglaze pigment. A date-lettering system was introduced around 1754. Soon the factory’s decorators, particularly painters, began to mark their work. Throwers, moulders and répareurs, who fashioned or assembled objects, incised marks into the clay, which although largely unidentified, provide some evidence of authenticity. For a detailed discussion of marks see Rosalind Savill, The Wallace Collection Catalogue of Sèvres Porcelain (London, 1988), vol. III, pp. 1081-1137.

Lot: 31 - A dozen sterling silver gilded tea spoons by "HOTCHKISS & SCHREUDER", circa 1860-1870, USA

A dozen sterling silver gilded tea spoons by "HOTCHKISS & SCHREUDER", circa 1860-1870, USA. Dozen "HOTCHKISS & SCHREUDER" sterling demitasse spoons: 19th-century, monogrammed. Total weight of 12 spoons: 107.53 g = approx. 3.45 Troy ounces. Weight of each spoon: 9.18 g, 8.98 g, 8.83 g; 8.93 g; 8.98 g; 8.56 g, 8.88 g; 8.91 g; 9.04 g, 8.73 g; 9.06 g; 9.15 g; Length of each spoon: 10.4 cm = 4.094488 inch. Condition Report: Varying signs of use. A demitasse spoon is a diminutive spoon, smaller than a teaspoon. It is traditionally used for coffee drinks in specialty cups, such as a demitasse, and for spooning cappuccino froth. It is also used as a baby spoon, and in some surgical procedures. On display - similar lot in Metropolitan museum, New York, USA. https://www.metmuseum.org/art/collection/search/702898 The mid-nineteenth century witnessed an efflorescence of creativity in the American silver industry, fueled by the burgeoning middle class’s increasing demand for refined luxury goods. Silversmiths devoted considerable time and creative energy to generating an endless variety of new designs and patterns. During the 1860s and 1870s silver flatware ornamented with portrait medallions inspired by antique coins and cameos enjoyed widespread popularity, with virtually every American silversmith producing their own proprietary "medallion" pattern. This spoon was created by the Syracuse, New York silversmithing firm of Hotchkiss & Schreuder and retailed by H. D. Rosenberg of Syracuse and Rochester. It is a particularly refined and elegant medallion pattern depicting a handsome male with flowing hair and a crown of ivy, an attribute associated with Dionysus. Although little known today, even among silver collectors and scholars, Hotchkiss & Schreuder produced a number of fine flatware patterns. Their wares reached diverse markets ranging from local customers in upstate New York to retail outlets in the Midwest.

Lot: 31D - Pair of antique French opaline glass vases, France, 1800-1890 AD

Pair of antique French opaline glass vases, France, 1800-1890 AD The vases are made of thin, semitransparent to light glass. Height: 14 inches = 36 cm; Width: 7 inches = 16.5 cm; Weight of one vase: 1137 g + 1027 g; (the weight of each vase is different); Weight of two vases: 2,164 g = 2 kg 164 g; Condition: perfect no defects; Provenance: private collection in Clearwater, Florida, USA References: The term "opaline" refers to a number of different styles of glassware. In France, the term 'opaline' is used to refer to multiple types of glass, and not specifically antique colored crystal or semi-crystal, as is commonly thought, with 'opaline' often a mistakenly-given term referring to the color of a particular type of glass, rather than the age, origin or content of the glass. 'Opaline glass' is also a decorative style of glass made in France from 1800 to the 1890's, either opaque or slightly translucent, appearing in white or a variety of bright colours. Opaline glass was produced throughout nearly the entirety of the 19th century, though it reached its peak of popularity during the reign of Napoleon III in the 1850s and 1860s. The glass is opaque or slightly translucent, and can appear either white or brightly colored in shades of green, blue, pink, black, lavender and yellow. The glass has a high lead content, which defines it as "demi-crystal" or semi-crystal. The primary influences on this style of glass were 16th century Venetian milk glass, and English white glass produced in 18th century Bristol. Many different pieces were produced in opaline glass, including vases, bowls, cups, coupes, decanters, perfume bottles, boxes, clocks and other implements. Cities involved in the production included Le Creusot, Baccarat, and Saint-Louis, Réunion, as well as various locations in England. All opaline glass is hand-blown and has a rough or polished pontil on the bottom. There are no seams and no machine engraving, and most opaline glass is not branded or signed. Many pieces of opaline glass are decorated with gilding. Some with hand painted flowers or birds. Several have bronze ormolu mounts, rims, hinges or holders.

Lot: 32 - Cupid and Psyche, Royal Vienna porcelain plate, Ackerman & Fritze 19th c

Ackerman & Fritze in antique wooden frame, signed by R. Dittrich, 19th c; Royal Vienna porcelain plate, Psyche & Amour; Height: 33.5 inches; Width: 18 inches; Porcelain plaque diameter: 8.5 inches; Total weight: 9-10 lb. Condition: perfect for the age; used, no cracks or other defects; Original: Yes; Circa: 1850; Style: Classicism;

Lot: 32A - Vintage yellow jardinière on bronze mount with birds and Fauns decorations

Elegant hand painted jardinière with bronze fauns decorations. Length: 15.5 inches = 39.7 cm; Height: 10.4 inches = 26.3 cm; Weight: 6 lb. 0.5 oz. = 2 kg 735 g; Provenance: private collection in Clearwater, Florida, USA; Condition: used, but perfect, no defects;

Lot: 32C - Antique bronze nude Indian Goddess, 36.5 cm, 1700-1900 AD, India

Antique mesmerizing statue of nude Indian Goddess with a lotus flower in her left hand and a sign of Akash Mudra in her right hand. Height with base: 14.5 inches = 36.5 cm; Base: 4 inches = 10 cm: Weight: 3 lb. 4.5 oz. = 1,487 g = 1 kg 487 g; Provenance: from private collection in Florida; AKASH MUDRA: The tip of the middle finger touches to the top of thumb. Remaining fingers are to be kept straight but at ease. BENEFITS: • Develops intuition and extra sensory powers, • Detoxifies the body by the elimination of metabolic wastes. • Activates throat Chakra. • Purifies and emotions and thoughts. • Increases intuition power and alertness. • Beneficial for heart disease.

Lot: 35 - Judaica: Antique Silver Kiddush cup, 1900-1925

Judaica: Antique Silver Kiddush cup, 1900-1925 Weight: 43.90 g; Height: 105 mm = 4 inches; Engraved: Ben Slonimer: Ben Socy: Age: 1900-1925

Lot: 36 - JUDAICA ENGLISH STERLING SILVER KITCHEN TABLEWARE

JUDAICA ENGLISH STERLING SILVER KITCHEN TABLEWARE. Description: The lot includes a Judaica English sterling silver handled challah knife and sterling silver tzinder candle lighter set featuring silver handles modeled in the same style. The knife has a stainless steel blade. Hallmarked, Sheffield Stainless steel England. A cake server with a swirling relief handle, hallmarked for 925 silver and featuring a fish emblem. Shabbat challah knife made in Sheffield, England. Features a stainless steel blade and ornate twisted 0.925 sterling silver handle with an embossed inscription in Hebrew. The blade is marked: Sheffield, Stainless steel, England. The handle is marked with a 0.925 silver standard and a symbol of a fish. Judaica Religious and Spiritual Objects, Table ware and Serve ware for Collectors. Total weight: 426 g. Dimensions: Length of the knife with round handle: 14 inches = 35.5 cm; Weight: 115 g; Length of knife with inscriptions: 13.8 inches = 35 cm; Weight: 113 g; Length of cake server - 11 in = 28 cm. Weight: 91 g; Candle lighter 12.65 inches = 32.3 cm; Weight 107 g; All measurements are approximate. Condition Report: Overall perfect vintage condition. Refer to photos. Sold as is. Provenance: private collection in New York.

Lot: 37 - Judaica: Vintage Brass Hanukkah Menorah 9 Candle Holder

Judaica: Vintage Brass Hanukkah Menorah 9 Candle Holder Height: 5 ¾ inches = 14.5 cm; Width: 6 ¾ inches = 17.5 cm Weight: 1 lb. 15.7 oz. = 897 g;

Lot: 39K - Lot of 3 Neolithic Stone Axes + Roman Stone amulet

Lot of 3 Neolithic Stone Axes + Roman Stone amulet Size: 1.25” – 3.375” inches length. Lot of 3 small Neolithic stone axes together with Roman stone amulet with suspension hole. Provenance: from the late Robert Haber Ancient Art NYC. Robert Haber's interest in archeology and antiquities came about while studying in Jerusalem. While working on an excavation, he discovered the practical world of archaeological conservation, and was immediately enthralled with the field. In pursuit of a career in the conservation of antiquities, Mr. Haber was awarded an apprenticeship at the Israel Museum and was later hired by the restoration department. He went on to study at the University College London as a Kress Fellow under Prof. Henry Hodges and received a Diploma in the Conservation of Ancient Materials. Condition Report: minor chips as seen

Lot: 40A - Collection of 21 Neolithic stone arrow points, 1,000-10,000 BC.

Collection of 21 Neolithic stone arrow points, 1,000-10,000 BC. A Collection of 21 Neolithic Stone Arrow points from N. America, 1,000-10,000 BC. Size: 1.0 – 2.375 inches length. Nice lot of 21 genuine stone arrow points. Provenance: Ex Secret Eyes Gallery New York 1970's-1980's

Lot: 40B - Lower Paleolithic: Acheulean ~1.6 million to 200,000 years ago, human tool – chert cleaver, from W. Europe, 75 g

Size: 80 mm x 30 mm x 20 mm; Weight: 74.97 g; Mohs hardness: 9.5-10.0; Material: Chert; Chert is a hard, fine-grained sedimentary rock composed of crystals of quartz (silica) that are very small. In prehistoric times, chert was often used as a raw material for the construction of stone tools. Like obsidian, as well as some rhyolites, felsites, quartzites, and other tool stones used in lithic

Lot: 40D - Lower Paleolithic: Acheulean ~1.6 million to 200,000 years ago, human tool – chert cleaver, from W. Europe, 74.8 g

Lower Paleolithic: Acheulean ~1.6 million to 200,000 years ago, human tool – chert cleaver, from W. Europe, 74.8 g Size: 87 mm x 39 mm x 20 mm; Weight: 74.83 g; Mohs hardness: 9.5-10.0; Material: Chert; Chert is a hard, fine-grained sedimentary rock composed of crystals of quartz (silica) that are very small. In prehistoric times, chert was often used as a raw material for the construction

Lot: 40F - Multi-functional flint Neolithic or Paleolithic arrowhead point, 88 mm

A masterpiece Neolithic tool, which can be used as a knife, scraper, chopper, hand-axe, arrow head, spear head, etc. Length: 88 mm; Width: 20 mm; Weight: 11.46 g; Mohs’ hardness: 9.0-9.5; Flint was one of the most important materials in the Stone Age, used by people everywhere around the world. This raises at least one obvious question: why? What makes flint so special? Flint is a unique kind of rock. Like other forms of quartz, it's very hard and very durable. That's useful. After all, for all the effort it would take a nomadic people to create their tools, you don't want to waste resources or time. So, why not just use quartz? As a microcrystalline variety of quartz, flint has a unique molecular structure. There's a lot of science that we don't really need to discuss here, but what matters is that when you strike flint in just the right way, it breaks into uniform flakes with a very sharp edge. This is what made flint so valuable to ancient people. It was hard enough to be used time and again, but was also workable. They knew that if they took a large piece of flint and hit it with another rock or bone, it would break in predictable and controllable ways. Other kinds of rock would just shatter or splinter, making them impossible to craft into a useable tool. Flint is one of the best stones there is for creating a reliable tool, particularly if you need one with a sharp edge, and ancient people around the world discovered that. https://study.com/academy/lesson/stone-age-flint-tools.html Flint is a sedimentary cryptocrystalline form of the mineral quartz,[1][2] categorized as the variety of chert that occurs in chalk or marly limestone. Flint was widely used historically to make stone tools and start fires. It occurs chiefly as nodules and masses in sedimentary rocks, such as chalks and limestones.[3][4] Inside the nodule, flint is usually dark grey, black, green, white or brown in colour, and often has a glassy or waxy appearance. A thin layer on the outside of the nodules is usually different in colour, typically white and rough in texture. The nodules can often be found along streams and beaches. Flint breaks and chips into sharp-edged pieces, making it useful for knife blades and other cutting tools. The use of flint to make stone tools dates back millions of years, and flint's extreme durability has made it possible to accurately date its use over this time. Flint is one of the primary materials used to define the Stone Age. During the Stone Age, access to flint was so important for survival that people would travel or trade to obtain flint. Flint Ridge in Ohio was an important source of flint and Native Americans extracted the flint from hundreds of quarries along the ridge. This "Ohio Flint" was traded across the eastern United States and has been found as far west as the Rocky Mountains and south around the Gulf of Mexico.[5]

Lot: 40G - Multi-functional flint Neolithic or Paleolithic tool, arrowhead, chopper, knife, etc.

A masterpiece Neolithic tool, which can be used as a knife, chopper, hand-axe, arrow head point, spear head, etc. Length: 82 mm; Weight: 20.64 g; Mohs’ hardness: 9.0-9.5; Flint is a sedimentary cryptocrystalline form of the mineral quartz,[1][2] categorized as the variety of chert that occurs in chalk or marly limestone. Flint was widely used historically to make stone tools and start fires. It occurs chiefly as nodules and masses in sedimentary rocks, such as chalks and limestones.[3][4] Inside the nodule, flint is usually dark grey, black, green, white or brown in colour, and often has a glassy or waxy appearance. A thin layer on the outside of the nodules is usually different in colour, typically white and rough in texture. The nodules can often be found along streams and beaches. Flint breaks and chips into sharp-edged pieces, making it useful for knife blades and other cutting tools. The use of flint to make stone tools dates back millions of years, and flint's extreme durability has made it possible to accurately date its use over this time. Flint is one of the primary materials used to define the Stone Age. During the Stone Age, access to flint was so important for survival that people would travel or trade to obtain flint. Flint Ridge in Ohio was an important source of flint and Native Americans extracted the flint from hundreds of quarries along the ridge. This "Ohio Flint" was traded across the eastern United States and has been found as far west as the Rocky Mountains and south around the Gulf of Mexico.[5] When struck against steel, flint will produce enough sparks to ignite a fire with the correct tinder, or gunpowder used in weapons. Although it has been superseded in these uses by different processes (the percussion cap), or materials, (ferrocerium), "flint" has lent its name as generic term for a fire starter. Provenance: Florida?

Lot: 40H - Neolithic culture Chert Point, 5 1/4", 500 BC-100AD

#8 Adena Neolithic culture Chert Point, 5 1/4", Indiana, 500 BC-100 AD; Length: 5.3 inches = 14.7 cm; Width: 2 inches = 5 cm; Weight: 68.10 g; Moh’s hardness: 9.0; Provenance: Private Ex Park’s collection in Indiana, USA.

Lot: 40I - Neolithic chert arrowhead notch 4”, 500 BC-100AD

Neolithic chert arrowhead notch 4”, Hancock County, Indiana, USA, 500 BC-100AD, #16 Shape: beveled corner notch, projectile point. Length: 4 inches = 10.1 cm. Width: 1.7 inches = 4 cm; Weight: 47.52 g; Mohs’ hardness: 9.5. Provenance: private old collection in Ohio from 1930’s Types of arrowheads found in Indiana State. Common projectile point types found in Indiana include Clovis, Gainey, Hi-Lo, Agate Basin, Cumberland, Quad, Plainview, and, in late Paleoindian times, Dalton.

Lot: 40K - Top side notch Flintridge 3.5"L, Ex Johnson Collection #26

Top Side Notch Flintridge 3.5"L, Marion County, Florida, Ex Johnson Collection #26; Length: 3.5 inches = 9.3 cm; Width: 1.6 inches = 4 cm; Weight: 31.47 g; Moh’s hardness: 9.5; Provenance: Private Ex Johnson collection in Florida, USA;

Lot: 40M - Neolithic arrowhead, Flint-ridge side notch 3.5"=8 cm, 12,500 BC- 500 AD #31

Neolithic arrowhead, Flint-ridge side notch 3.5"=8 cm, Marion County, Florida, 12,500 BC- 500 AD #31; Length: 3.5 inches = 8 cm; Width: 1.35 inches = 3.5 cm; Weight: 19.01 g; Moh’s hardness: 9.5; Provenance: Private Ex Jonson’s collection in Florida, USA In Mesoamerica, a similar set of events (i.e., crop domestication and sedentary lifestyles) occurred by around 4500 BC in South America, but possibly as early as 11,000–10,000 BC. These cultures are usually not referred to as belonging to the Neolithic; in America different terms are used such as Formative stage instead of mid-late Neolithic, Archaic Era instead of Early Neolithic, and Paleo-Indian for the preceding period.[64] The Formative stage is equivalent to the Neolithic Revolution period in Europe, Asia, and Africa. In the southwestern United States it occurred from 500 to 1200 AD when there was a dramatic increase in population and development of large villages supported by agriculture based on dry-land farming of maize, and later, beans, squash, and domesticated turkeys. During this period the bow and arrow and ceramic pottery were also introduced.[65] In later periods cities of considerable size developed, and some metallurgy by 700 BC.[66]

Lot: 40N - Flintridge Neolithic arrowhead, 4"=10 cm, 8000-6000 BC

Flintridge Neolithic Adena culture, 4"=10 cm, Indiana State, Hancock County, 8000-6000 BC #34; Length: 4 inches = 10 cm; Width: 1.25 inches = 2 cm; Weight: 25.40 g; Moh’s hardness: 9.5; Provenance: Private collection in Ohio, USA, from 1930’s.

Lot: 40O - Neolithic chert scraper, 12,550 BC–500 AD

Neolithic chert scraper, Florida, Putnam County, 12,550 BC–500 AD, #39; Length: 2.5 inches = 6 cm; Width: 2.0 inches = 5 cm; Weight: 40.97 g; Moh’s hardness: 9.5; Provenance: Private ex Diller’s collection in Florida, USA.

Lot: 40P - Neolithic flint arrowhead 3.25”= 8 cm

Neolithic flint arrowhead 3.25”= 8 cm. Adena Culture, Ohio Collection #70. Length: 3 1/4"= 8 cm. Width: 3.3 cm = 33 mm. Weight: 19.91 g; Moh’s hardness: 9.0. Provenance: Private collection in Ohio, USA

Lot: 40R - Brown obsidian Neolithic spear, 800 BC – 500 AD

Brown obsidian Neolithic spear, North America, 800 BC – 500 AD. Length: 5.5 inches = 14.8 cm; Width: 1.35 inches = 34 mm; Weight: 33.95 g; Moh’s hardness: 8.5; Provenance: Private Ex Park’s collection in Indiana, USA.

Lot: 40S - Neolithic Flint-ridge Dovetail arrowhead 3.5”=9 cm, 8000 -6000 BC

Neolithic Flint-ridge Dovetail arrowhead 3.5”=9 cm, Hancock County, Indiana, 8000 -6000 BC #51; Shape: Flintridge, projectile with dovetail; Length: 3.5” = 9.0 cm; Width: 1.35“= 3.4 cm; Weight: 28.67 g; Mohs’ hardness: 9.0; Provenance: private old collection in Ohio from 1930’s.

Lot: 40T - Antique bi-pointed, double edged Dagger 12.75"=32.5 cm, Pioneers’ weapon, 1500-1700 AD

Antique bi-pointed, double edged Dagger 12.75"=32.5 cm, Canada, Pioneers’ weapon, 1500-1700 AD; Bought from Tlingit Indian tribe – people of the tides. The handle is a masterpiece - covered with intricate leather thin laces. With leather scabbard, which is deteriorating. Length 12.75 inches = 32.5 cm; Weight of dagger only: 65.54 g; Total weight with scabbard: 82.13 g; Condition: original stable rust. Provenance: private collection in USA

Lot: 41 - Antique iron harpoon 10.5", Pioneers’ tool, 1500-1800 AD,

Antique iron harpoon 10.5", North America, Pioneers’ tool, 1500-1800 AD, Harpoon to hunt salmons? Length: 10.5 inches = 27 cm; Weight: 184.42 g. Bought from Tlingit ? Provenance: private collection in USA.

Lot: 41A - The Penguin Archaeology Guide, edited by Paul Bahn, interesting useful book

The Penguin Archaeology Guide, edited by Paul Bahn, interesting useful book. Alphabetical Encyclopedia of Archaeology. Compiled by an international team of specialists, The Penguin Archaeology Guide is comprised of more than 3,000 articles that provide complete coverage of all aspects of archaeology. From early hominid remains found in Kenya to the Woodruff Ossuary in Kansas, clear and accurate descriptions of sites from around the world are supplemented by examples of a wide range of artifacts, with explanations of archaeological terms and excavation techniques. Additional articles focus on different civilizations, peoples, and the lives and achievements of key figures in the history of archaeology. Illustrated with more than 100 maps, diagrams, and black-and-white photographs-some of which have never before been published-this guide offers a superbly rich and authoritative account of a vast, complex, and perennially fascinating subject. • Publisher ‏ : ‎ Penguin Books (November 26, 2002) • Language ‏ : ‎ English • Paperback ‏ : ‎ 520 pages • ISBN-10 ‏ : ‎ 0140514481 • ISBN-13 ‏ : ‎ 978-0140514483 • Item Weight ‏ : ‎ 2.29 pounds • Dimensions ‏ : ‎ 6.86 x 1.38 x 9.1 inches

Lot: 41B - Images of the Past by T. Douglas Price (2005), 4th edition, rare book

Images of the Past by T. Douglas Price (2005), 4th edition, rare book On Amazon books - $89.96 used Images of the Past is an introduction to prehistoric archaeology that aims to capture the excitement and visual splendor of archaeology, while providing insight into current research methods, interpretations, and theories in the field. The 4th edition offers a beautifully illustrated, full-color, site-by-site survey of prehistory and has been revised in accordance with both new discoveries in archeology and the interests of readers. • ASIN ‏ : ‎ B00E29AM2G • Publisher ‏ : ‎ McGraw-Hill Humanities/Social Sciences/Languages; 5660 • Language ‏ : ‎ English

Lot: 41D - Three carved stone Neolithic game balls, Two 1.75" and one - 3",

Three carved stone Neolithic game balls, Two 1.75" and one - 3", Diameter of large ball: 3 inches Diameter of smaller balls: 1.75 inches Provenance: Ohio collection

Lot: 41E - Neolithic Five Bone Charms, USA

Neolithic Five Bone Charms. Weight of the box: 250.05 g. Largest bone pendant: 37 x 30 mm. Provenance: Private collection in USA.

Lot: 41F - 1939 Metal Ohio Hunting License, VGC

1939 Metal Ohio Hunting License, VGC XV -194; Condition: some rust on the back; Weight: 25.54 g;

Lot: 42A - Mesoamerican Neolithic carved stone Jaguar or Cougar/Puma

Mesoamerican Neolithic carved stone Jaguar or Cougar/Puma Length: 5 inches = 12 cm; Weight: 10.6 oz. = 299 g; Moh’s hardness: 2.5; Provenance: private collection in USA

Lot: 47 - Middle Eastern carved stone bowl & lid, with ibexes, cheetahs, 2000BC-2500BC

Middle Eastern carved stone bowl & lid, with ibexes, cheetahs, 2000 BC-2500 BC. Height with a lid: 6.5 inches = 160 mm = 16 cm; Height of the bowl without lid; 52 mm = 5.2 cm; Diameter of the bowl; 115 mm = 11.5 cm; Diameter of the lid: 97 mm = 9.7 cm; Weight of the bowl: 12 oz. = 340 g; Weight of the lid: 14.5 oz. = 410 g; Weight of the lid and bowl: 1 lb. 10.5 oz. = 749 g; Condition: great for the age of 4500 years, repaired chip at the rim of the bowl 4.5 cm long. Mohs, hardness: 2.5-3.0 (average range for chlorite stones 2.0-3.0); Decorations on the bowl: Bowl: Two ibexes, cheetah, hybrid figure of cheetah with human head. Cover lower level: two ibexes and two cheetahs; Cover upper level: two ibexes and one cheetah; Top of the cover: three ibex heads; Middle Eastern iconography & cosmogony: The striking thing in the Middle Eastern iconography and cosmogony is the total absence of a reference to a concept of the divine. Hybrid figures mastering animals exist in the ancient Neolithic tradition, and are still evidenced at the turn of the 5th to the 4th millennium in Susiana, etc. This heroic image of man stems from a profoundly human urge to dominate and transcend. The “master of animals” has never been worshiped and cannot be considered as a god. Whereas, Mesopotamian glyptic art swarms with “deities” and characters engaged in cult-related hunting or war scenes, similar scenes are unknown at this culture. Whereas Mesopotamian, Sumerian, or Semitic cosmogony separates reality from a mysterious world inhabited by supernatural transcendent powers whose favor must be gained, Iranian cosmogony is sober and differently oriented. Two opposing principles arise from the Middle Eastern imagery: one is negative, with the scorpion and the snake, symbols of suffering and death; the other is positive, with the cheetah and the eagle engaged on the side of man against the reptile.

Lot: 48 - Russian Christian bronze crosses, 1700-1900 AD mounted on oak board, Ex-Christie’s

Russian Christian bronze crosses, 1700-1900 AD mounted on oak board, Ex-Christie’s A plaque of mounted old believers’ icons, 18th-19th century. The panel set of eleven bronze/copper icon plaques or crucifixes. Height: 45.5 cm; Width: 30 cm; Weight: 3,805 g = 3 kg 805 g; Provenance: Christie's, New York, March 21, 2006, lot 1217 (as part of a set).

Lot: 48C - Bronze mirror, Trade Route from Varangians to Greeks, 800-1200 AD

This bronze mirror has three layers of spiral design and has a high content of tin. The research is going on to find out, which culture has produced this mirror. Diameter: 64 mm; Weight: 38.40 g; Provenance: found on the banks of the Dnieper River; Condition: The mirror is full of cracks and broken into several pieces (look at the photos). References: The Trade Route from the Varangians to the Greeks was connected to other waterways of Eastern Europe, such as the Pripyat-Bug waterway leading to Western Europe, and the Volga trade route, which went down the Volga waterway to the Caspian Sea. Another offshoot was along the Dnieper and the Usyazh-Buk River towards Lukoml and Polotsk. The Trade Route from the Varangians to the Greeks was used to transport different kinds of merchandise. Wine, spices, jewelry, glass, expensive fabrics, icons, and books came from the Byzantine Empire. Volhyn traded spinning wheels and other items. Certain kinds of weapons and handicrafts came from Scandinavia. Northern Rus' offered timber, fur, honey, and wax, while the Baltic tribes traded amber. In the second half of the eleventh century, the Crusades opened more lucrative routes from Europe to the Orient through the Crusader states of the Middle East. By that time, Rus' had strengthened its commercial ties with Western Europe, and the route from the Varangians to the Greeks gradually lost its significance. For a related military route, see Muravsky Trail.

Lot: 49 - Archaic Christian cast bronze cross, Kievan Rus, 900-1200 AD

Archaic Christian cast bronze cross, Kievan Rus, 900-1200 AD Rare archeological discovery. Size: Height: 39 mm = 1.53 in, Width: 27 mm = 1.06 in. Weight: 5.43 grams.

Lot: 50 - Russian Imperial Bronze Cross with crucifixion 19th c,

Authentic Russian Christian Bronze Cross with crucifixion 19th c, 15 inches tall. Height: 15 inches = 38 cm. Width: 8 in. = 20 cm. Weight: 2 lb. 5 oz. = 1070 g. Material: antique bronze with beautiful patina. Condition: Very good/fine for the age, natural patina, no defects; Original: Yes; Age: circa 1850;

Lot: 50A - Imperial antique Russian Orthodox enameled bronze "Crucifixion" cross with angels and saints, 18th century

Imperial antique Russian Orthodox enameled bronze "Crucifixion" cross with angels and saints, 18th century Antique RUSSIAN BRONZE "Crucifixion" in great condition! Detailed Enameled! Size: 6.8 inches = 175 mm = 17.5 cm; Width 4.45 inches = 113 mm = 11.3 cm; Weight: 10 oz. = 284 g; The religion aspect of this cross is Orthodox Old Believers Christianity, and it was made in the Russia. Please note that this item is antique, with some loss of blue enamel, but is still in great condition. Provenance: found in Ukraine, then - private collection in Portland, Oregon, USA

Lot: 50B - Antique Russian Orthodox bronze cross with a text from bible, 18th century

Antique Russian Orthodox bronze cross with a text from bible, 18th century; Height: 50 mm; Width: 29 mm; Weight: 4.75 g; Provenance: private collection in Ukraine

Lot: 50C - Saint Quiricus (Kḗrykos) and his mother Julitta, Antique copper travel Russian icon, 1600-1800 AD

Saint Quiricus (Kḗrykos) and his mother Julitta, Antique copper travel Russian icon, 1600-1800 AD. Height: 65 mm; Width: 48 mm; History: The Holy Martyrs Quiricus and Julitta lived in the city of Iconium in the province of Lykaoneia in Asia Minor. Saint Julitta was a Christian, descended from an illustrious family. Widowed early on, she raised her three-year-old son Quiricus on her own. In

Lot: 50D - St. Nicholas - Russian Imperial copper travel icon, 1700-1850 AD

St. Nicholas - Russian Imperial copper travel icon, 1700-1850 AD An antique Russian Orthodox miniature icon pendant of St. Nicholas the Wonder Worker with Christ and Mother of God in top corners. Circa the early 1700-1850 AD. Religious and Spiritual Objects for Collectors, Antique Russian Orthodox Art. Dimensions: 2 x 2 3/4 inches = 68 mm x 51 mm = 6.8 cm x 5.1 cm; Weight: 40.73 g; Provenance: private collection in New York, USA.

Lot: 50F - Byzantine bronze follis coin - pendant with Jesus Christ IC XC & Virgin Mary ΘV, (1068 AD-1071 AD)

Byzantine bronze follis coin - pendant with Jesus Christ IC XC & Virgin Mary ΘV, (1068 AD-1071 AD); Height of the coin: 27 mm; Width of the coin: 25 mm; Weight of the pendant with coin: 13.64 g; Provenance: Near Eastern collection; • Denomination: Follis;; • Date: 1068 - 1071 AD • Emperor: Romanus IV; • Obverse (Front): Jesus Christ Holding the Gospels in Left Hand and Right Hand Raised in Benediction - to the left and right of Christ: IC XC; • Reverse (Back): The Virgin Mary, left MP, right, ΘV meaning "Mother of God" • Coin Metal: Bronze; • Mint: Constantinople; • Bezel Metal: antique silver; • Articulating Bail Interior Diameter: Will accommodate chain or leather necklace up to 6.2 mm; • Pendant Size including the bezel: 1 1/8” Across, 1 1/2” Tall - almost the width of a 50 cent piece; By the early 5th Century, the once dominant Roman Empire was a fragmented collection of on-again, off-again allied or warring regions. Divided roughly between the western and eastern halves of the empire, the glory of Rome was no longer. Out of the ashes of this once great society rose the empire that would dominate European culture, economics and warfare for close to a millennium: The Eastern Roman, or Christian Byzantine Empire. It is from this mighty Christian empire, surrounded by non-Christian kingdoms, that this regal bronze follis comes. Bearing a portrait of Jesus Christ with the book of the Gospels on the front, on the back is the bold cross. By the rule of Emperor Justinian II (685–695), Byzantine coins were becoming more distinctly “Byzantine” in both art and symbolism. Justinian was the first to picture Jesus Christ on the obverse of his coinage, with a half, or full-length depiction of the Emperor on the reverse. https://cannonbeachtreasure.com/products/byzantine-bronze-follis-coin-jesus-christ-and-virgin-mary-14k-gold-and-sterling-silver-pendant-artifact-6149?variant=44032160858359&gclid=CjwKCAiA1fqrBhA1EiwAMU5m_6B6YQOUz3n-cTATBqeRnRXZlRVBnbVpTchKWXkrQyuQ0F732Nw5URoC1jQQAvD_BwE

Lot: 50H - Byzantine, Roman or Crusader lead gemma with a Christian cross and beautiful female profile, 500AD - 1500 AD

Byzantine, Roman or Crusader lead gemma with a Christian cross and beautiful female profile, 500AD - 1500 AD Size: 45 mm x 33 mm x 10 mm; Weight: 71.89 g; Other possibilities: Crusades Provenance: bought in Near Eastern country, in 1950’s

Lot: 50I - Antique Ethiopian processional Coptic gothic orthodox cutout brass cross, 1850-1920

Antique Ethiopian processional Coptic gothic orthodox cutout brass cross, 1850-1920; This antique Ethiopian processional cross is a stunning piece of history. It appears to look almost exactly the same on both sides. Made of brass with intricate cutouts, it embodies the beauty of Coptic - Gothic design. Originating from Ethiopia, it holds religious significance for those practicing Christianity. Length: 11.5” = 29 cm; Width: 5.25” = 13.5 cm; Weight: 8 oz. = 226 g; Provenance: private collection in Melville, New York, United States.

Lot: 50J - Byzantine bronze cross with crucifixion, 500 AD-1500 AD

Byzantine bronze cross with crucifixion, 500 AD-1500 AD Height: 4.2 cm = 42 mm Width: 2.9 cm = 29 mm Weight: 6.83 g; Provenance: private collection in Great Britain

Lot: 51 - Ancient Byzantine bronze reliquary cross, with Theotokos, - Mother of God, circa 600-800 AD.

Ancient Byzantine bronze reliquary cross, with Theotokos, - Mother of God, circa 600-800 AD. Ancient Byzantine bronze reliquary cross circa 7th-9th century AD. Size 3 3/8 inches high, 2 inches wide = 8.57 cm x 5.08 cm; Cast bronze front half of reliquary cross with incised figure of the Theotokos shown with widespread arms, containing a Greek inscription noting (mother God). Theotokos (Greek: Θεοτόκος)[a] is a title of Mary, mother of God, used especially in Eastern Christianity. Suspension loops on each side for hinges. Condition Report: missing back wall Provenance: Ex Estate of Pete Nickolas, Helios Old World Antiquities. USA by family descent. Ex Amphora (David Hendin). Purchase receipt from 03-15-1991 for $254.50;

Lot: 51A - Russian Imperial antique copper icon with Jesus Christ the Savior, 19th century

This is a beautiful middle part of folded triptych (skladen). Size: 5.5 x 5.25 inches = 14.7 cm x 13.7 cm Weight: 1 lb. 0.4 oz. = 464 g;

Lot: 51B - Antique Romanesque Art – St. Mary, carved wood figure, Spain, 1000-1400 AD (?)

Antique Romanesque Art – St. Mary, carved wood figure, Spain, 1000-1400 AD (?) Antique Carved Wood figure of Deity. Height: 11 3/8 inches = 28.9 cm; Fine carved wood figure of a female deity – St Mary? Standing on lotus (?) base holding a sacred object with both hands. Fine details and quality. Romanesque art is the art of Europe from approximately 1000 AD to the rise of the Gothic style in the 12th century, or later depending on region. The preceding period is known as the Pre-Romanesque period. The term was invented by 19th-century art historians, especially for Romanesque architecture, which retained many basic features of Roman architectural style – most notably round-headed arches, but also barrel vaults, apses, and acanthus-leaf decoration – but had also developed many very different characteristics. In Southern France, Spain, and Italy there was an architectural continuity with the Late Antique, but the Romanesque style was the first style to spread across the whole of Catholic Europe, from Sicily to Scandinavia. Romanesque art was also greatly influenced by Byzantine art, especially in painting, and by the anti-classical energy of the decoration of the Insular art of the British Isles. From these elements was forged a highly innovative and coherent style. Provenance: from the late Robert Haber Ancient Art NYC. Robert Haber's interest in archeology and antiquities came about while studying in Jerusalem. While working on an excavation, he discovered the practical world of archaeological conservation, and was immediately enthralled with the field. In pursuit of a career in the conservation of antiquities, Mr. Haber was awarded an apprenticeship at the Israel Museum and was later hired by the restoration department. He went on to study at the University College London as a Kress Fellow under Prof. Henry Hodges and received a Diploma in the Conservation of Ancient Materials.

Lot: 52 - Genuine Russian bronze cross with blue enamel, 18th century

Genuine Russian bronze cross with blue enamel, 18th century. Weight: 230 g = 9 oz. Length: 199 mm = 19.9 cm = 8 inches; Width: 11.6 cm = 4.75 inches; Lord Savaof- on the top of the cross. Below - 2 angels with trumpets. Inscription below the angels - Lord of the Glory. Above the cross crucifixion of the Son of the God - Our Lord Jesus Christ. Jesus Christ on the right and left of the cross. Below the cross - resurrection in Your glory. On the back of the cross - praying in Cyrillic language. Condition: Normal age wear, used, insignificant scratches, but no defects; Low Estimate: 2000.0; High Estimate: 4000.0; Condition: Very Good to Excellent; Original: Yes; Age: circa 1750

Lot: 52A - Russian Imperial 84 silver Cross Ladanka, by goldsmith Pavel Sazikov, 1793-1830

PAVEL Fedorovich Sazikov - supplier of the Russian Imperial Court in 1793-1830; Height: 43 mm; Width: 28 mm; Weight: 16.3 g; Age: circa 1830; Pavel Sazikov: born circa 1770, Vokhna (Moscow Province); Died: 1845, Moscow; Movements: Empire Imperial Russian Jewellery 19th–20th Centuries; Jeweller, silversmith, goldsmith, engraver, merchant. Hallmark: ?? or ???????? in a rectangle. Born in the family of a serf called Fyodor Yermolaevich in the village of Vokhna (now Pavlovsky Posad) in Moscow Province (c. 1770). Moved with his family to Moscow (1796), where he qualified as a merchant of the third guild (late 1790s) and opened a workshop (before 1804). Adopted the surname of Sazikov (1811). Awarded the workshop to his son Ignaty (1830) and died in Moscow (1845). http://www.rusartnet.com/biographies/russian-artists/19th-century/early-19th-century/jeweller/pavel-sazikov https://www.rbth.com/longreads/russian-imperial-jewelers/ https://www.proantic.com/en/display.php?mode=obj&id=165392 4,600 euro

Lot: 52B - Russian Imperial 84 silver pendant with Kazan St Mother of God & St Nicholas, marked B.A.O.

Height: 28 mm; Width: 19 mm; Weight: 1.7 g; Age: 1850-1900;

Lot: 52C - Russian Imperial 84 silver pendant icon with Spas Nerukotvorniy, by Pavel Sazikov, 1830

Height: 29 mm Width: 20 mm; Weight: 2.6 g. Age: circa 1830; PAVEL Fedorovich Sazikov. Supplier of the Imperial Court. 1793-1830 Pavel Sazikov dates back to 1793. Pavel Sazikov: born circa 1770, Vokhna (Moscow Province); Died: 1845, Moscow; Movements: Empire Imperial Russian Jewellery 19th–20th Centuries; Jeweller, silversmith, goldsmith, engraver, merchant. Hallmark: ?? or ???????? in a rectangle. Born in the family of a serf called Fyodor Yermolaevich in the village of Vokhna (now Pavlovsky Posad) in Moscow Province (c. 1770). Moved with his family to Moscow (1796), where he qualified as a merchant of the third guild (late 1790's) and opened a workshop (before 1804). Adopted the surname of Sazikov (1811). Awarded the workshop to his son Ignaty (1830) and died in Moscow (1845). http://www.rusartnet.com/biographies/russian-artists/19th-century/early-19th-century/jeweller/pavel-sazikov https://www.rbth.com/longreads/russian-imperial-jewelers/ https://www.proantic.com/en/display.php?mode=obj&id=165392 4,600 euro

Lot: 53 - Russian icon Annunciation, 18th century

Russian icon Annunciation, 18th century, Size: 14 x 12 inches = 35 cm x 30 cm Thickness: 18 mm. The Annunciation (from the Vulgate Latin annuntiatio (or nuntiatio) nativitatis Christi),[1] also referred to as the Annunciation to the Blessed Virgin Mary, the Annunciation of Our Lady[2] or the Annunciation of the Lord, is the Christian celebration of the announcement by the angel Gabriel to the Virgin Mary that she would conceive and become the mother of Jesus, the Son of God, marking his Incarnation.[3] Gabriel told Mary to name her son Yehoshua , meaning "YHWH is salvation". According to Luke 1:26, the Annunciation occurred "in the sixth month" of Elizabeth's pregnancy with John the Baptist.[4] Many Christians observe this event with the Feast of the Annunciation on 25 March,[3] an approximation of the northern vernal equinox nine full months before Christmas, the ceremonial birthday of Jesus. In England, this came to be known as Lady Day.[5] It marked the new year until 1752.[5] The 2nd-century writer Irenaeus of Lyon regarded the conception of Jesus as 25 March coinciding with the Passion.[6][disputed – discuss] The Annunciation has been a key topic in Christian art in general, as well as in Marian art in the Catholic Church, particularly during the Middle Ages and Renaissance. A work of art depicting the Annunciation is sometimes itself called an Annunciation.

Lot: 54 - Antique Russian Icon, 17th century, with 4 images

Antique Russian Icon, 17th century, with 4 images Height: 290 mm = 29 cm; Width: 200 mm = 20 cm; Provenance: private collection of Russian immigrants in St Petersburg, FL.

Lot: 55 - Antique Russian icon “Mother of God Maria”, 1700-1850 AD

Antique Russian icon “Mother of God Maria”, 1700-1850AD Gilt, egg tempera, gesso on kovcheg wood, an icon from an original three-piece Deisis, Mary is dressed in a red omophorion holding a scroll. 14" x 12" = = 35.56 cm x 30.48 cm; Text of the prayer in the hands of Maria: Великий Многоликий Господи Иисусе Христе - Боже мой. Прислони ко мне ухо..... Услыши молитву мою Provenance: private collection in Houston, Texas, USA.

Lot: 56 - St. Vladimir silver icon, by Michael Perkhin, employee of Karl Faberge, 1895-1900

St. Vladimir silver icon, by Michael Perkhin, employee of Karl Faberge, 1895-1900 84 silver probe; Weight: 15.1 g; Height: 2 inches = 4.9 cm; This icon was made by Michael Perkhin, who worked for Karl Faberge in St. Petersburg, Russia, in 1895-1900. Michael Evlampievich Perkhin (Russian: Михаи́л Евла́мпиевич Пе́рхин) (1860-1903) was a Russian Empire jeweler. Born in Okulovskaya in Olonets Governorate (now Republic of Karelia), he moved to St. Petersburg, he joined the House of Fabergé. With Henrik Wigström, he was one of the two leading workmasters of the House of Fabergé.

Lot: 57 - Imperial Russian 84 silver reliquary Ladanka pectoral cross with Jesus Christ, by Romanov, 1886

Imperial Russian 84 silver reliquary Ladanka pectoral cross with Jesus Christ, by Romanov, 1886; Mark: 84 МНР? (In Cyrillic). The cross has a miniature screw to lock ladanka Weight: 6.5 g; Height: 44 mm; Width: 25 mm; Provenance: private collection of Russian immigrant in St Petersburg, Florida, USA

Lot: 57A - Russian Imperial medallion, 84 silver, cloisonné enamel, Saint Reverend Anthony and Theodosius of Kiev-Pechersk Miracle, Image of the icon of the Dormition of the Blessed Virgin Mary, by Mitrofan Rendin, 19th century

Russian Imperial medallion, 84 silver, cloisonné enamel, Saint Reverend Anthony and Theodosius of Kiev-Pechersk Miracle, Image of the icon of the Dormition of the Blessed Virgin Mary, by Mitrofan Rendin, 19th century. Obverse: Святой Преподобный

Lot: 58 - Faberge enameled silver iconostasis -Iverskaya Mother of God, Imperial Russia

Faberge enameled silver iconostasis, Imperial Russia Four stamps: 1. Two headed Eagle (Russian Empire), 2. Karl Faberge, 3. 84 probe, % of silver 4. Saint George the Victorious, which means – Made in Moscow Width in full open position: 73 mm; Width in closed position: 37 mm; Height: 47 mm; Weight with chain: 37.4 g; Length of antique 84 silver chain: 53 cm; Provenance: from the family of

Lot: 59 - Pavlovsky pectoral silver cross, Павловский наперсный крест, 1797

Pavlovsky pectoral silver cross, Павловский наперсный крест, 1797 Height: 12.00 cm; Width: 7.40 cm; Weight: 71.17 g; Provenance: private collection, Germany; Inscription: “Пресвитеру

Lot: 59A - Magnificent Russian Imperial Silver spoon 130 g with two cornucopias, 1837

Magnificent Russian Silver spoon 130 g with two cornucopias, 1837 Silver marks: Н.Д. 1837 EC; Length: 28.5 cm Width: 5.8 cm; Weight: 130.65 g Русская серебранная ложка, Императорский герб: два рога изобилия, Николай Дубровин, period of Nicholas I (1825-1855)

Lot: 59B - Russian Imperial gilded silver milk jug, 1750-1880

Russian Imperial gilded silver milk jug, 1750-1880 Silver hallmarks: 84, H.C., Kokoshnik profile, looking left. The owner’s initials are engraved on the side. Weight: 85.13 g; Height: 85 mm = 8.5 cm

Lot: 60 - Russian Samovar as an electric lamp

This samovar can be used only as a lamp. You cannot make a tea within it. Height: 27.5 inches = 70 cm; Weight: 2772 g = 6 lb. 2.6 oz. Condition: used, but electrical part works; Shipping: to save cost of shipping could be sent without shade

Lot: 60A - Antique Russian 84 silver cloisonné enamel gilded tea spoon, signed П. Овчинниковъ, 28.37 g

Antique Russian 84 silver cloisonné enamel gilded tea spoon, signed П. Овчинниковъ Length: 139 mm; Weight: 28.37 g; Condition: slightly used, but perfect for age Provenance: private collection in New York, NY, USA

Lot: 60B - Antique Russian 84 silver cloisonné enamel gilded tea spoon, signed П. Овчинников Ovchinnikov, 28.31 g

Antique Russian 84 silver cloisonné enamel gilded tea spoon, signed П. Овчинников Ovchinnikov. Length: 139 mm; Weight: 28.31 g; Condition: slightly used, but perfect for age; Provenance: private collection in New York, NY, USA.

Lot: 60D - Imperial Russian 84 silver blue enamel Easter Egg, signed with marks

Imperial Russian 84 silver blue enamel Easter Egg. Two marks on the side of the ring holder: 84, Initials (not clear). There is another clear mark on the side of the egg body: 84. Letters are not clear. The egg is a solid one piece. Height with handle: 88 mm; Height without handle: 72 mm; Weight: 116.6 g; Weight with base: 128.4 g; Provenance: private collection in Florida, USA.

Lot: 61A - Russian Imperial cup holder, silver 84, cloisonné enamel, gilt, ДН-mark, circa 1893-1917

Russian Imperial cup holder, silver 84, cloisonné enamel, gilt, ДН-mark, circa 1893-1917. Genuine, beautiful Imperial Russian 84 silver cloisonné glass holder with a genuine antique glass withy engraved decorations. Mark: Female profile looking to the right, 84, ДН (DN). Height with handle: 64 mm = 6.4 cm; Height without handle: 50 mm = 5 cm; Diameter of the base: 57 mm = 5.7 cm; Diameter at the top: 50 mm = 5.0 cm; Glass height: 71 mm = 7.1 cm; Glass diameter: 48 mm = 4.8 cm; Provenance: From the family of early Russian emigrants after 1917, Florida, USA

Lot: 62 - Antique enameled silver donation cup K. Faberge mark, Russia

Antique cloisonné enameled 84 silver gilt donation tzedakah cup Faberge mark, Russia. Mark: 84 К ФАБЕРЖЕ. Height: 102 mm; Width: 50 mm; Width with handle: 87 mm; Upped diameter: 60 mm; Weight: 162.6 g; Provenance: private collection of Russian immigrants in St Petersburg, Florida.

Lot: 62A - Mikhail Fedorovich 1613-1645 - first tsar from Romanov’s dynasty, rare Russian bronze medal, made in 1652.

Mikhail Fedorovich 1613-1645 - first tsar from Romanov’s dynasty, rare Russian bronze medal, made in 1652. Genuine, very rare medal, made in Moscow, in 1652. Diameter: 39 mm; Weight: 30.12 g; Царь и Вел Кн Михаил Федоровичъ,

Lot: 62N - Дневник Императора Николая II, Diary of Emperor Nicholas II, period of 1890-1906, published in 1923, in Berlin

Дневник Императора Николая II, Diary of Emperor Nicholas II, period of 1890-1906, published in 1923, in Berlin Number of pages: 273; Size of the book: 22.6 cm x 17.7 cm. Weight: 460 g; Provenance: from the family heirlooms of Russian Orthodox Old believers (Староверов), from Latvia.

Lot: 63B - Imperial Russian bronze medal in honor of Maria Fedorovna 1748-1835

Imperial Russian bronze medal in honor of Maria Fedorovna 1748-1835 Limited Edition; Obverse: Reverse: 1748-1835. She was a wife of Pavel the First; • Weight: 146.11 g. Diameter: 3 inches = 75 mm. Thickness: 5 mm. References: There were 3 Empresses with the same name: • Sophia Marie Dorothea Augusta Luisa von Württemberg; 14 1759,

Lot: 63C - Russian Bronze Medal, Tsar Alexander II liberates peasants-slaves in 1861;

Russian Bronze Medal, Tsar Alexander II liberates peasants-slaves in 1861; Obverse: 19 February 1861; ?? ?????? ????? ????????; ?E?. ?. ??????; Reverse: ________?? ????????? ????????? ???????????? ?????? ?___________ ? ???? ????? ?????????????? ?? ???? ????????? ????? Diameter: 68 mm = 2.7 inches; Weight: 139.27 g; Condition: genuine patina and oxidation, was not cleaned; Emancipation of the serfs. Soon after the conclusion of peace, important changes were made in legislation concerning industry and commerce, and the new freedom thus afforded produced a large number of limited liability companies. Plans were formed for building a great network of railways, partly for the purpose of developing the natural resources of the country, and partly for the purpose of increasing its power for defense and attack. The existence of serfdom was tackled boldly, taking advantage of a petition presented by the Polish landed proprietors of the Lithuanian provinces and, hoping that their relations with the serfs might be regulated in a more satisfactory way (meaning in a way more satisfactory for the proprietors), he authorized the formation of committees "for ameliorating the condition of the peasants," and laid down the principles on which the amelioration was to be effected. This step was followed by one still more significant.[citation needed] Without consulting his ordinary advisers, Alexander ordered the Minister of the Interior to send a circular to the provincial governors of European Russia (serfdom was rare in other parts), containing a copy of the instructions forwarded to the Governor-General of Lithuania, praising the supposed generous, patriotic intentions of the Lithuanian landed proprietors, and suggesting that perhaps the landed proprietors of other provinces might express a similar desire. The hint was taken: in all provinces where serfdom existed, emancipation committees were formed. The emancipation was not merely a humanitarian question capable of being solved instantaneously by imperial ukase. It contained very complicated problems, deeply affecting the economic, social and political future of the nation. Alexander had to choose between the different measures recommended to him and decide if the serfs would become agricultural laborers dependent economically and administratively on the landlords or if the serfs would be transformed into a class of independent communal proprietors. The emperor gave his support to the latter project, and the Russian peasantry became one of the last groups of peasants in Europe to shake off serfdom. The architects of the emancipation manifesto were Alexander's brother Konstantin, Yakov Rostovtsev, and Nikolay Milyutin. On 3 March 1861, 6 years after his accession, the emancipation law was signed and published.

Lot: 64 - Pastel drawing "Head of a Child", Pisemsky, Russia, c 1890

Pastel drawing "Head of a Child", by Russian artist A.A. Pisemsky (1859-1913) Amazing pastel and charcoal drawing "Head of a Child", by Russian artist Aleksey Alexandrovitch Pisemsky (1859-1913) Medium: colored pastel, carton, covered with glass for protection Size of the carton: 41 x 31 cm = 16 x 13 inches; Size of the frame: 57 x 46 cm = 22.5 x 18 inches; Weight with a frame and glass: 6 lb. = 3 kg; Condition: perfect, pastel was kept framed, under glass; Highest price for Pisemskys oil on canvas "Autumn landscape with a lake" was sold on Christie's, London, in 2007 for $258,788 USD Biography The son of a landowner, Alexei Pisemsky grew up in the densely wooded province of Kostroma, north-east of Yaroslavl. His uncle was a famous writer, Alexei Feofilaktovich Pisemsky, regarded as an equal of Ivan Turgenev in his time. Alexei Alexandrovich began his studies at secondary school in the regional town of Kostroma, but at the insistence of his patron he left before finishing the course in order to enroll at the Imperial Academy of Arts in St Petersburg (1878-1890). He studied landscape painting under Mikhail Klodt and Yuli Klever and exhibited with the Itinerants from 1887-1889. He is best known for his oils, which were immensely popular among collectors including Pavel Tretyakov and the Imperial family, but he was also a stalwart member of the Society of Russian Watercolourists and celebrated illustrator. Remarkably for the period, he traveled to North Africa in the 1890s. Condition: perfect, pastel was kept framed, under glass; Low Estimate: 10000; High Estimate: 20000; Original: Yes; Medium: Pastel, Charcoal; Circa: 1890;

Lot: 64A - Vainakh towers, antique oil painting on tile, Caucasian mountains, Chechnya, Ingushetia, Georgia, signed A.F. 19th century

Vainakh towers, antique oil painting on tile, Caucasian mountains, Chechnya, Ingushetia, Georgia, signed A.F. 19th century The Vainakh tower architecture (Chechen: Вайнехан бӀаьвнийн архитектура), also called Nakh architecture, is a

Lot: 64B - Russian beautiful girl with samovar - miniature lacquered treasure box

Russian beautiful girl with samovar - lacquered treasure box

Lot: 64C - Ukrainian girl - lacquered miniature treasure box, 2002

Ukrainian girl - lacquered miniature treasure box, 2002

Lot: 64E - Alexandra Rosset Smirnova (1809-1882), Russian lacquer miniature Fedoskino, by artist Borisova, certified

Alexandra Rosset Smirnova (1809-1882), Russian lacquer miniature Fedoskino, by artist Borisova, certified. High quality miniature portrait. Alexandra Osipovna Smirnova (Russian: Александра Осиповна Смирнова, née Rosset, known also as

Lot: 64F - Baroness Elizaveta Demidova (1812-1863), Russian lacquer miniature Fedoskino, by artist Linkova

Baroness Elizaveta Demidova (1812-1863), Russian lacquer miniature Fedoskino, by artist Linkova. Baroness Elizaveta Alexandrovna Demidova (née Stroganova) (3/5 February 1779, Saint Petersburg - 8 April OS: 27 March 1818, Paris) (Russian - Елизавета Александровна

Lot: 64G - Russian noble beauty on lacquer miniature Fedoskino, by artist Olga Panina

Russian noble beauty on lacquer miniature Fedoskino, by artist Olga Panina Size: 11.1 cm x 8.0 cm x 2.4 cm = 111 mm x 80 mm x 24 mm; Fedoskino miniature (Russian: федоскинская миниатюра) is a traditional Russian lacquer miniature painting on papier-mache, named after its original center Fedoskino (Федоскино), an old village near Moscow widely known from the late 18th century. The contemporary Fedoskino painting preserves the typical features of Russian folk art. The use of oil paint, typically applied in many layers, is a distinctive feature of a Fedoskino miniature, as well as the use of mother-of-pearl, pure gold or silver leaf under segments of the background to create the effect of a shimmering glow or silvery sparkle. Many boxes are painted inside and outside in imitation tortoiseshell, birch bark, mahogany or tartan. The heyday of Fedoskino miniature fell in the second half of the 19th century, and the works of that time are known as 'lukutins', named after the merchants Lukutins, who owned the Fedoskino factory at that time. Petr Lutukin inherited the factory in 1824 and it remained in the families ownership until 1904. After a brief interlude in the hands of former Lutukin workers ('The Fedoskino Artel of Former Lutukin Factory Workers') the factory effectively ceased trading until after the revolution, when in 1923, Fedoskino wares were awarded a diploma for 'superb artistic skill' at the All Union Exhibition of Agricultural, Industrial and Cultural Products; which was held in Moscow in that year. Some of the factory craftsmen had artistic education, and many of them had come from icon-painting studios. In 1931 the opening of a vocational school of miniature painting at Fedoskino ensured the perpetuation of the art form, which allowed the continued development through the following years. Stylistically the Fedoskino factory is distinct from the other schools of miniature lacquer painting: notably those of Palekh, Mstera and Kholui. [1] The popular motifs used in Fedoskino miniature are all sorts of tea-drinking with samovar, troikas (carriage-and-three), and scenes from Russian peasant life.

Lot: 64H - Russian beauty (боярыня) on lacquer miniature Fedoskino, by artist L. Panina

Russian beauty (боярыня) on lacquer miniature Fedoskino, by artist L. Panina Size of the box: 11.2 cm x 8.2 cm x 2.4 cm = 112 mm 82 mm x 24 mm; Mother pearl effect on her white dress. Fedoskino miniature (Russian: федоскинская миниатюра) is a traditional Russian lacquer miniature painting on papier-mache, named after its original center Fedoskino (Федоскино), an old village near Moscow widely known from the late 18th century. The contemporary Fedoskino painting preserves the typical features of Russian folk art. The use of oil paint, typically applied in many layers, is a distinctive feature of a Fedoskino miniature, as well as the use of mother-of-pearl, pure gold or silver leaf under segments of the background to create the effect of a shimmering glow or silvery sparkle. Many boxes are painted inside and outside in imitation tortoiseshell, birch bark, mahogany or tartan. The heyday of Fedoskino miniature fell in the second half of the 19th century, and the works of that time are known as 'lukutins', named after the merchants Lukutins, who owned the Fedoskino factory at that time. Petr Lutukin inherited the factory in 1824 and it remained in the families ownership until 1904. After a brief interlude in the hands of former Lutukin workers ('The Fedoskino Artel of Former Lutukin Factory Workers') the factory effectively ceased trading until after the revolution, when in 1923, Fedoskino wares were awarded a diploma for 'superb artistic skill' at the All Union Exhibition of Agricultural, Industrial and Cultural Products; which was held in Moscow in that year. Some of the factory craftsmen had artistic education, and many of them had come from icon-painting studios. In 1931 the opening of a vocational school of miniature painting at Fedoskino ensured the perpetuation of the art form, which allowed the continued development through the following years. Stylistically the Fedoskino factory is distinct from the other schools of miniature lacquer painting: notably those of Palekh, Mstera and Kholui. [1] The popular motifs used in Fedoskino miniature are all sorts of tea-drinking with samovar, troikas (carriage-and-three), and scenes from Russian peasant life.

Lot: 64I - Portrait of Maria Lopukhina, by Vladimir Borovikovsky, Russian miniature Fedoskino

Portrait of Maria Lopukhina, by Vladimir Borovikovsky, Russian miniature Fedoskino High quality miniature portrait. Size of the box: 128 mm x 95 mm x 30 mm = 12.8 cm x 9.5 cm x 3.0 cm (large size and high quality). The mysticism of the Portrait of Maria Lopukhina. The image of withering roses in the picture is interpreted as a symbol of the transience of female beauty. In the case of Lopukhina, this symbolism manifested itself literally. Maria came from a noble family. She was the eldest child (there were also four sisters and two brothers). The father of the family, Ivan Tolstoy, was fond of mysticism and was listed as the master of the Masonic lodge, which would significantly contribute to rumors about the portrait by Vladimir Borovikovsky in the future. Maria Lopukhina, by the way, was distantly related to Leo Tolstoy — the famous writer was her first cousin once removed. Maria, an 18-year-old girl, as most often happened in those years, was married to Stepan Lopukhin by parental conspiracy. He was a chamberlai Vladimir Lukich Borovikovsky (Russian: Влади́мир Луки́ч Боровико́вский, Ukrainian: Володи́мир Лýкич Боровикóвський, Volodymyr Lukych Borovykovskyi; July 24 O.S. (August 4, N.S.) 1757, Mirgorod – April 6 O.S. (April 18, N.S.) 1825, St. Petersburg) was a prominent Russian Imperial artist of Ukrainian Cossack background,[2] who served at the court of Catherine the Great and dominated portraiture in the Russian Empire at the turn of the 19th century. Location of the original: State Tretyakov gallery, Moscow Copy made by artist Linkova

Lot: 64K - Natalya Pushkina Goncharova (1812-1863), Russian lacquer miniature Fedoskino, by artist Borisova, certified

Natalya Pushkina Goncharova (1812-1863), Russian lacquer miniature Fedoskino, by artist Borisova, certified High quality miniature portrait!!! Natalia Nikolayevna Pushkina-Lanskaya (Russian: Наталья Николаевна Пушкина-Ланская; 8 September 1812 – 26 November 1863) (née Goncharova) (Гончарова), was the wife of the Russian poet Alexander Pushkin from 1831 until his death in 1837 in a duel with Georges d'Anthès. Natalia was married to Major-General Petr Petrovich Lanskoy from 1844 until her death in 1863. Size: 80 mm x 52 mm x 34 mm = 8.0 cm x 5.2 cm x 3.4 cm; Fedoskino miniature (Russian: федоскинская миниатюра) is a traditional Russian lacquer miniature painting on papier-mache, named after its original center Fedoskino (Федоскино), an old village near Moscow widely known from the late 18th century. The contemporary Fedoskino painting preserves the typical features of Russian folk art. The use of oil paint, typically applied in many layers, is a distinctive feature of a Fedoskino miniature, as well as the use of mother-of-pearl, pure gold or silver leaf under segments of the background to create the effect of a shimmering glow or silvery sparkle. Many boxes are painted inside and outside in imitation tortoiseshell, birch bark, mahogany or tartan. The heyday of Fedoskino miniature fell in the second half of the 19th century, and the works of that time are known as 'lukutins', named after the merchants Lukutins, who owned the Fedoskino factory at that time. Petr Lutukin inherited the factory in 1824 and it remained in the families ownership until 1904. After a brief interlude in the hands of former Lutukin workers ('The Fedoskino Artel of Former Lutukin Factory Workers') the factory effectively ceased trading until after the revolution, when in 1923, Fedoskino wares were awarded a diploma for 'superb artistic skill' at the All Union Exhibition of Agricultural, Industrial and Cultural Products; which was held in Moscow in that year. Some of the factory craftsmen had artistic education, and many of them had come from icon-painting studios. In 1931 the opening of a vocational school of miniature painting at Fedoskino ensured the perpetuation of the art form, which allowed the continued development through the following years. Stylistically the Fedoskino factory is distinct from the other schools of miniature lacquer painting: notably those of Palekh, Mstera and Kholui. [1] The popular motifs used in Fedoskino miniature are all sorts of tea-drinking with samovar, troikas (carriage-and-three), and scenes from Russian peasant life.

Lot: 64L - Russian lady - lacquer miniature portrait by the artist Romanova, Fedoskino.

Russian lady - lacquer miniature portrait by the artist Romanova, Fedoskino. Size of the box: 80 mm x 64 mm x 23 mm = 8.0 cm x 6.4 cm x 2.3 cm; Fedoskino miniature (Russian: федоскинская миниатюра) is a traditional Russian lacquer miniature painting on papier-mache, named after its original center Fedoskino (Федоскино), an old village near Moscow widely known from the late 18th century. The contemporary Fedoskino painting preserves the typical features of Russian folk art. The use of oil paint, typically applied in many layers, is a distinctive feature of a Fedoskino miniature, as well as the use of mother-of-pearl, pure gold or silver leaf under segments of the background to create the effect of a shimmering glow or silvery sparkle. Many boxes are painted inside and outside in imitation tortoiseshell, birch bark, mahogany or tartan. The heyday of Fedoskino miniature fell in the second half of the 19th century, and the works of that time are known as 'lukutins', named after the merchants Lukutins, who owned the Fedoskino factory at that time. Petr Lutukin inherited the factory in 1824 and it remained in the families ownership until 1904. After a brief interlude in the hands of former Lutukin workers ('The Fedoskino Artel of Former Lutukin Factory Workers') the factory effectively ceased trading until after the revolution, when in 1923, Fedoskino wares were awarded a diploma for 'superb artistic skill' at the All Union Exhibition of Agricultural, Industrial and Cultural Products; which was held in Moscow in that year. Some of the factory craftsmen had artistic education, and many of them had come from icon-painting studios. In 1931 the opening of a vocational school of miniature painting at Fedoskino ensured the perpetuation of the art form, which allowed the continued development through the following years. Stylistically the Fedoskino factory is distinct from the other schools of miniature lacquer painting: notably those of Palekh, Mstera and Kholui. [1] The popular motifs used in Fedoskino miniature are all sorts of tea-drinking with samovar, troikas (carriage-and-three), and scenes from Russian peasant life.

Lot: 64N - Natalya Pushkina Goncharova, Russian lacquer miniature Fedoskino, by artist Kozlov

Natalya Pushkina Goncharova, Russian lacquer miniature Fedoskino, by artist Kozlov; High quality miniature portrait of Natalia Nikolayevna Pushkina-Lanskaya (Russian: Наталья Николаевна Пушкина-Ланская; 8 September 1812 – 26 November 1863) (née Goncharova) (Гончарова), was the wife of the Russian poet Alexander Pushkin from 1831 until his death in 1837 in a duel with Georges d'Anthès. Natalia was married to Major-General Petr Petrovich Lanskoy from 1844 until her death in 1863. Size of the box: 95 mm x 82 mm x 57 mm = 9.5 cm x 8.2 cm x 5.7 cm Fedoskino miniature (Russian: федоскинская миниатюра) is a traditional Russian lacquer miniature painting on papier-mache, named after its original center Fedoskino (Федоскино), an old village near Moscow widely known from the late 18th century. The contemporary Fedoskino painting preserves the typical features of Russian folk art. The use of oil paint, typically applied in many layers, is a distinctive feature of a Fedoskino miniature, as well as the use of mother-of-pearl, pure gold or silver leaf under segments of the background to create the effect of a shimmering glow or silvery sparkle. Many boxes are painted inside and outside in imitation tortoiseshell, birch bark, mahogany or tartan. The heyday of Fedoskino miniature fell in the second half of the 19th century, and the works of that time are known as 'lukutins', named after the merchants Lukutins, who owned the Fedoskino factory at that time. Petr Lutukin inherited the factory in 1824 and it remained in the families ownership until 1904. After a brief interlude in the hands of former Lutukin workers ('The Fedoskino Artel of Former Lutukin Factory Workers') the factory effectively ceased trading until after the revolution, when in 1923, Fedoskino wares were awarded a diploma for 'superb artistic skill' at the All Union Exhibition of Agricultural, Industrial and Cultural Products; which was held in Moscow in that year. Some of the factory craftsmen had artistic education, and many of them had come from icon-painting studios. In 1931 the opening of a vocational school of miniature painting at Fedoskino ensured the perpetuation of the art form, which allowed the continued development through the following years. Stylistically the Fedoskino factory is distinct from the other schools of miniature lacquer painting: notably those of Palekh, Mstera and Kholui. [1] The popular motifs used in Fedoskino miniature are all sorts of tea-drinking with samovar, troikas (carriage-and-three), and scenes from Russian peasant life.

Lot: 64O - A.A. Olenina – first love of Pushkin - refused to marry him, hand-painted Russian lacquer miniature Fedoskino, by artist Borisova.

A.A. Olenina – first love of Pushkin - refused to marry him, hand-painted Russian lacquer miniature Fedoskino, by artist Borisova. Very high quality portrait of A. A. Olenina by Orest Kiprensky. Size of the box: 82 mm x 54 mm x 35 mm = 8.2 cm x 5.4 cm x 3.5 cm; Love love with you. "I loved you: love still, perhaps" Я вас любил,

Lot: 64P - Hand-painted miniature portrait of Princess Zinaida Yusupova, (ca 1900), by Strakhova, Fedoskino

Hand-painted miniature portrait of Princess Zinaida Yusupova, (ca 1900), by Strakhova, Fedoskino; High quality miniature by Strakhova. Original by Konstantin Makovsky. Size of the box: 102 mm x 88 mm x 45 mm = 10.2 cm x 8.8 cm x 4.5 cm; • Original Title: Портрет княгини

Lot: 64R - Portrait of Idalia Poletika (1807-1889), hand-painted Russian lacquer miniature, Fedoskino

Portrait of Idalia Poletika (1807-1889), hand-painted Russian lacquer miniature, Fedoskino; High quality miniature portrait of Idalia Poletika, by Shabanova, 1999. Size of the yellow box: 120 mm x 70 mm x 45 mm = 12.0 cm x 7.0 cm x 4.5 cm; Date of birth 1807; Date of death 1889, 1811; Place of burial • 1st Christian Cemetery; Country of citizenship • Russian Empire; Family • House of Poletika; Father • Grigorij Aleksandrovič Stroganov; Mother • Juliana de Oyenhausen de Almeida; Child • Yelizaveta Poletika; Spouse • Aleksandr Poletika; Fedoskino miniature (Russian: федоскинская миниатюра) is a traditional Russian lacquer miniature painting on papier-mache, named after its original center Fedoskino (Федоскино), an old village near Moscow widely known from the late 18th century. The contemporary Fedoskino painting preserves the typical features of Russian folk art. The use of oil paint, typically applied in many layers, is a distinctive feature of a Fedoskino miniature, as well as the use of mother-of-pearl, pure gold or silver leaf under segments of the background to create the effect of a shimmering glow or silvery sparkle. Many boxes are painted inside and outside in imitation tortoiseshell, birch bark, mahogany or tartan. The heyday of Fedoskino miniature fell in the second half of the 19th century, and the works of that time are known as 'lukutins', named after the merchants Lukutins, who owned the Fedoskino factory at that time. Petr Lutukin inherited the factory in 1824 and it remained in the families ownership until 1904. After a brief interlude in the hands of former Lutukin workers ('The Fedoskino Artel of Former Lutukin Factory Workers') the factory effectively ceased trading until after the revolution, when in 1923, Fedoskino wares were awarded a diploma for 'superb artistic skill' at the All Union Exhibition of Agricultural, Industrial and Cultural Products; which was held in Moscow in that year. Some of the factory craftsmen had artistic education, and many of them had come from icon-painting studios. In 1931 the opening of a vocational school of miniature painting at Fedoskino ensured the perpetuation of the art form, which allowed the continued development through the following years. Stylistically the Fedoskino factory is distinct from the other schools of miniature lacquer painting: notably those of Palekh, Mstera and Kholui. [1] The popular motifs used in Fedoskino miniature are all sorts of tea-drinking with samovar, troikas (carriage-and-three), and scenes from Russian peasant life.

Lot: 64S - Portrait of noble lady, hand-painted Russian lacquer miniature Fedoskino, by artist Liudmila Riumina

Portrait of noble lady, hand-painted Russian lacquer miniature Fedoskino, by artist Liudmila Riumina; Size: 80 mm x 63 mm x 27 mm = 8.0 cm x 6.3 cm x 2.7 cm; Fedoskino miniature (Russian: федоскинская миниатюра) is a traditional Russian lacquer miniature painting on papier-mache, named after its original center Fedoskino (Федоскино), an old village near Moscow widely known from the late 18th century. The contemporary Fedoskino painting preserves the typical features of Russian folk art. The use of oil paint, typically applied in many layers, is a distinctive feature of a Fedoskino miniature, as well as the use of mother-of-pearl, pure gold or silver leaf under segments of the background to create the effect of a shimmering glow or silvery sparkle. Many boxes are painted inside and outside in imitation tortoiseshell, birch bark, mahogany or tartan. The heyday of Fedoskino miniature fell in the second half of the 19th century, and the works of that time are known as 'lukutins', named after the merchants Lukutins, who owned the Fedoskino factory at that time. Petr Lutukin inherited the factory in 1824 and it remained in the families ownership until 1904. After a brief interlude in the hands of former Lutukin workers ('The Fedoskino Artel of Former Lutukin Factory Workers') the factory effectively ceased trading until after the revolution, when in 1923, Fedoskino wares were awarded a diploma for 'superb artistic skill' at the All Union Exhibition of Agricultural, Industrial and Cultural Products; which was held in Moscow in that year. Some of the factory craftsmen had artistic education, and many of them had come from icon-painting studios. In 1931 the opening of a vocational school of miniature painting at Fedoskino ensured the perpetuation of the art form, which allowed the continued development through the following years. Stylistically the Fedoskino factory is distinct from the other schools of miniature lacquer painting: notably those of Palekh, Mstera and Kholui. [1] The popular motifs used in Fedoskino miniature are all sorts of tea-drinking with samovar, troikas (carriage-and-three), and scenes from Russian peasant life.

Lot: 64T - Natalya Pushkina Goncharova, Russian lacquer hand-painted miniature, by artist Durova, certified, Fedoskino

Natalya Pushkina Goncharova, Russian lacquer hand-painted miniature, by artist Durova, certified, Fedoskino High quality miniature portrait of the wife of Russian poet Alexander Pushkin. Natalia Nikolayevna Pushkina-Lanskaya (Russian: Наталья Николаевна Пушкина-Ланская; 8 September 1812 – 26 November 1863) (née Goncharova) (Гончарова), was the wife of the Russian poet Alexander Pushkin from 1831 until his death in 1837 in a duel with Georges d'Anthès. Natalia was married to Major-General Petr Petrovich Lanskoy from 1844 until her death in 1863. Size: 90 mm x 65 mm x 25 mm = 9.0 cm x 6.5 cm x 2.5 cm; Fedoskino miniature (Russian: федоскинская миниатюра) is a traditional Russian lacquer miniature painting on papier-mache, named after its original center Fedoskino (Федоскино), an old village near Moscow widely known from the late 18th century. The contemporary Fedoskino painting preserves the typical features of Russian folk art. The use of oil paint, typically applied in many layers, is a distinctive feature of a Fedoskino miniature, as well as the use of mother-of-pearl, pure gold or silver leaf under segments of the background to create the effect of a shimmering glow or silvery sparkle. Many boxes are painted inside and outside in imitation tortoiseshell, birch bark, mahogany or tartan. The heyday of Fedoskino miniature fell in the second half of the 19th century, and the works of that time are known as 'lukutins', named after the merchants Lukutins, who owned the Fedoskino factory at that time. Petr Lutukin inherited the factory in 1824 and it remained in the families ownership until 1904. After a brief interlude in the hands of former Lutukin workers ('The Fedoskino Artel of Former Lutukin Factory Workers') the factory effectively ceased trading until after the revolution, when in 1923, Fedoskino wares were awarded a diploma for 'superb artistic skill' at the All Union Exhibition of Agricultural, Industrial and Cultural Products; which was held in Moscow in that year. Some of the factory craftsmen had artistic education, and many of them had come from icon-painting studios. In 1931 the opening of a vocational school of miniature painting at Fedoskino ensured the perpetuation of the art form, which allowed the continued development through the following years. Stylistically the Fedoskino factory is distinct from the other schools of miniature lacquer painting: notably those of Palekh, Mstera and Kholui. [1] The popular motifs used in Fedoskino miniature are all sorts of tea-drinking with samovar, troikas (carriage-and-three), and scenes from Russian peasant life.

Lot: 64V - Lady in white cap by O. Yastrebov, 1998, hand-painted Russian lacquer miniature Fedoskino, certified

Lady in white cap by O. Yastrebov, 1998, hand-painted Russian lacquer miniature Fedoskino, certified; High quality miniature portrait of the noble lady. Size: 80 mm x 60 mm x 44 mm = 8.0 cm x 6.0 cm x 4.4 cm; Fedoskino miniature (Russian: федоскинская миниатюра) is a traditional Russian lacquer miniature painting on papier-mache, named after its original center Fedoskino (Федоскино), an old village near Moscow widely known from the late 18th century. The contemporary Fedoskino painting preserves the typical features of Russian folk art. The use of oil paint, typically applied in many layers, is a distinctive feature of a Fedoskino miniature, as well as the use of mother-of-pearl, pure gold or silver leaf under segments of the background to create the effect of a shimmering glow or silvery sparkle. Many boxes are painted inside and outside in imitation tortoiseshell, birch bark, mahogany or tartan. The heyday of Fedoskino miniature fell in the second half of the 19th century, and the works of that time are known as 'lukutins', named after the merchants Lukutins, who owned the Fedoskino factory at that time. Petr Lutukin inherited the factory in 1824 and it remained in the families ownership until 1904. After a brief interlude in the hands of former Lutukin workers ('The Fedoskino Artel of Former Lutukin Factory Workers') the factory effectively ceased trading until after the revolution, when in 1923, Fedoskino wares were awarded a diploma for 'superb artistic skill' at the All Union Exhibition of Agricultural, Industrial and Cultural Products; which was held in Moscow in that year. Some of the factory craftsmen had artistic education, and many of them had come from icon-painting studios. In 1931 the opening of a vocational school of miniature painting at Fedoskino ensured the perpetuation of the art form, which allowed the continued development through the following years. Stylistically the Fedoskino factory is distinct from the other schools of miniature lacquer painting: notably those of Palekh, Mstera and Kholui. [1] The popular motifs used in Fedoskino miniature are all sorts of tea-drinking with samovar, troikas (carriage-and-three), and scenes from Russian peasant life.

Lot: 64W - Young lady, hand-painted Russian lacquer miniature Fedoskino, by artist Tatiana Suvorova

Young lady, hand-painted Russian lacquer miniature Fedoskino, by artist Tatiana Suvorova; Size: 70 mm x 53 mm x 32 mm = 7.0 cm x 5.3 cm x 3.2 cm; Fedoskino miniature (Russian: федоскинская миниатюра) is a traditional Russian lacquer miniature painting on papier-mache, named after its original center Fedoskino (Федоскино), an old village near Moscow widely known from the late 18th century. The contemporary Fedoskino painting preserves the typical features of Russian folk art. The use of oil paint, typically applied in many layers, is a distinctive feature of a Fedoskino miniature, as well as the use of mother-of-pearl, pure gold or silver leaf under segments of the background to create the effect of a shimmering glow or silvery sparkle. Many boxes are painted inside and outside in imitation tortoiseshell, birch bark, mahogany or tartan. The heyday of Fedoskino miniature fell in the second half of the 19th century, and the works of that time are known as 'lukutins', named after the merchants Lukutins, who owned the Fedoskino factory at that time. Petr Lutukin inherited the factory in 1824 and it remained in the families ownership until 1904. After a brief interlude in the hands of former Lutukin workers ('The Fedoskino Artel of Former Lutukin Factory Workers') the factory effectively ceased trading until after the revolution, when in 1923, Fedoskino wares were awarded a diploma for 'superb artistic skill' at the All Union Exhibition of Agricultural, Industrial and Cultural Products; which was held in Moscow in that year. Some of the factory craftsmen had artistic education, and many of them had come from icon-painting studios. In 1931 the opening of a vocational school of miniature painting at Fedoskino ensured the perpetuation of the art form, which allowed the continued development through the following years. Stylistically the Fedoskino factory is distinct from the other schools of miniature lacquer painting: notably those of Palekh, Mstera and Kholui. [1] The popular motifs used in Fedoskino miniature are all sorts of tea-drinking with samovar, troikas (carriage-and-three), and scenes from Russian peasant life.

Lot: 64Y - Beautiful Lady, hand-painted Russian lacquer miniature Fedoskino, by artist Belogub,

Beautiful Lady, hand-painted Russian lacquer miniature Fedoskino, by artist Belogub. Size: 62 mm x 52 mm x 30 mm = 6.2 cm x 5.2 cm x 3.0 cm; Condition: There is a small 10 x 3 mm defect in lacquer service on the right edge. Fedoskino miniature (Russian: федоскинская миниатюра) is a traditional Russian lacquer miniature painting on papier-mache, named after its original center Fedoskino (Федоскино), an old village near Moscow widely known from the late 18th century. The contemporary Fedoskino painting preserves the typical features of Russian folk art. The use of oil paint, typically applied in many layers, is a distinctive feature of a Fedoskino miniature, as well as the use of mother-of-pearl, pure gold or silver leaf under segments of the background to create the effect of a shimmering glow or silvery sparkle. Many boxes are painted inside and outside in imitation tortoiseshell, birch bark, mahogany or tartan. The heyday of Fedoskino miniature fell in the second half of the 19th century, and the works of that time are known as 'lukutins', named after the merchants Lukutins, who owned the Fedoskino factory at that time. Petr Lutukin inherited the factory in 1824 and it remained in the families ownership until 1904. After a brief interlude in the hands of former Lutukin workers ('The Fedoskino Artel of Former Lutukin Factory Workers') the factory effectively ceased trading until after the revolution, when in 1923, Fedoskino wares were awarded a diploma for 'superb artistic skill' at the All Union Exhibition of Agricultural, Industrial and Cultural Products; which was held in Moscow in that year. Some of the factory craftsmen had artistic education, and many of them had come from icon-painting studios. In 1931 the opening of a vocational school of miniature painting at Fedoskino ensured the perpetuation of the art form, which allowed the continued development through the following years. Stylistically the Fedoskino factory is distinct from the other schools of miniature lacquer painting: notably those of Palekh, Mstera and Kholui. [1] The popular motifs used in Fedoskino miniature are all sorts of tea-drinking with samovar, troikas (carriage-and-three), and scenes from Russian peasant life.

Lot: 65A - Russian Nielloed silver Caucasian 36 cm- dagger Urtaev with scabbard;

Russian Nielloed silver Caucasian 36 cm- dagger with scabbard; Materials: scabbard and handle – silver, inlayed with niello; blade – hard sharp white metal. Marked with Cyrillic name and initials on a handle dagger: Urtaev. On a scabbard: 925 silver mark. Length of the dagger in scabbard: 15 inches = 37.5 cm; Length of the dagger: 14.5 inches = 36.2 cm; Condition: there are some small bumps at the very end of scabbard. Similar dagger was sold at Sotheby’s, on Oct 19th, 2004, at Rockefeller Center, New York for $16,730 US Origin: made by master in Kubachi – Dagestan Kubachi (Russian: ???????) is an urban locality (an urban-type settlement) in Dakhadayevsky District of the Republic of Dagestan, Russia. As of the 2010 Census, its population was 3,060.[5] Provenance: From private collection of Russian immigrants. Niello Niello is a black mixture of copper, silver, and lead sulphides, used as an inlay on engraved or etched metal. It can be used for filling in designs cut from metal. The Egyptians are credited with originating niello decoration, which spread throughout Europe during the late Iron Age[1] and is common in Anglo-Saxon, Celtic and other types of Early Medieval jewellery. References: 1) Wikipedia 2) O????? ??????? K??????

Lot: 65B - Dagestan (Russian) steel dagger with silver filigree scabbard, 1800-1900AD

Dagestan (Russian) steel dagger with silver filigree scabbard, 1800-1900AD Circa 1800-1900 AD. A steel kindjal dagger. The dagger features a long double-edged steel blade with a prominent central ridge, adding strength and visual appeal to the weapon's design. The short handle of the kindjal is carefully shaped to ensure a comfortable and secure grip during combat or everyday use. Made of bone, the handle is riveted to the weapon, providing stability and durability. To protect the blade and facilitate ease of carrying, the kindjal comes with a black leather scabbard. The scabbard is designed to securely hold the dagger, featuring a pointed finial that adds a touch of elegance to its overall appearance. Kindjal daggers served multiple functions. Primarily used as a personal defense weapon, the kindjal was an essential tool for self-defense and combat. Its tapered shape and sturdy construction allowed for effective thrusting and slashing movements, making it suitable for close-quarter combat situations. Beyond its practical use, the kindjal also held symbolic value. It served as a status symbol, denoting the martial prowess and social standing of the individuals who possessed and wore such daggers. Kindjals were often intricately adorned with decorative elements, reflecting the artistic traditions and aesthetic preferences of the region. Length: 390 mm. Width: 40 mm ; Weight: 300 g; Provenance: Private English collection.

Lot: 65C - Genuine antique Caucasian Dagestan Russian sharp iron sword (dagger) with wooden scabbard, 1000-1500 AD, Russia

Genuine antique Caucasian Dagestan Russian sharp iron sword (dagger) with wooden scabbard, 1000-1500 AD, Russia. Double edged iron (attracted to magnet) sword. Approximate age is 500-1000 years old. The scabbard is constructed of two wood pieces, covered with leather and stitched with heavy thread. There is a special wooden loop, designed to carry scabbard on the belt. The handle is constructed of two wooden parts, connected by two antique iron nails Length with a handle: 60 cm; Length of the scabbard: 51 cm; Length of the sword in scabbard: 64 cm; Weight of the sword: 400 g; Weight of the sword in scabbard: 550 g; Condition: heavy used in battles, scabbard is missing some leather; Provenance: Private collection of arms and swords in Florida, USA. Auction results: $3,500 https://www.ebay.com/itm/133491589458?hash=item1f14b80152:g:URoAAOSwf2dfDxmZ

Lot: 65D - The original Sarmatian-Scythian iron short sword Akinakes, 300-500 BC.

The original Sarmatian-Scythian iron short sword Akinakes, 300-500 BC. Weight: 472 g = 1 lb. 0.7 oz.; Length: 45.7 cm = 18 inches; Strong attraction to the magnet. Condition: natural rust, not treated, still strong. Found in the steps of the Northern Coast of Black Sea. The Sarmatians (/sɑːrˈmeɪʃiənz/; Greek:

Lot: 65E - Scythian battle iron Akinakes (Acinaces) Sword, 200-600 BC, Northern Black Sea region

Scythian battle iron Akinakes (Acinaces) Sword, 200-600 BC, Northern Black Sea region Not altered ancient iron battle Scythian short sword or dagger: akinakes, acinaces, akinaka. The flattened handle with lobed (Butterfly) guard and double-loop pommel, often called "antenna" pommel. Material: iron; The total length: 378 mm = 14.88 inches; Blade width: 32 mm = 1.53 inches; Weight: 383 gram. The acinaces, also spelled akinakes (Greek ἀκῑνάκης) or akinaka (unattested Old Persian *akīnakah, Sogdian kynʼk) is a type of dagger or short sword used mainly in the first millennium BC in the eastern Mediterranean region, especially by the Medes,[1] Scythians and Persians, then by the Greeks.[2] The acinaces is of Scythian origin, but was made famous by the Persians, and rapidly spread throughout the ancient world. The Romans believed this weapon originated with the Medes.[2] The acinaces is typically 40–60 cm. (14-18 in.) in length and double-edged,[2] and although there is no universal design, the guard may be lobed[3] with the hilt resembling that of a bollock dagger, or the pommel may be split[4] or of the "antenna" type.[5] The scabbard as much as anything else defines the acinaces and usually has a large decorative mount near the opening allowing it to be suspended from a belt on the wearer's right side.[6][2]

Lot: 65F - Ancient Scythian bronze dagger/sword, Akinakes, Akinak, 600-400 BC

Ancient Scythian bronze dagger/sword, Akinakes, Akinak, 600-400 BC. Amazing genuine double edged, tapering bronze dagger/sword, lobed guard in the shape of stylized animals and double loop pommel, often called antenna pommel. Length: 275 mm = 27.5 cm; Weight: 350 g = 12 oz. Origin: Steppes of Eastern Europe Condition: Genuine strongly attached patina. Not attracted to the magnet. One side of Provenance: Private collection in Western Europe, Baltic country REFERENCES: Weapons of the Ancient East by M.V. Gorelik. Оружие древнего Востока, Горелик Михаил Викторович

Lot: 66 - Elegant AD Mougin French antique bronze mantel clock, with beautiful young lady, 19th century

Elegant AD Mougin French antique bronze mantel clock, with beautiful young lady, 19th century Exceptional antique, late 19th-century French cast bronze mantel clock with key-wind mechanism. The base rests on claw feet and is decorated with female mascaron and acanthus leaves. The clock case is situated in the center, black dial with gilt Roman numerals and framing, glass lid. A figurine of a young woman with a wine grape basket tops the composition. Made by AD Mougin – Deux Medailles. Signed/stamped: “AD Mougin Deux Medailles 867 5*8”. Width of the base: 16 inches = 40 cm; Height: 20.5 inches = 52 cm; Depth: 7 inches = 18 cm; Approximate weight: 30 lb. Condition: The clock works, with appropriate number of bell sounds, but after 5 minutes of walking, the pendulum stops. So it needs minor adjustment of the pendulum mechanism.

Lot: 67 - Antique Russian bronze mantel clock by Samuel Wehl, circa 1840, with Roxolana (Hurrem Sultan) – lovely wife of Suleiman the Great

Antique Russian bronze mantel clock by Samuel Wehl, circa 1840, with Roxolana (Hurrem Sultan) – lovely wife of Suleiman the Great Unique and astonishing mantel clock, made by Samuel Wehl in St. Petersburg, Russia in 1840’s. Movement mechanism mark: "Japy Freres and Cie, CP Medaille D’Honneur". Movement was made by Japy Freres and Cie and this design won the Grand Medal of

Lot: 68 - Authentic St. Augustine canon ball, 500 years old, American history;

Authentic St. Augustine canon ball, 500 years old, American history; Four pieces of canon ball; Total weight: 2 lb. 12 oz. = 1,280g = 1 kg 280 g; Size of each piece: 2.5” x 2.5” inches; St. Augustine, Florida, USA; Postcard is not available for sale, sorry.

Lot: 68B - The Civil War book with CD-ROM, 1861-1865, by David E. Roth, 1992

ISBN 0-7651-9267-5; Size: 14 x 10.5 inches; 245 pages; Printed in Italy; Condition: excellent, no damage, no smell. Rare edition, not available on Amazon.com

Lot: 68C - Gelprahe mit Goethe in den letzten jahren seines lebens, Antique German lovely book

Gelprahe mit Goethe in den letzten jahren seines lebens, Antique German lovely book “Talk with Goethe in the last years of his life 1823-1832” Der Tempel Verlag, Berlin und Leipzig = the temple publishing house 458 pages. Size: 12.8 cm x 20.5 cm; Thickness: 2.3 cm Weight: 13.8 oz. = 390 g; Printed in Germany; Condition: used, bound in leather, collector’s edition; From: private collection in Tampa, Florida, USA

Lot: 68H - The original Martial Arts Encyclopedia, 1993 book

The original Martial Arts Encyclopedia, 1993 book Review: All of the major arts and styles, and many of the minor ones, are historically traced in The Original Martial Arts Encyclopedia as it explores the martial arts, its history, and martial arts pioneers around the world. There are hundreds of historical photos of of important martial artists including Benny "The Jet" Urquidez, Chuck Norris, Joe Lewis, and Bill "Superfoot" Wallace in the point-fighting days. From Judo's founder Jigaro Kano to World Judo Champion Gene LeBell, from martial arts legend Bruce Lee to his son, action film star Brandon Lee The Original Martial Arts Encyclopedia has it all. The text has been written by some of the world's finest martial arts journalists. The photography has been taken by many of the most gifted photo-journalists the arts have to offer. The Original Martial Arts Encyclopedia is a tour-de-force of martial arts facts, biographies, historical photos, and insightful contributors. Highly recommended! -- Midwest Book Review; ISBN 0-9615126-3-6 • Hardcover: 410 pages • Publisher: Pro Action Pub; Revised & Updated edition (January 1, 1993) • Language: English • ISBN-10: 0961512636 • ISBN-13: 978-0961512637 • Product Dimensions: 8.8 x 1.2 x 11.2 inches • Shipping Weight: 2.7 pounds This book is outstanding! It covers the entire family tree of martial arts from the beginning to current day. This is truly an exceptional work that will educate even a seasoned martial artist about all of the various styles and noteworthy masters and practioners. I highly recommend especially new students read this book and learn about the various styles, masters and practitioners. No matter what style you study you should have some knowledge of all styles to round out your martial arts education. You will gain a better understanding of where your style fits into the history and family tree structure of the martial arts and that will give you more context to understand your own studies. This is one of the books I have listed as essential for any martial artist to have in his or her library. A fascinating read! Kevin Brett is CEO of Kevin Brett Studios, Inc. and the author of "The Way of the Martial Artist: Achieving Success in Martial Arts and in Life!"

Lot: 70 - Late Byzantine - Early Islamic hand carved stone oil lamp – circa 1000 AD

Late Byzantine - Early Islamic hand carved stone oil lamp – circa 1000 AD; Byzantine archaic double nozzle carved stone oil lamp, Age: approximately 1000 years old; Length: 6.25 inches = 16 cm; Height: 1.25 inches = 3 cm; Diameter: 2.5 inches = 6 cm Weight: 10.6 oz. = 299 g; History of the oil lamp. There is a transitional period from Byzantine to Islamic lamps. Lamps of this transitional period changed from being decorated with crosses, animals, human likenesses, birds, fish, etc., to being decorated with plain linear, geometric, and raised dot patterns. The early Islamic lamps are a continuation of Byzantine lamps. Decorations were initially a stylized form of bird, grain, tree, plant or flower. Then they became entirely geometric or linear with raised dots. Patterns in Islamic artifacts normally take one of three different forms: vegetable, or curving vines, often called arabesques; calligraphic verses, usually from the Quran; and geometric shapes. Instead of representing something specific, as a symbol would in Western art, patterns in Islamic architecture are meant to represent abstract concepts related to Islam and encourage people to think about the impermanence of the physical world and the unity and nature of God. Provenance; Ohio, USA (letter from Seller) Yes, all three came from the same collection. My grandparents’ estate. They were avid collectors and world travelers. I wish I could tell you more. I am not an expert and I am only guessing based on what my grandfather used to call them (whale fat). At one point he had them all cataloged (hence the #s on the bottom). I do not have any of his records about the lamps. They had hundreds. I am sorry that this is all the info I can provide. I wish I had more details. I do know that at the estate sale they were asking far more for the two currently for sale than the one you purchased. That is the reason I have them priced higher. I hope this helps. TECHNOLOGY Ancient Lamps The earliest use of stone lamps seems to have arisen approximately 15,000 to 20,000 years ago. Ancient stone lamps have been discovered in the ancient caves at Lascaux and seemed to have been used to illuminate the cave walls for the extensive cave paintings. These early lamps were carved out of indigenous stone and used animal fats for fuel. A small cavity held the oil and the lamp was initially wickless. But by 8,000 B.C. plant-based oils started to appear particularly olive oil. Olives began to be cultivated in the Middle East where they later spread throughout the Mediterranean region. It proved to be a good flame source because it was easy and inexpensive to manufacture and produced a fair amount of light. In the northern climates where the olives couldn’t grow animal-based fats remained popular.

Lot: 71 - Late Byzantine - Early Islamic hand carved stone triple nozzle oil lamp – circa 1000 AD;

Late Byzantine - Early Islamic hand carved stone triple nozzle oil lamp – circa 1000 AD; Archaic triple nozzle terracotta oil lamp, circa 1000 AD; History of the oil lamp. There is a transitional period from Byzantine to Islamic lamps. Lamps of this transitional period changed from being decorated with crosses, animals, human likenesses, birds, fish, etc., to being decorated with plain linear, geometric, and raised dot patterns. The early Islamic lamps are a continuation of Byzantine lamps. Decorations were initially a stylized form of bird, grain, tree, plant or flower. Then they became entirely geometric or linear with raised dots. Patterns in Islamic artifacts normally take one of three different forms: vegetable, or curving vines, often called arabesques; calligraphic verses, usually from the Quran; and geometric shapes. Instead of representing something specific, as a symbol would in Western art, patterns in Islamic architecture are meant to represent abstract concepts related to Islam and encourage people to think about the impermanence of the physical world and the unity and nature of God. Age: 1000 years old; Length: 6 inches = 15 cm; Height: 2.25 inches = 5.5 cm; Width: 2.7 inches = 6.9 cm Weight: 566 g = 1 lb. 4 oz. Provenance: Purchased from private collection in Ohio, USA. Letter from the Seller: “Yes, all three came from the same collection. My grandparents’ estate. They were avid collectors and world travelers. I wish I could tell you more. I am not an expert and I am only guessing based on what my grandfather used to call them (whale fat) At one point he had them all cataloged (hence the #s on the bottom). I do not have any of his records about the lamps. They had hundreds. I am sorry that this is all the info I can provide. I wish I had more details. I do know that at the estate sale they were asking far more for the two currently for sale than the one you purchased.” TECHNOLOGY Ancient Lamps The earliest use of stone lamps seems to have arisen approximately 15,000 to 20,000 years ago. Ancient stone lamps have been discovered in the ancient caves at Lascaux and seemed to have been used to illuminate the cave walls for the extensive cave paintings. These early lamps were carved out of indigenous stone and used animal fats for fuel. A small cavity held the oil and the lamp was initially wickless. But by 8,000 B.C. plant-based oils started to appear particularly olive oil. Olives began to be cultivated in the Middle East where they later spread throughout the Mediterranean region. It proved to be a good flame source because it was easy and inexpensive to manufacture and produced a fair amount of light. In the northern climates where the olives couldn’t grow animal-based fats remained popular.

Lot: 76 - Etruscan heavy bronze libation bowl (500-600 BC), amazing lace patina

Etruscan heavy bronze libation bowl (500-600 BC), amazing lace patina; Absolutely incredible bronze patera (shallow bowl) with intricate multicolored patina; Weight: 2 lb. 11.6 oz = 1236 g = 1 kg 236 g; Diameter: 7 inches = 178 mm = 17.8 cm; Provenance: bough on auction in Western Europe in 1970s. Similar found in Metropolitan museum, New York, USA. https://www.alamy.com/bronze-patera-shallow-bowl-culture-etruscan-dimensions-h-2-34-in-7-cm-diameter-14-in-356-cm-date-late-4th-century-bc-shallow-dish-with-a-wide-horizontal-lip-suthina-in-etruscan-letters-is-inscribed-on-the-patera-museum-metropolitan-museum-of-art-new-york-usa-image213210185.html Another possibility Greek libation bowl, 4th century BC https://www.alamy.com/stock-image-bronze-phiale-libation-bowl-late-classical-4th-century-bc-greek-bronze-162413961.html?pv=1&stamp=2&imageid=2F023C46-ECA1-4EF2-AAE6-5A1FB30300B5&p=546931&n=0&orientation=0&pn=1&searchtype=0&IsFromSearch=1&srch=foo%3dbar%26st%3d0%26pn%3d1%26ps%3d100%26sortby%3d2%26resultview%3dsortbyPopular%26npgs%3d0%26qt%3dlibation%2520bowl%2520greek%26qt_raw%3dlibation%2520bowl%2520greek%26lic%3d3%26mr%3d0%26pr%3d0%26ot%3d0%26creative%3d%26ag%3d0%26hc%3d0%26pc%3d%26blackwhite%3d%26cutout%3d%26tbar%3d1%26et%3d0x000000000000000000000%26vp%3d0%26loc%3d0%26imgt%3d0%26dtfr%3d%26dtto%3d%26size%3d0xFF%26archive%3d1%26groupid%3d%26pseudoid%3d%26a%3d%26cdid%3d%26cdsrt%3d%26name%3d%26qn%3d%26apalib%3d%26apalic%3d%26lightbox%3d%26gname%3d%26gtype%3d%26xstx%3d0%26simid%3d%26saveQry%3d%26editorial%3d1%26nu%3d%26t%3d%26edoptin%3d%26customgeoip%3d%26cap%3d1%26cbstore%3d1%26vd%3d0%26lb%3d%26fi%3d2%26edrf%3d%26ispremium%3d1%26flip%3d0%26pl%3d

Lot: 77 - Club head mace, Middle Neolithic Funnel Beaker Culture, Passage Grave Period 3400-2800 BC

Origin: Neolithic culture, Middle Neolithic Funnel Beaker Culture Passage, Grave Period 3400-2800 BC. Weight: 135 g = 1 lb. 4.8 oz. Diameter: 48 mm; The Funnel(-neck-)beaker culture, in short TRB or TBK (German: Trichter(-rand-)becherkultur, Dutch: Trechterbekercultuur; Danish: Tragtbægerkultur; c. 4300 BC–c. 2800 BC) was an archaeological culture in north-central Europe. It developed as a technological merger of local neolithic and mesolithic techno-complexes between the lower Elbe and middle Vistula rivers, introducing farming and husbandry as a major source of food to the pottery-using hunter-gatherers north of this line. It was preceded by Lengyel-influenced Stroke-ornamented ware culture (STK) groups/Late Lengyel and Baden-Boleráz in the southeast, Rössen groups in the southwest and the Ertebølle-Ellerbek groups in the north. The TRB techno-complex is divided into a northern group including modern northern Germany and southern Scandinavia (TRB-N, roughly the area that previously belonged to the Ertebølle-Ellerbek complex), a western group in the Netherlands between the Zuiderzee and lower Elbe that originated in the Swifterbant culture, an eastern group centered on the Vistula catchment, roughly ranging from Oder to Bug, and south-central groups (TRB-MES, Altmark) around the middle and upper Elbe and Saale. Especially in the southern and eastern groups, local sequences of variants emerged. In the late 4th millennium BC, the Globular Amphora culture (KAK) replaced most of the eastern and subsequently also the southern TRB groups, reducing the TRB area to modern northern Germany and southern Scandinavia. The younger TRB in these areas was superseded by the Single Grave culture (EGK) at about 2800 BC. The north-central European megaliths were built primarily during the TRB era.

Lot: 80 - Etruscan Bronze Fibula as a dolphin, circa 500-700 BC, 35.72 g

Etruscan Bronze Fibula as a dolphin, circa 500-700 BC, 35.72 g Ancient Etruscan bronze fibula, c. 7th-6th century BC. Length: 2 1/4 inches = 5.5 cm. Weight: 35.72 g Rare Italic area large bronze fibula broche with symmetrical catch-plate, raised bow. Incised decoration, choice patina. Pin is missing. Provenance: Ex Robert Haber Ancient Art NYC. Robert Haber’s interest in archeology and antiquities came about while studying in Jerusalem. While working on an excavation, he discovered the practical world of archaeological conservation, and was immediately enthralled with the field. In pursuit of a career in the conservation of antiquities, Mr. Haber was awarded an apprenticeship at the Israel Museum and was later hired by the restoration department. He went on to study at the University College London as a Kress Fellow under Prof. Henry Hodges and received a Diploma in the Conservation of Ancient Materials.

Lot: 80A - Etruscan bronze fibula as a dolphin, circa 500-700 BC, 34.98 g

Etruscan bronze fibula as a dolphin, circa 500-700 BC, 34.98 g Ancient Etruscan bronze fibula, circa 7th-6th century BC. Length: 2.25 inches = 5.5 cm; Weight: 34.98 g; Rare Etruscan area large bronze fibula broche with symmetrical catch-plate, raised bow. Incised decoration, choice patina. Pin is missing. Provenance: Ex Robert Haber Ancient Art NYC. Robert Haber’s interest in archeology and antiquities came about while studying in Jerusalem. While working on an excavation, he discovered the practical world of archaeological conservation, and was immediately enthralled with the field. In pursuit of a career in the conservation of antiquities, Mr. Haber was awarded an apprenticeship at the Israel Museum and was later hired by the restoration department. He went on to study at the University College London as a Kress Fellow under Prof. Henry Hodges and received a Diploma in the Conservation of Ancient Materials.

Lot: 80F - Dolphin shaped bronze currency (coin, proto-money) from Greek colony – Pontic Olbia, Black Sea, 650-300 BC, 3.05 g

Dolphin shaped bronze currency (coin, proto-money) from Greek colony – Pontic Olbia, Black Sea, 650-300 BC, 3.05 g. Length: 33 mm; Weight: 3.05 g; These pieces of dolphin shaped bronze currency are from the Greek colony of Olbia, located on the northern coast of the Black Sea in modern day Ukraine. Dolphins had an important role in Greek mythology, and the bottle-nosed dolphins that swam in the Black Sea were likely the inspiration for Olbia's uniquely shaped currency. The dolphin "coins" are an example of proto-money, which refers to any commodity that all people in an early society agreed to accept in trade. This could include shells, rings, or other small objects that were easy to find or manufacture in large amounts. History: The colony of Olbia itself was an important commercial hub for exporting fish, grains, and enslaved people to Greece, as well as importing Greek goods into Scythia. It held this status for about a thousand years, from the 7th century BCE to the 4th century CE. Pontic Olbia (Ancient Greek: Ὀλβία Ποντική; Ukrainian: Ольвія, romanized: Olviia) or simply Olbia is an archaeological site of an ancient Greek city on the shore of the Southern Bug estuary (Hypanis or Ὕπανις,) in Ukraine, near the village of Parutyne. The archaeological site is protected as the National Historic and Archaeological Preserve. The preserve is a research and science institute of the National Academy of Sciences of Ukraine. In 1938–1993 it was part of the NASU Institute of Archaeology as a department. The Hellenic city was founded in the 7th century BC by colonists from Miletus. Its harbour was one of the main emporia on the Black Sea for the export of cereals, fish, and slaves to Greece, and for the import of Attic goods to Scythia.[1] Excavation Distinctive Olbian "Dolphin" coin, circa 5th–4th century BC The site of Olbia, designated an archaeological reservation, is situated near the village of Parutino in the district of Ochakiv. Before 1902, the site was owned by the Counts Musin-Pushkins, who did not allow any excavations on their estate. Professional excavations were conducted under Boris Farmakovsky from 1901 to 1915 and from 1924 to 1926. As the site was never reoccupied, archaeological finds (particularly inscriptions and sculpture) proved rich. Today archaeologists are under pressure to explore the site, which is being eroded by the Black Sea. At 2016 started in Olbia excavations of the Polish Archaeological Mission "Olbia" of the National Museum in Warsaw headed by Alfred Twardecki. Many of the more notable finds from the period are visible in the Hermitage Museum in Saint Petersburg, Russia. Notable finds from the town include an archaic Greek house in a good state of preservation from the area of the later acropolis and a private letter (written on a lead tablet) dating to around 500 BCE, complaining about an attempt to claim a slave.[4]

Lot: 80G - Dolphin shaped bronze currency (coin, proto-money) from Greek colony – Pontic Olbia, Black Sea, 650-300 BC, 1.43 g

Dolphin shaped bronze currency (coin, proto-money) from Greek colony – Pontic Olbia, Black Sea, 650-300 BC, 1.43 g Length: 23 mm; Weight: 1.43 g; These pieces of dolphin shaped bronze currency are from the Greek colony of Olbia, located on the northern coast of the Black Sea, in modern day Ukraine. Dolphins had an important role in Greek mythology, and the bottle-nosed dolphins that swam in the Black Sea were likely the inspiration for Olbia's uniquely shaped currency. The dolphin "coins" are an example of proto-money, which refers to any commodity that all people in an early society agreed to accept in trade. This could include shells, rings, or other small objects that were easy to find or manufacture in large amounts. History: The colony of Olbia itself was an important commercial hub for exporting fish, grains, and enslaved people to Greece, as well as importing Greek goods into Scythia. It held this status for about a thousand years, from the 7th century BCE to the 4th century CE. Pontic Olbia (Ancient Greek: Ὀλβία Ποντική; Ukrainian: Ольвія, romanized: Olviia) or simply Olbia is an archaeological site of an ancient Greek city on the shore of the Southern Bug estuary (Hypanis or Ὕπανις,) in Ukraine, near the village of Parutyne. The archaeological site is protected as the National Historic and Archaeological Preserve. The preserve is a research and science institute of the National Academy of Sciences of Ukraine. In 1938–1993 it was part of the NASU Institute of Archaeology as a department. The Hellenic city was founded in the 7th century BC by colonists from Miletus. Its harbour was one of the main emporia on the Black Sea for the export of cereals, fish, and slaves to Greece, and for the import of Attic goods to Scythia.[1] Excavation Distinctive Olbian "Dolphin" coin, circa 5th–4th century BC The site of Olbia, designated an archaeological reservation, is situated near the village of Parutino in the district of Ochakiv. Before 1902, the site was owned by the Counts Musin-Pushkins, who did not allow any excavations on their estate. Professional excavations were conducted under Boris Farmakovsky from 1901 to 1915 and from 1924 to 1926. As the site was never reoccupied, archaeological finds (particularly inscriptions and sculpture) proved rich. Today archaeologists are under pressure to explore the site, which is being eroded by the Black Sea. At 2016 started in Olbia excavations of the Polish Archaeological Mission "Olbia" of the National Museum in Warsaw headed by Alfred Twardecki. Many of the more notable finds from the period are visible in the Hermitage Museum in Saint Petersburg, Russia. Notable finds from the town include an archaic Greek house in a good state of preservation from the area of the later acropolis and a private letter (written on a lead tablet) dating to around 500 BCE, complaining about an attempt to claim a slave.[4]

Lot: 80H - Antique Etruscan civilization bronze bracelet, ancient jewelry 900-27 BC

Antique Etruscan civilization bronze bracelet, ancient jewelry 900-27 BC; Width/diameter: 5 cm; Thickness of bronze wire: 2 mm; Weight: 13.36 g Provenance: Private collection of David Van Vleck, Brooklyn, New York. Acquired in 1990’s

Lot: 81 - Ancient Mesopotamian carved bone God or Goddess, circa 3000 BC, may represent either Ishtar or her older sister Ereshkigal.

Ancient Mesopotamian carved bone God idol, circa 3000 BC, may represent either Ishtar or her older sister Ereshkigal. Height: 3.25 inches = 8.25 cm + stand. Weight: 45.62 g; Rare carved bone seated idol with big thighs seated on a throne. Provenance: Ex Robert Haber Ancient Art NYC. Robert Habera’s interest in archeology and antiquities came about while studying in Jerusalem. While working on an excavation, he discovered the practical world of archaeological conservation, and was immediately enthralled with the field. In pursuit of a career in the conservation of antiquities, Mr. Haber was awarded an apprenticeship at the Israel Museum and was later hired by the restoration department. He went on to study at the University College London as a Kress Fellow under Prof. Henry Hodges and received a Diploma in the Conservation of Ancient Materials. Condition Report: natural wear as seen, no alterations. Mesopotamian religion was polytheistic, thereby accepting the existence of many different deities, both male and female, though it was also henotheistic,[14] with certain gods being viewed as superior to others by their specific devotees. These devotees were often from a particular city or city-state that held that deity as its tutelary deity; for instance, Enki was often associated with the city of Eridu in Sumer, Assur with Assur and Assyria, Enlil with the Sumerian city of Nippur, Ishtar with the Assyrian city of Arbela, and the god Marduk with Babylon.[15] Though the full number of gods and goddesses found in Mesopotamia is not known, K. Tallqvist, in his Akkadische Götterepitheta (1938) counted around 2,400 that scholars know, most of which had Sumerian names. In the Sumerian language, the gods were referred to as dingir, while in the Akkadian language they were known as ilu and it seems that there was syncretism between the gods worshipped by the two groups, adopting one another's deities.[16] https://www.metmuseum.org/toah/hd/deit/hd_deit.htm#:~:text=From%20about%20the%20middle%20of,and%20adorned%20with%20decorated%20garments.

Lot: 81A - Archaistic Babylonian style marble Lamassu sphinx, 6000 BC-400 AD

Archaistic Babylonian style sphinx carved marble Lamassu, 6000 BC-400 AD. The Lamassu is a celestial being from ancient Mesopotamian religion bearing a human head, symbolising intelligence; a bull's body, symbolizing strength; and an eagle's wings, symbolizing freedom. Sometimes it had the horns and the ears of a bull. It appears frequently in Mesopotamian art. The lamassu and shedu were household protective spirits of the common Assyrian people, becoming associated later as royal protectors, and were placed as sentinels at entrances.[16] The Akkadians associated the god Papsukkal with a lamassu and the god Išum with shedu. To protect houses, the lamassu were engraved in clay tablets, which were then buried under the door's threshold. They were often placed as a pair at the entrance of palaces. At the entrance of cities, they were sculpted in colossal size, and placed as a pair, one at each side of the door of the city, that generally had doors in the surrounding wall, each one looking toward one of the cardinal points. Height: 5 inches = 12.7 cm; Provenance: private collection in New York, USA.

Lot: 81B - Archaic Tell Halaf culture terracotta mother Goddess, 6500BC-5500 BC

Archaic Tell Halaf culture terracotta mother Goddess, 6th millenium BC Tell Halaf (Arabic: تل حلف‎) is an archaeological site in the Al Hasakah governorate of northeastern Syria, a few kilometers from the city of Ra’s al-‘Ayn near the Turkish border. The site, which dates to the 6th millennium BCE, was the first to be excavated from a Neolithic culture, later called the Halaf culture, characterized by glazed pottery painted with geometric and animal designs. Painted ceramics flourished in the area, with containers showing decorative motifs, both figurative and geometric, which could possibly have a religious content: human beings, bucraniums, reptiles, scorpions, panthers, birds, painted in black and red. In the more recent phase of Tell Halaf, it was the most important center for quality, polychrome pottery, in shades of red, brown and white on a light background, with a more pronounced taste for floral and geometric motifs. Terracotta figurines of animals have been found, preferably of bovids, ram heads, double axes and polychrome female figures, which would have a religious conception, probably mother-goddesses, preferably in a sitting position, with wide breasts and thighs. This mother Goddess is painted with the typical polychromy of the Halaf culture. She has large breasts and hips as a symbol of fertility. Height: 3.25 inches = 8.25 cm; Provenance: private collection in New York;

Lot: 82 - Ancient Greek terracotta God idol, circa 400-500 BC

Ancient Greek terracotta God Idol, circa 5th century BC. Height: 4 3/8 inches = 11.11 cm. Weight: 163.22 g; Unusual terracotta god idol made with separate head. The body has original painted decoration. The body of the idol is original ancient, but head is a later match. Provenance: Ex Robert Haber Ancient Art New York City gallery. Robert Habera’s interest in archeology and antiquities came about while studying in Jerusalem. While working on an excavation, he discovered the practical world of archaeological conservation, and was immediately enthralled with the field. In pursuit of a career in the conservation of antiquities, Mr. Haber was awarded an apprenticeship at the Israel Museum and was later hired by the restoration department. He went on to study at the University College London as a Kress Fellow under Prof. Henry Hodges and received a Diploma in the Conservation of Ancient Materials. Condition report: chips and insignificant losses as seen. Reference: Ancient Greece (Greek: Ἑλλάς, romanized: Hellás) was a northeastern Mediterranean civilization, existing from the Greek Dark Ages of the 12th–9th centuries BC to the end of classical antiquity (c. 600 AD), that comprised a loose collection of culturally and linguistically related city-states and other territories. Most of these regions were officially unified only once, for 13 years, under Alexander the Great's empire from 336 to 323 BC.[a] In Western history, the era of classical antiquity was immediately followed by the Early Middle Ages and the Byzantine period.[1]

Lot: 83 - Ancient Greece, large terracotta statue of woman, Megaris 400-500 BC

Ancient Greece, large terracotta statue of woman, Megaris 400-500 BC Late 5th Century B.C. large terracotta woman, Megaris, stands on a large square base, with voluminous hair, wearing chiton. Himation and peplum. The peplum (from Latin peplum , in turn from Greek πέπλος) is an ancient Greek tunic worn by Greek women . The himation ( Ancient Greek : ἱμάτιον, himátion ) was a clothing item from Ancient Greece . It was a wide and enveloping cloak, a kind of shawl . It was worn on one's own body or more usually on top of a chiton . Intact, with remains of white dressing and red pigment in the hair. From a prominent New York City collection. There is a square empty space inside and at the back of the statue. possibly for votive or praying purposes. Size: 3 1/8 x 3 x 10 5/8 in. = 33.33 cm x 7.62 cm x 27 cm; Provenance: private collection in Sarasota, FL, USA Megaris (Ancient Greek: Μεγαρίς) was a small but populous state of ancient Greece, west of Attica and north of Corinthia, whose inhabitants were adventurous seafarers, credited with deceitful propensities. The capital, Megara, was famous for white marble and fine clay. Mount Geraneia dominated the center of the region. The island of Salamis was originally under the control of Megara, before it was lost to Athens in the late 7th century BCE.

Lot: 84 - Etruscan, life size, mounted, terracotta goddess head, 600-500 BC Height with stand: 10 inches = 25.4 cm.

Etruscan, life size, mounted, terracotta goddess head, 600-500 BC. Height with stand: 10 inches = 25.4 cm. Width: 5.25 inches = 13.33 cm. Life-size terracotta female head depicted with a curly updo, naturalistic facial features, deeply set eyes and high cheek bones. Some remaining traces of a red-brown surface pigment. Missing the upper left side of her head; and ancient loss to the tip of her nose. Mounted on an old homemade display base. Provenance: Brooklyn collection. Acquired from Emmanuel Tiliakos, MA. Purportedly from an early 20th century collection. Etruscan sculpture was one of the most important artistic expressions of the Etruscan people, who inhabited the regions of Northern Italy and Central Italy between about the 9th century BC and the 1st century BC. Etruscan art was largely a derivation of Greek art, although developed with many characteristics of its own.[1] Given the almost total lack of Etruscan written documents, a problem compounded by the paucity of information on their language—still largely undeciphered—it is in their art that the keys to the reconstruction of their history are to be found, although Greek and Roman chronicles are also of great help. Like its culture in general, Etruscan sculpture has many obscure aspects for scholars, being the subject of controversy and forcing them to propose their interpretations always tentatively, but the consensus is that it was part of the most important and original legacy of Italian art and even contributed significantly to the initial formation of the artistic traditions of ancient Rome.[2][3] The view of Etruscan sculpture as a homogeneous whole is erroneous, there being important variations, both regional and temporal.[4] The Etruscans were very accomplished sculptors, with many surviving examples in terracotta, both small-scale and monumental, bronze, and alabaster. However, there is very little in stone, in contrast to the Greeks and Romans. Terracotta sculptures from temples have nearly all had to be reconstructed from a mass of fragments, but sculptures from tombs, including the distinctive form of sarcophagus tops with near life-size reclining figures, have usually survived in good condition, although the painting on them has usually suffered.

Lot: 85 - Phoenician marble sculpture of BA'AL HAMMON & TANIT, Carthage, 400-500 BC

Certified Genuine Phoenician carved marble sculpture of BA'AL HAMMON and TANIT: 400-500 BC. Figure of Phoenician god Tanit and Ba'al Hammon, chief god of Carthage. Mohs hardness: 4.0-5.0, which is normal for marble. Height: 177 mm = 17.7 cm = 7 inches. Width: 38 mm = 3.8 cm = 1.5 inches. Anterior-Posterior depth: 55 mm = 5.5 cm = 2.5 inches; Weight: 2 lb. 2.5 oz. = 976 g = 0.976 kg; Age: 400-500

Lot: 85B - Ancient Phoenician terracotta goddess Astarte statue, 500-300 BC

Ancient Phoenician terracotta goddess Astarte statue, 500-300 BC; An ancient Phoenician terracotta pottery statuette of crowned goddess Astarte. She is holding a baby in her arm. Scalloped rims. Circa: 500-300 BC. Astarte is the Hellenized form of the Ancient Near Eastern goddess Astarte. Astarte was the Northwest Semitic equivalent of the East Semitic goddess Ishtar. Ancient Terracotta and Ceramic Figures, Figurines, Statues, Museum Pieces, and Historical Artifacts. Height: 6.5 inch = 16.51 cm. All measurements are approximate. Condition Report: Overall good antique condition. Signs of wear and age. Refer to photos. Sold as is. Astarte (/əˈstɑːrtiː/; Ἀστάρτη, Astartē) is the Hellenized form of the Ancient Near Eastern goddess ʿAṯtart. ʿAṯtart was the Northwest Semitic equivalent of the East Semitic goddess Ishtar.[5] Astarte was worshipped from the Bronze Age through classical antiquity, and her name is particularly associated with her worship in the ancient Levant among the Canaanites and Phoenicians, though she was originally associated with Amorite cities like Ugarit and Emar, as well as Mari and Ebla.[6] She was also celebrated in Egypt, especially during the reign of the Ramessides, following the importation of foreign cults there. Phoenicians introduced her cult in their colonies on the Iberian Peninsula. In various cultures Astarte was connected with some combination of the following spheres: war, sexuality, royal power, beauty, healing and - especially in Ugarit and Emar - hunting;[14] however, known sources do not indicate she was a fertility goddess, contrary to opinions in early scholarship.[15] Her symbol was the lion and she was also often associated with the horse and by extension chariots. The dove might be a symbol of her as well, as evidenced by some Bronze Age cylinder seals.[16] The only images identified with absolute certainty as Astarte are these depicting her as a combatant on horseback or in a chariot.[17] While many authors in the past asserted that she has been known as the deified morning and/or evening star,[18] it has been called into question if she had an astral character at all, at least in Ugarit and Emar.[19] God lists known from Ugarit and other prominent Bronze Age Syrian cities regarded her as the counterpart of Assyro-Babylonian goddess Ištar, and of the Hurrian Ishtar-like goddesses Ishara (presumably in her aspect of "lady of love") and Shaushka; in some cities, the western forms of the name and the eastern form "Ishtar" were fully interchangeable.[20]

Lot: 85C - Ancient Greco-Roman head of Satyr or Bacchus terracotta oil lamp, 100 BC -350AD

Ancient Greco-Roman head of Satyr or Bacchus terracotta oil lamp, 100 BC -350AD; An ancient Greco-Roman figural terracotta pottery oil lamp. The lamp is made in the traditional slipper shape manner and adorned with a relief image of a head of a Nubian man representing a Satyr or Bacchus figure, probably with horns. The lamp is adorned with a raised handle and three wide nozzles. The face is adorned with engraved facial features, Circa: 2nd century to 3rd century. Ancient and Antique Roman Imperial Terracotta and Ceramic Oil Lamps, Museum Pieces, and Historical Artifacts. Length: 4.5 in = 11.43 cm. All measurements are approximate. Condition Report: Overall good antique condition. Signs of wear and age. Refer to photos. Sold as is. Provenance: private collection in New York. In Greek mythology, a satyr[a] (Greek: σάτυρος, translit. sátyros, pronounced [sátyros]), also known as a silenus[b] or silenos (Greek: σειληνός, translit. seilēnós [seːlɛːnós]), and sileni (plural), is a male nature spirit with ears and a tail resembling those of a horse, as well as a permanent, exaggerated erection. Early artistic representations sometimes include horse-like legs, but, by the sixth century BC, they were more often represented with human legs.[4] Comically hideous, they have mane-like hair, bestial faces, and snub noses and they always are shown naked. Satyrs were characterized by their ribaldry and were known as lovers of wine, music, dancing, and women. They were companions of the god Dionysus and were believed to inhabit remote locales, such as woodlands, mountains, and pastures. They often attempted to seduce or rape nymphs and mortal women alike, usually with little success. They are sometimes shown masturbating or engaging in bestiality.

Lot: 85D - Antique Roman civilization, - bronze door handle 100 BC – 400 AD;

Antique Roman civilization, - bronze door handle 100 BC – 400 AD; Possibly, this handle was used for the door in Roman Empire. Length: 11.3 cm; Width: 6.5 cm; Weight: 13.36 g; Condition: The handle was broken at the bottom and the right arm. Provenance: Private collection of David Van Vleck, Brooklyn, New York. Acquired in 1990’s

Lot: 86 - 2012, December, TimeLine Catalogue “Coins and Antiquities”, London

2012, December, TimeLine Catalogue “Coins and Antiquities”, London December 14, 2012; Number of pages: 190; Number of lots: 781; Each lot has a color photo, description in English and estimate in EURO and US dollars;

Lot: 87A - Ancient Roman 24 karat gold 2.48 g, matching pair of earrings, 100 BC-200 AD

Ancient Roman 24 karat gold matching pair of earrings, 100 BC-200 AD. Rare case of finding both matching gold earring, worn by high rank Roman citizen lady. Size 18 mm = 0.71 inches. Weight: 2.48 grams. Fine high karat gold matching pair of earrings with ornate design. Provenance: Private NYC Collection acquired in 1960s Condition Report: old dents as seen else in good condition Roman women collected and wore more jewelry than men. Women usually had pierced ears, in which they would wear one set of earrings. Additionally, they would adorn themselves with necklaces, bracelets, rings, and fibulae. One choker-style necklace, two bracelets, and multiple rings would be worn at once. Jewelry was particularly important to women because it was considered to be their own property, which could be kept independently of their husband's wealth and used as the women saw fit. They had the right to buy, sell, bequeath, or barter their own jewelry.[8] Women in Ancient Rome were valued on their elegance in dress and adornment with extravagant jewelry. The way an elite woman accessorized and presented herself in public reflected the rank of her husband.[9]

Lot: 87B - Ancient Roman 24K gold single earring (0.92 g), 100 BC-200 AD, worn by Roman lady.

Ancient Roman 24K gold single earring (0.92 g), 100 BC-200 AD, worn by Roman lady. Ancient Roman 24K gold single earring, 100BC-200AD, worn by high rank Roman citizen lady. Size: 25 mm = 0.98 inch; Weight: 0.92 gram. Fine high karat gold earring, originally had glass or stone now missing. Provenance: Private NYC Collection acquired in 1960’s. Roman women collected and wore more jewelry than men. Women usually had pierced ears, in which they would wear one set of earrings. Additionally, they would adorn themselves with necklaces, bracelets, rings, and fibulae. One choker-style necklace, two bracelets, and multiple rings would be worn at once. Jewelry was particularly important to women because it was considered to be their own property, which could be kept independently of their husband's wealth and used as the women saw fit. They had the right to buy, sell, bequeath, or barter their own jewelry.[8] Women in Ancient Rome were valued on their elegance in dress and adornment with extravagant jewelry. The way an elite woman accessorized and presented herself in public

Lot: 87C - Ancient Roman 24K gold single earring 3.13 g, 100 BC-200 AD

Ancient Roman 24K gold single earring 3.13 g, 100 BC-200 AD Ancient Roman Gold Single Earring 100 BC-200 AD, worn by high rank Roman citizen lady Length: 42 mm =1.65 inch; Weight: 3.13 gram. Fine high karat gold single earring with ornate design. Provenance: Private NYC Collection acquired in 1960s Condition Report: Minor wear, else in good condition. Roman women collected and wore more jewelry than men. Women usually had pierced ears, in which they would wear one set of earrings. Additionally, they would adorn themselves with necklaces, bracelets, rings, and fibulae. One choker-style necklace, two bracelets, and multiple rings would be worn at once. Jewelry was particularly important to women because it was considered to be their own property, which could be kept independently of their husband's wealth and used as the women saw fit. They had the right to buy, sell, bequeath, or barter their own jewelry.[8] Women in Ancient Rome were valued on their elegance in dress and adornment with extravagant jewelry. The way an elite woman accessorized and presented herself in public

Lot: 88 - Early Islamic Umayyad Caliphate (661–750 AD), or Persian Sassanian Empire (224-651 AD) ceramic glazed vase, from the collection of Medill Sarkisian (1909-1993)

Early Islamic Umayyad Caliphate (661–750 AD), or Persian Sassanian Empire (224-651 AD) ceramic glazed vase. Provenance: Ex-collection of H. Medill Sarkisian (1909-1993), Denver, Colorado, then passed through the family to the current owner, grandson Medill Sarkisian. Condition: Intact, 6 small old chips on the upper rim, green glaze mostly lost its green color Height: 11.25 inches = 28.5

Lot: 90 - Carved white marble Cycladic Venus style, Greece

Carved white marble Cycladic Venus, Greece Height: 10.75 inches = 27 cm; Width: 3.25 inches = 8.5 cm; Weight. 1 lb. 4.4 oz. = 577 g; Mohs hardness.4.5 -5.0 Age: Not ancient. The ancient Cycladic culture flourished in the islands of the Aegean Sea from c. 3300 to 1100 BCE.[1] Along with the Minoan civilization and Mycenaean Greece, the Cycladic people are counted among the three major Aegean cultures. Cycladic art therefore comprises one of the three main branches of Aegean art. The best known type of artwork that has survived is the marble figurine, most commonly a single full-length female figure with arms folded across the front. The type is known to archaeologists as a "FAF" for "folded-arm figure(ine)". Apart from a sharply-defined nose, the faces are a smooth blank, although there is evidence on some that they were originally painted. Considerable numbers of these are known, although most were removed illicitly from their unrecorded archaeological context, which seems usually to be a burial.

Lot: 91 - Early Islamic, Umayyad Caliphate (661–750 AD), antique bronze eagle #1

Early Islamic, Umayyad Caliphate (661–750 AD), antique bronze eagle #1 Genuine antique bronze statue, amazing open-work technique. Not attracted to the magnet. Length: 163 mm = 16.3 cm; Height: 121 mm = 12.1 cm; Weight: 413.68 g; Condition: great for the age, multicolored patina, no defects. Provenance: Asian works of art from a New York scholar's collection

Lot: 91A - Early Islamic, Umayyad Caliphate (661–750 AD), antique bronze eagle #2

Early Islamic, Umayyad Caliphate (661–750 AD), antique bronze eagle #2 Genuine antique bronze statue, amazing open-work technique. Not attracted to the magnet. Length: 183 mm = 18.1 cm; Height: 133 mm = 13.3 cm; Weight: 414.61 g; Condition: great for the age, multicolored patina, no defects. Provenance: Asian works of art from a New York scholar's collection

Lot: 92 - Middle Eastern antique bronze bowl, Bronze Age, circa 1000 BC-1000AD

Middle Eastern antique bronze bowl, Bronze Age, circa 1000 BC-1000 AD; Upper diameter: 3.5 in. = 8.8 cm; Base diameter: 2.1 in. = 5.6 cm; Height: 1.5 in. = 4.0 cm; Weight: 8.7 oz. = 246 g; Condition: genuine patina all over, no defects

Lot: 97E - Islamic Middle East dagger #2 with bone inlay, wooden handle, 19th century

Islamic Middle East dagger with bone inlay, wooden handle, 19th century; Beautiful antique dagger has a wooden handle with bone inlay that has designs and brass cuffs. The end of the handle has brass with designs on it. The scabbard is brass and has designs all around it, along with two rings for a handle. Length: 16 inches = 40.6 cm; Condition: good condition. Provenance: This dagger came from collector from Halifax, Massachusetts, USA. He spent several years Middle East and Morocco. He passed away in 2021.

Lot: 97G - Middle Eastern antique dagger #4 with brass/copper scabbard, circa 1700-1900

Middle Eastern antique dagger #4 with brass/copper scabbard, circa 1700-1900. Gorgeous Middle Eastern dagger, curved with designs on the handle and sheath. Wooden handle has the design at the bottom of the handle are shaped like a half-circle and have similar floral designs and patterns. Sharp blade is curved show and some signs of use. Length are roughly 16 inches = 40.6 cm and Condition: used, but in excellent condition; Provenance: This dagger came from collector from Halifax, Massachusetts, USA. He spent several years Middle East and Morocco. He passed away in 2021. Provenance: All items came from collector from Halifax, Massachusetts. He spent several years Middle East and Morocco. He passed away in 2021.

Lot: 97I - Middle Eastern antique dagger #6 with brass/copper scabbard, circa 1700-1900

Middle Eastern antique dagger #6 with brass/copper scabbard, circa 1700-1900. Gorgeous Middle Eastern dagger, curved with designs on the handle and sheath. Wooden handle has the design at the bottom of the handle are shaped like a half-circle and have similar floral designs and patterns. Sharp blade is curved show and some signs of use. Length are roughly 16 inches = 40 cm; Condition: used, but in excellent condition; Provenance: This dagger came from collector from Halifax, Massachusetts, USA. He spent several years Middle East and Morocco. He passed away in 2021. Provenance: This dagger came from collector from Halifax, Massachusetts. He spent several years Middle East and Morocco. He passed away in 2021.

Lot: 98 - Islamic bronze mirror, Kufic inscriptions, 12-13th c

Antique early Islamic bronze mirror, Eastern Anatolia, 12-13 c CE. Antique early Islamic bronze mirror with 2 symmetrical sphinxes and inscriptions around Weight: 8 oz. = 220 g; Diameter: 4.25 inches = 10.6 cm = 106 mm; Knob: 7 mm with hole, open all the way through; Provenance: Ex Gibbons collection by inheritance in UK; acquired before 1990; Condition: old natural patina all over; Language: Kufic language; References: http://www.antiques.com/classified/1065041/Antique-Seljuk-Bronze-Mirror---FZ-289; $6,000; Seljuk Bronze Mirror - FZ.289, Origin: Central Asia, Circa: 11 th Century AD to 12 th Century AD, Dimensions: 4.375" (11.1cm) high, Collection: Islamic Art, Style: Seljuk, Medium: Bronze. In the 9th century, hordes of nomadic Turkic horseman living on the outskirts of the Muslim world began to migrate westward into the heart of Central Asia. By the 10 century, a branch known as the House of Seljuk had broken off from the Oghuz confederation of Turkomen tribesmen, arrived into mainland Persia, and settled in the province of Khurasan. Overtime, the Seljuks converted to Islam and began to adopt the Persian language and culture. In the 11th century, the Seljuks set up an independent state under their leader Tugrul Bey with its capital in Isfahan, initially under the auspices of the Abbasid Caliph in Baghdad. The arts thrived during the Seljuk period as the Turkic rulers patronized Persian culture, arts, and literature. Condition: old natural patina and some wear all over; no defects. Original: Yes; Circa: 1200 AD;

Lot: 99 - Genuine Islamic bronze mirror circa 900-1100 AD, from Pakistan

Genuine Islamic Persian bronze mirror circa 900-1100 AD, from Pakistan Mirror surface has a pronounced convex shape in order to catch and reflect as much space as possible. The reverse surface has pronounced concave shape with 4 concentric bands of different meander ornaments. The knob is not complete and we dont know for sure was it an original design or it was broken later. Condition: The outer edge is broken at 20 mm long. Possibly it was spot, connected to the handle. The item is in fine condition 100% authentic no restoration. Diameter: 7.3 cm = 73 mm Weight: 44.34 g; Origin: Pakistan. You'll get the same item as it is showing in the photos. Persian Empire The Persian Empire is any of a series of imperial dynasties centered in Persia (now Iran) with boundaries that fluctuated around that core, extending far into regions that would later become Pakistan, Afghanistan, Tajikistan, and Azerbaijan. The first of these was established by Cyrus The Great over 2,500 years ago, in 550 BC, but the existence of dynastic rule centered in the region was absent after a series of foreign invasions, starting by Arab conquest of Persia and later Mongol Invasion, for an 850 year period from 651 AD until 1501 AD. The main religion was Zoroastrianism, founded by Zarathushtra or so called by the Medes Zoroaster. The Persian empire also had an elite guard for the shah called the immortal. Dynasties that have been counted as instances of the Persian Empire include: Achaemenid Empire (550330 BC), also called "First Persian Empire" Parthian Empire (247 BC224 AD, also called "Arsacid Empire" Sasanian Empire (224651 AD), also called "Neo-Persian Empire" and "Second Persian Empire" History of Iran under: Safavid dynasty (15011736 AD) Afsharid dynasty (17361796 AD) Zand dynasty (17501794 AD) Qajar dynasty (17851925 AD) Pahlavi dynasty (19251979 AD) Original: Yes Circa: 1000 Original: Yes Circa: 1000 Year: 1000 Original: Yes Circa: 1000 Year: 1000 Original: Yes Circa: 1000 Year: 1000 Original: Yes

Lot: 100 - Ancient perforated Islamic bronze pendant-mirror with 5 holes, c.1000-1100 AD

Ancient perforated Islamic bronze pendant-mirror with 5 holes, c.1000-1100 AD Beautiful design of combination of different circles with 4 drop-shaped holes and one in the middle Diameter: 6.5 cm Weight: 18.21g; Condition: no restoration fine condition 100% authentic.  

Lot: 101 - Genuine Islamic bronze mirror, 8 cm, circa 1000-1100 AD,

Genuine Islamic Persian bronze mirror, circa 1000-1100 AD, Mirror surface has a flat shape. Mirror surface, fortunately, preserved most of its original reflective lust and you can see your reflection in the mirror The reverse surface has flat shape with raised edges. There is one concentric circle in the middle and many radial lines, like sun beams, in the outer area. Between radial lines we can see possibly Arabic Calligraphy. More research is needed to solve the enigma. The knob is not complete and we don't know for sure, was it an original design or it was broken later. Condition: The item is in fine condition, 100% authentic no restoration. Mirror is covered with brown-greenish genuine patina on both sides. Diameter: 8 cm = 80 mm; Weight: 75.01 g; Origin: Pakistan or Afghanistan. You'll get the same item as it is showing in the photos. Persian Empire The Persian Empire is any of a series of imperial dynasties centered in Persia (now Iran) with boundaries that fluctuated around that core, extending far into regions that would later become Pakistan, Afghanistan, Tajikistan, and Azerbaijan. The first of these was established by Cyrus The Great over 2,500 years ago, in 550 BC, but the existence of dynastic rule centered in the region was absent after a series of foreign invasions, starting by Arab conquest of Persia and later Mongol Invasion, for an 850 year period from 651 AD until 1501 AD. The main religion was Zoroastrianism, founded by Zarathushtra or so called by the Medes Zoroaster. The Persian empire also had an elite guard for the shah called the immortal. Dynasties that have been counted as instances of the Persian Empire include: Achaemenid Empire (550330 BC), also called "First Persian Empire" Parthian Empire (247 BC224 AD, also called "Arsacid Empire" Sasanian Empire (224651 AD), also called "Neo-Persian Empire" and "Second Persian Empire" History of Iran under: Safavid dynasty (15011736 AD) Afsharid dynasty (17361796 AD) Zand dynasty (17501794 AD) Qajar dynasty (17851925 AD) Pahlavi dynasty (19251979 AD)

Lot: 103B - Bronze Age mirror with Griffin/Gryphon, Western Asiatic, 550 BC -330 BC

A genuine masterpiece. Diameter: 9 cm x 8.3 cm = 3.5 inches x 3.25 inches; Weight: 69.57 g; Condition: the mirror is worn, genuine patina, 2 small stable cracks: 7 mm and 11 mm long; Provenance: found in Bajaur Valley in Pakistan; The Achaemenids considered the griffin "a protector from evil, witchcraft and secret slander".[13] References: Central Asian Jewelry and their Symbols in Ancient Time

Lot: 105 - Authentic Medieval carved stone oil lamp, Afghanistan

Authentic antique carved stone oil lamp from Afghanistan, middle ages. Weight: 4 lb. 6 oz. = 2 kg. Diameter: 9 inches = 23 cm. Material: hard stone- marble or alabaster.  Age: Presumably, it was carved several hundred years ago, as an oil lamp without hanging hook. Around 100-150 years later it was broken and fixed, by skillful artisan, with wires; and the new hook was attached to prevent another fall. Condition: Well preserved for the age. There is a repaired crack 20 cm long. The crack was repaired long time ago (several hundred years ago). Presumably, it was carved several hundred years ago, as an oil lamp without hanging hook. Around 100-150 years later it was broken and fixed, by skillful artisan, with wires; and the new hook was attached to prevent another fall. Low Estimate: 2000; High Estimate: 5000; Original: Yes; Circa: 1000;

Lot: 106 - Genuine Early Islamic bronze spoon; great patina

Genuine Early Islamic bronze spoon; great patina Weight: 16.59 g; Length: 2.75 in. = 72 mm; Authenticity report: genuine, thick patina all over, the curvature of the spoon is flattened, probably, because of intensive usage. Condition genuine, thick patina all over, the curvature of the spoon is flattened, probably, because of intensive usage. Low Estimate: 700; High Estimate: 1500; Original: Yes; Circa: 800;

Lot: 107 - Ancient Middle Eastern Bronze spoon Islamic circa 600-1000 AD, from Afghanistan.

Ancient Middle Eastern Bronze spoon Islamic circa 600-1000 AD, from Afghanistan. Kufic script (?) Length: 60 mm; Weight: 14.44g; Condition: no restoration fine condition

Lot: 108 - Antique Islamic Persian Seljuk Empire bronze lamp, 1037-1194 Genuine rare handcrafted Seljuk Islamic solid bronze oil lamp with falcon.

Antique Islamic Persian Seljuk Empire bronze lamp, 1037-1194 Genuine rare handcrafted Seljuk Islamic solid bronze oil lamp with falcon. Authentic, crudely handmade, without usual decorations, ancient Middle Eastern bronze oil lamp. That proves that 1000 years ago there was a market with a range of prices. Crude items - for lower prices and elaborated items - for a higher price, for the rich people. Height: 6" = 16 cm; Length: 6.5 inches = 16.5 cm Width: 3 inches = 7.5 cm; Weight: 16 oz. = 1 lb. = 452 g; Condition: Bronze is covered with genuine patina. -The axle/pin in the cover joint was replaced more than 50 years ago by metal (iron) pin, which got rusted. Can you explain that? Provenance: From private collection in California, USA. This lamp came from my late Grandparents’ collection of antiques. My Grandfather sold Locomotive Train Engines for GE after WWII, all over the world, (Asian, Middle East, Mediterranean and Third World countries rebuilding after the war)., He and my Grandmother would live in the countries for several months to a year. My Grandfather would instruct the new owners on how to run and maintain the Train Engines he had sold them. My Grandmother would work at the Embassies of the Countries they would stay at. In her travels she would go to ancient or historical sites, while there and often would buy artifacts from the local dig sites or Museums. “I believe that it (axle/pin) was probably changed out by my grandfather. A lot of the Items he and my grandmother secured were actually from the dig sites, that the workers would sell on the side, and may not have been incomplete or missing original pieces. Hope that help to clarify. C”.

Lot: 112A - Masterpiece antique Asian Silver carved cup, 19 cm, 128 g

Masterpiece antique Asian Silver carved cup, 19 cm, 128 g; Weight: 4.5 oz. = 128 g; Height: 7.5 inches = 19 cm; Origin: South-Eastern Asia; Material: appraised by licensed jeweler – approximately 80% of silver;

Lot: 114 - Mysterious antique clay pot or vase

Mysterious antique clay pot or vase Height: 7.5 inches = 20 cm Weight: 1,898 g = 1 kg 898 g = 4 lb. 2.9 oz. Origin: American Indian culture? Mediterranean culture? Provenance: bought on antique market in Tampa, FL, USA

Lot: 117 - Pre-Columbian Guerrero Mezcala Jade Figure, ex-Schmitt collection

Pre-Columbian Guerrero Mezcala Jade Figure, ex-Schmitt collection. Pre-Columbian, southern Mexico, Guerrero region, Mezcala culture, ca. 600 to 100 BCE. A hand-carved omphacite jade figure of characteristically abstract form. Deep, string-cut grooves form the delineated physiognomy while a pair of shallow drill holes form the eyes. A pair of bi-conically drilled holes on the shoulders suggest this figure was worn as a pendant on either the living or the dead. Size: 1.9" W x 4.125" H (4.8 cm x 10.5 cm); Provenance: Ex-Marc Amiguet Schmitt estate, Amiguet's Ancient Art, Evansville, Indiana, USA, acquired prior to January 1, 2010 Condition Report: Light abrasions and earthen deposits commensurate with age, otherwise intact and very good. Nice root marks and string-cut features.

Lot: 118 - Pre-Columbian terracotta figure of a man 500-100 BC, Mexico

Pre-Columbian Teotihuacan terracotta figure of a seated man 500-100 BC, Mexico. Description: Small Teotihuacan terracotta figure of a seated man with a mold-made face and handmade body. The figure has its legs drawn up towards his body and hands on his knees. He has an elaborate, neck collar and decorative bands on the arms. The man has an elongated head and an open, expressive mouth. Cultural History: Teotihuacan was a sacred Pre-Columbian metropolis located outside of Mexico City, and it literally means "the place where the gods were created." It was known by later cultures, such as the Mayans and the Aztecs, as the City of the Gods - the place of their ancestors, which was revered for centuries after its decline. Measurements: 2-3/4"(L) x 1"(W) = 7 cm x 2.5 cm. Condition: In good condition for its age. Head has been reattached. Feet are missing. Provenance: Ex. Private Collector, Atlanta, GA. Purchase includes a Certificate of Authenticity from Kent Bond Gallery, FL.

Lot: 119A - Pre-Columbian five votive human body terracotta fragments, Teotihuacan culture, 100AD-500AD

Pre-Columbian five votive human body terracotta fragments, Teotihuacan culture, 100AD-500AD; In Mesoamerica, votive deposits have been recovered from the Olmec site of El Manati (dated to 1600–1200 BC) and the Maya Sacred Cenote at Chichen Itza (850–1550 AD). All votive extremities have holes in order to keep them as a necklace. Size of the biggest: 78 mm; Weight of the biggest

Lot: 119B - Pre-Columbian terracotta statue of 2 mating dogs, Maya civilization, 850-1550 AD

Pre-Columbian terracotta statue of 2 mating dogs, Maya civilization, 850-1550 AD; Size of the two dog statue: 100 mm x 65 mm x 36 mm; Weight of the two dog statue: 62.96 g; Provenance: private collection in Rockville, Maryland, USA. Condition: the four legs of the bigger dogs are broken

Lot: 122 - Pre-Columbian mask, carved foliated marble rock

Pre-Columbian mask, carved foliated marble rock Height: 4.25 inches = 11 cm; Width: 3.5 inches = 9 cm; Anterior-Posterior thickness: 2.5 inches = 6 cm; Weight: 1 lb. 12.8 oz. = 816 g; Moh’s hardness: 3.0 Condition: Overall very good condition. One chip 8 x 8 mm on the forehead, another two chips 20 and 22 mm on the right edge, more on the back. Provenance: Purchased on estate sale in California.

Lot: 123 - Pre-Columbian Toltec (800-1000 AD) Mysterious Jade Man

Pre-Columbian Toltec (800-1000 AD) Mysterious carved Jade figurine, 20 cm. Height: 8 in. = 20 cm. Weight: 2 lb. 6 oz. = 1100 g = 1 kg 100g. Age: 800-1000 AD. Condition: Very good, partially translucent jade, old hand-made carving, small superficial 2-mm chip on the nose. No other defects. The Toltec culture is an archaeological Mesoamerican culture that dominated a state centered in Tula, in the early post-classic period of Mesoamerican chronology (ca 800-1000 CE). The later Aztec culture saw the Toltecs as their intellectual and cultural predecessors and described Toltec culture emanating from Tlln ['tolan] (Nahuatl for Tula) as the epitome of civilization; indeed in the Nahuatl language the word "Tltcatl" [tol'tekat] (singular) or "Tltcah" [tol'teka] (plural) came to take on the meaning "artisan". The Aztec oral and pictographic tradition also described the history of the Toltec Empire, giving lists of rulers and their exploits. Among modern scholars it is a matter of debate whether the Aztec narratives of Toltec history should be given credence as descriptions of actual historical events. While all scholars acknowledge that there is a large mythological part of the narrative, some maintain that by using a critical comparative method some level of historicity can be salvaged from the sources. Others maintain that continued analysis of the narratives as sources of actual history is futile and hinders access to actual knowledge of the culture of Tula, Hidalgo. Other controversies relating to the Toltecs include how best to understand the reasons behind the perceived similarities in architecture and iconography between the archaeological site of Tula and the Mayan site of Chichén Itzá. No consensus has yet emerged about the degree or direction of influence between these two sites. Condition: Very good, partially translucent jade, ancient tools hand-made carving, small superficial 2-mm chip on the nose. No other defects. Low Estimate: 30000; High Estimate: 60000; Original: Yes; Circa: 900;

Lot: 124 - Pre-Columbian carved stone humanoid Peru, Recuay culture, 200 BC-600 AD

Pre-Columbian carved stone humanoid Ancient Peru, Recuay culture, circa 200 BC-600 CE. A stone figure of an anthropomorphic figure in begging or kneeling position. Height: 5.5 inches = 14 cm. Width: 6 inches = 15 cm. Weight: 2 kg. Provenance: Property of a London gentleman, acquired through heritage. Recuay, pre-Columbian culture and site near present-day Recuay in the Callejón de Huaylas Valley of the northern highlands of Peru. Recuay culture dates to the Early Intermediate Period (c. 200 BC-AD 600) and was contemporaneous with the Moche culture of the neighbouring northern coast. Recuay is best known for its distinctive pottery, which features a type of decoration in three colours and a style of modeling in which small figures of men, jaguars, llamas, and other animals are affixed to the vessel. Recuay stone carving is related to that of the Pucará and Tiwanaku cultures. Condition: Genuine natural wear, no defects;

Lot: 125 - Chinese antique bronze Buddha, Arhat, or monk, Buddhism or Taoist mythology, Qing dynasty

Chinese antique bronze Buddha, Arhat, or monk, Buddhism or Taoist mythology, Qing dynasty Height: 34 mm; Weight: 78.2 g; Base: 26 x 19 mm; Not attracted to the magnet. Provenance: private collection in St Petersburg, Florida, USA

Lot: 125A - Chinese antique bronze dog, Taoist mythology, Qing dynasty

Chinese antique bronze dog, Taoist mythology, Qing dynasty Length: 50 mm = 5 cm Weight: 24.59 g; Provenance: private collection in St Petersburg, Florida, USA Dogs are an important motif in Chinese mythology. These motifs include a particular dog which accompanies a hero, the dog as one of the twelve totem creatures for which years are named, a dog giving first provision of grain which allowed current agriculture, and claims of having a magical dog as an original ancestor in the case of certain ethnic groups.

Lot: 125C - Chinese antique bronze Qilin, Taoist mythology, Qing dynasty

Chinese antique bronze Qilin, Taoist mythology, Qing dynasty Length: 72 mm; Weight: 171.11 g; Provenance: private collection in St Petersburg, Florida, USA The qilin (English: /tʃiˈlɪn/ chee-LIN; Chinese: 麒麟) is a legendary hooved chimerical creature that appears in Chinese mythology, and is said to appear with the imminent arrival or passing of a sage or illustrious ruler.[1] Qilin are a specific type of the lin mythological family of one-horned beasts. The qilin also appears in the mythologies of other Chinese-influenced cultures.

Lot: 125D - Chinese antique bronze turtle/tortoise, Taoist mythology, Qing dynasty

Chinese antique bronze turtle/tortoise, Taoist mythology, Qing dynasty Length: 34 mm; Weight: 17.19 g Provenance: private collection in St Petersburg, Florida, USA; In Chinese mythology, the tortoise is one of the Four Celestial Animals that rule the four directions. Known as the Dark Warrior, the tortoise (with a snake coiled around it) rules the North, including the northern part of the sky. (The tiger rules the West, the dragon the East, and the phoenix the South.)

Lot: 126 - Antique carved, 40 inches, wooden statue of Spanish Saint –Santo(s), circa 1700-1850

Antique carved, 40 inches, wooden statue of Spanish Saint –Santo(s), circa 1700-1850; Height: 40 inches = 100 cm; Width: 10.5 inches = 26.25 cm; Base: 12.5 inches x 11.25 inches = 31.25 x 28 cm; Weight: 26.8 lb. = 12 kg; Condition: normal wood aging, stable cracks, some loss of paint. The statue is carved from a whole trunk of a tree, you can see circles of the cut and some deterioration of the center of the trunk (last photo). Shipping in USA by Freight Company, in the individually carved wooden crate - $500-$600. Santo (English: Saint) are various religious artforms found in colonized parts of Spain consisting of wooden or ivory statues that depict various saints, angels, or Marian titles or one of the personages of the Holy Trinity. A Santero refers to a wood-carver who makes the image, but has also come to be known as someone who collects Santo images either as a religious devotion, or artistic hobby, or both. Some Santo images which have gained greater public devotion among the faithful have also merited Papal approval through Canonical Coronations. History Icons and other religious images were crucial for the conversions of indigenous peoples to Roman Catholic Church, which was itself an integral part of the Spanish colonization of the Americas. However, long distances, inefficient methods of transportation, and high demand for such artworks limited the ability of ecclesiastical authorities to supply parish churches, especially those in remote outposts, with works of religious art from the Kingdom of Spain. The practice of creating Santo objects began in Spain, where mannequin style religious images were commonly vested in ornate religious clothing, often expensive and funded by religious devotees. An early known example is the 1555 statue of Infant Jesus of Prague, already vested during the time of Saint Teresa of Avila. Customarily, jewels are various accessories were also added onto the image, a tradition still carried today. Santo images are also common throughout Latin America and the Caribbean, while the tradition of santo carving was preserved as a folk art in Northern New Mexico, whose isolated villages remain secluded to this day. Of particular note is the village of Cordova which has produced several well-known Santeros (carvers of santos). A major one was George López, who was awarded the National Heritage Fellowship by the National Endowment for the Arts in 1982. Santo statues are commonly known as revultos or informally as bultos. They are usually carved from cottonwood root, pine or aspen. A Santero carves a bulto with a knife and then covers it with gesso, a mixture of native gypsum and glue, to prepare it for painting. Shipping in USA by Craters and Freighters – (813-889-9008): $626.28

Lot: 128 - Chinese antique jade musician, Northern and Southern dynasties, (420 AD-581 AD)

Chinese antique jade musician, Northern and Southern dynasties, (420 AD-581 AD) An ancient Chinese jade carving figure, representing a seated human musician, playing a flute. Presumably era of Northern and Southern dynasties, (420 AD-581 AD) Size 10.5 cm; Depth: 4.5 cm; Width: 3.4 cm; Weight: 254 g = 8.9 oz. Mohs hardness: 5.0-5.5; Condition: Genuine patina all over the statue; traces of application of antique tools are present. Crystallization of the jade surface, which happens over thousands of years is noticeable. Provenance: private collection of antique collector in New York, USA.

Lot: 129 - Chinese carved nephrite jade mysterious goat with wings

Chinese carved nephrite jade mysterious goat with wings Weight: 188.22 g; Height: 3.5 inches = 9 cm; Condition: perfect: no defects Provenance: from private collection in Texas, purchased in 1990s     Low Estimate: 10000 High Estimate: 20000

Lot: 131 - Chinese porcelain pottery Yuan dynasty, Cizhou vase with Play-boys

Chinese heavy porcelain pottery Yuan dynasty Cizhou vase with Playing boys design. S graffito design. Playing boys was made by engraving lines and pressing a reed or bamboo tool through engobe, a clay slip painted on the unfired vessel. A transparent glaze was added before firing a kiln. Height: approximately 8 in. = 20 cm; Width: 5.5 inches = 14 cm; Weight: 2 lb. 12 oz.= 1280 g. Condition: archaeological digging find, there is still orange dusty sand inside the vase. Natural aging of the glaze. No defects.References: The Yuan dynasty (1206-1368). While the Mongol occupation destroyed much, it also shook China free from the static traditions and techniques of the late Southern Song and made possible many innovations, both in painting and in the decorative arts. The north was not progressive, and the main center of pottery activity shifted permanently to the south. The northern traditions of Jun and Cizhou ware continued through the Jin and Yuan, bolder but coarser than before. New shapes included a heavy, wide-mouthed jar, sometimes with decoration boldly carved through a black or brown slip or painted in two or three colours. These new techniques and the overglaze painting already developed in the Jin dynasty prepared the way for the three- and five-colour wares of the Ming.Auction results:http://www.sothebys.com/content/sothebys/en/auctions/ecatalogue/2014/fine-chinese-ceramics-works-of-art-n09116/lot.212.htmlA 'CIZHOU' BROWN-SLIP PAINTED 'BIRD' BOTTLE VASE (YUHUCHUNPING)YUAN DYNASTYLOT SOLD. 8,750 USD (Hammer Price with Buyer's Premium) http://www.sothebys.com/content/sothebys/en/auctions/ecatalogue/2014/fine-chinese-ceramics-works-of-art-n09116/lot.212.htmlhttp://www.christies.com/lotfinder/lot/a-chinese-chizou-bottle-vase-yuan-4326272-details.aspx?intObjectID=4326272 Condition: Archaeological digging find, there is still orange dusty sand inside the vase. Natural aging of the glaze. No defects;

Lot: 131A - Burmese Opium weight viss: antique Bronze Qilin 32 g, Chinese mythology, 1600-1885 AD

Burmese Opium weight viss: antique Bronze Qilin 32 g, Chinese mythology, 1600-1885 AD; Although widely known as opium weights these bronze zoomorphic weights were used for the measurement of basic necessities throughout Burma (and also northern Thailand and Laos). A full set of weights normal consists of 10 pieces from very small sizes up the largest size known as a viss (around 1.6 kg) - although some later sets had additional larger weights too. The weights and measures system in Burma was carefully controlled and weights checked for accuracy. The production of these weights ended in Burma after the British took control of the country in 1885. Prices vary according to scarcity of the animal/mythical beast used, with rarer designs fetching higher prices. Some of the more recent Laotian weights use particularly uncommon and collectable designs. Weight: 32.16 g; Height: 32 mm; Base: 16 mm x 16 mm; Age: several hundred years old (?); Provenance: private collection in St Petersburg, FL The qilin (English: /tʃiˈlɪn/ chee-LIN; Chinese: 麒麟) is a legendary hooved chimerical creature that appears in Chinese mythology, and is said to appear with the imminent arrival or passing of a sage or illustrious ruler.[1] Qilin are a specific type of the lin mythological family of one-horned beasts. The qilin also appears in the mythologies of other Chinese-influenced cultures. The earliest mention of the mythical qilin is in the poem 麟之趾; Lín zhī zhǐ; 'Feet of the Lin' included in the Classic of Poetry (11th – 7th c. BCE).[2][3] Spring and Autumn Annals mentioned that a lin (麟) was captured in the 14th year of Duke Ai of Lu (魯哀公) (481 CE); Zuo Zhuan credited Confucius with identifying the lin as such.[4][5][6] The bisyllabic form qilin (麒麟 ~ 騏驎), which carries the same generic meaning as lin alone, is attested in works dated to the Warring States period (475 – 221 BCE).[7] Qi denotes the male and lin denotes the female[8] (e.g. in Shuowen Jiezi).[9][10] Legends tell that qilin have appeared in the garden of the legendary Yellow Emperor and in the capital of Emperor Yao; both events bore testimony to the benevolent nature of the rulers.[20] It has also been told that the birth of the great sage Confucius was foretold by the arrival of a qilin.[1] Qilin generally have Chinese dragon-like features: similar heads with antlers, eyes with thick eyelashes, manes that always flow upward, and beards. The body is fully or partially scaled and often shaped like an ox, deer, or horse.[19][20] They are always shown with cloven hooves.[21] While dragons in China (and thus qilin) are also most commonly depicted as golden, qilin may be of any color or even various colors, and can be depicted as bejeweled or exhibiting a jewel-like brilliance.[22] The qilin is depicted throughout a wide range of Chinese art, sometimes with parts of their bodies on fire.[21]

Lot: 131B - Burmese opium weight (viss): antique bronze Qilin 55 g, Chinese mythology, Ming to Qing dynasty (?)

Burmese Opium weight viss Antique Bronze Qilin 55 g, Chinese mythology, 1600-1885; Although widely known as opium weights these bronze zoomorphic weights were used for the measurement of basic necessities throughout Burma (and also northern Thailand and Laos). A full set of weights normal consists of 10 pieces from very small sizes up the largest size known as a viss (around 1.6 kg) - although some later sets had additional larger weights too. The weights and measures system in Burma was carefully controlled and weights checked for accuracy. The production of these weights ended in Burma after the British took control of the country in 1885. Prices vary according to scarcity of the animal/mythical beast used, with rarer designs fetching higher prices. Some of the more recent Laotian weights use particularly uncommon and collectable designs. Weight: 55.23 g; Height: 41 mm; Base: 22 mm x 19 mm; Age: several hundred years old; Provenance: private collection in St Petersburg, FL The qilin (English: /tʃiˈlɪn/ chee-LIN; Chinese: 麒麟) is a legendary hooved chimerical creature that appears in Chinese mythology, and is said to appear with the imminent arrival or passing of a sage or illustrious ruler.[1] Qilin are a specific type of the lin mythological family of one-horned beasts. The qilin also appears in the mythologies of other Chinese-influenced cultures. The earliest mention of the mythical qilin is in the poem 麟之趾; Lín zhī zhǐ; 'Feet of the Lin' included in the Classic of Poetry (11th – 7th c. BCE).[2][3] Spring and Autumn Annals mentioned that a lin (麟) was captured in the 14th year of Duke Ai of Lu (魯哀公) (481 CE); Zuo Zhuan credited Confucius with identifying the lin as such.[4][5][6] The bisyllabic form qilin (麒麟 ~ 騏驎), which carries the same generic meaning as lin alone, is attested in works dated to the Warring States period (475 – 221 BCE).[7] Qi denotes the male and lin denotes the female[8] (e.g. in Shuowen Jiezi).[9][10] Legends tell that qilin have appeared in the garden of the legendary Yellow Emperor and in the capital of Emperor Yao; both events bore testimony to the benevolent nature of the rulers.[20] It has also been told that the birth of the great sage Confucius was foretold by the arrival of a qilin.[1] Qilin generally have Chinese dragon-like features: similar heads with antlers, eyes with thick eyelashes, manes that always flow upward, and beards. The body is fully or partially scaled and often shaped like an ox, deer, or horse.[19][20] They are always shown with cloven hooves.[21] While dragons in China (and thus qilin) are also most commonly depicted as golden, qilin may be of any color or even various colors, and can be depicted as bejeweled or exhibiting a jewel-like brilliance.[22] The qilin is depicted throughout a wide range of Chinese art, sometimes with parts of their bodies on fire.[21]

Lot: 131C - Burmese opium weight (viss): Antique Bronze Qilin 78 g, Chinese mythology, 1600-1885 AD

Burmese opium weight - antique Bronze Qilin 78 g, Chinese mythology, 1600-1885 AD; Although widely known as opium weights these bronze zoomorphic weights were used for the measurement of basic necessities throughout Burma (and also northern Thailand and Laos). A full set of weights normal consists of 10 pieces from very small sizes up the largest size known as a viss (around 1.6 kg) - although some later sets had additional larger weights too. The weights and measures system in Burma was carefully controlled and weights checked for accuracy. The production of these weights ended in Burma after the British took control of the country in 1885. Prices vary according to scarcity of the animal/mythical beast used, with rarer designs fetching higher prices. Some of the more recent Laotian weights use particularly uncommon and collectable designs. Weight: 77.77 g; Height: 45 mm; Base: 25 mm x 21 mm; Not attracted to the magnet; Age: several hundred years old; Provenance: private collection in St Petersburg, FL The qilin (English: /tʃiˈlɪn/ chee-LIN; Chinese: 麒麟) is a legendary hooved chimerical creature that appears in Chinese mythology, and is said to appear with the imminent arrival or passing of a sage or illustrious ruler.[1] Qilin are a specific type of the lin mythological family of one-horned beasts. The qilin also appears in the mythologies of other Chinese-influenced cultures. The earliest mention of the mythical qilin is in the poem 麟之趾; Lín zhī zhǐ; 'Feet of the Lin' included in the Classic of Poetry (11th – 7th c. BCE).[2][3] Spring and Autumn Annals mentioned that a lin (麟) was captured in the 14th year of Duke Ai of Lu (魯哀公) (481 CE); Zuo Zhuan credited Confucius with identifying the lin as such.[4][5][6] The bisyllabic form qilin (麒麟 ~ 騏驎), which carries the same generic meaning as lin alone, is attested in works dated to the Warring States period (475 – 221 BCE).[7] Qi denotes the male and lin denotes the female[8] (e.g. in Shuowen Jiezi).[9][10] Legends tell that qilin have appeared in the garden of the legendary Yellow Emperor and in the capital of Emperor Yao; both events bore testimony to the benevolent nature of the rulers.[20] It has also been told that the birth of the great sage Confucius was foretold by the arrival of a qilin.[1] Qilin generally have Chinese dragon-like features: similar heads with antlers, eyes with thick eyelashes, manes that always flow upward, and beards. The body is fully or partially scaled and often shaped like an ox, deer, or horse.[19][20] They are always shown with cloven hooves.[21] While dragons in China (and thus qilin) are also most commonly depicted as golden, qilin may be of any color or even various colors, and can be depicted as bejeweled or exhibiting a jewel-like brilliance.[22] The qilin is depicted throughout a wide range of Chinese art, sometimes with parts of their bodies on fire.[21]

Lot: 131D - Burmese opium weight -viss: Antique Bronze Qilin 111 g, Chinese mythology, 1600-1885 AD

Burmese opium weight - antique Bronze Qilin 111 g, Chinese mythology, 1600-1885 AD Although widely known as opium weights these bronze zoomorphic weights were used for the measurement of basic necessities throughout Burma (and also northern Thailand and Laos). A full set of weights normal consists of 10 pieces from very small sizes up to the largest size known as a viss (around 1.6 kg) - although some later sets had additional larger weights too. The weights and measures system in Burma was carefully controlled and weights checked for accuracy. The production of these weights ended in Burma after the British took control of the country in 1885. Prices vary according to scarcity of the animal/mythical beast used, with rarer designs fetching higher prices. Some of the more recent Laotian weights use particularly uncommon and collectable designs. Weight: 110.90 g; Height: 50 mm; Base: 30 mm x 25 mm; Not attracted to the magnet; Age: several hundred years old; Provenance: private collection in St Petersburg, FL The qilin (English: /tʃiˈlɪn/ chee-LIN; Chinese: 麒麟) is a legendary hooved chimerical creature that appears in Chinese mythology, and is said to appear with the imminent arrival or passing of a sage or illustrious ruler.[1] Qilin are a specific type of the lin mythological family of one-horned beasts. The qilin also appears in the mythologies of other Chinese-influenced cultures. The earliest mention of the mythical qilin is in the poem 麟之趾; Lín zhī zhǐ; 'Feet of the Lin' included in the Classic of Poetry (11th – 7th c. BCE).[2][3] Spring and Autumn Annals mentioned that a lin (麟) was captured in the 14th year of Duke Ai of Lu (魯哀公) (481 CE); Zuo Zhuan credited Confucius with identifying the lin as such.[4][5][6] The bisyllabic form qilin (麒麟 ~ 騏驎), which carries the same generic meaning as lin alone, is attested in works dated to the Warring States period (475 – 221 BCE).[7] Qi denotes the male and lin denotes the female[8] (e.g. in Shuowen Jiezi).[9][10] Legends tell that qilin have appeared in the garden of the legendary Yellow Emperor and in the capital of Emperor Yao; both events bore testimony to the benevolent nature of the rulers.[20] It has also been told that the birth of the great sage Confucius was foretold by the arrival of a qilin.[1] Qilin generally have Chinese dragon-like features: similar heads with antlers, eyes with thick eyelashes, manes that always flow upward, and beards. The body is fully or partially scaled and often shaped like an ox, deer, or horse.[19][20] They are always shown with cloven hooves.[21] While dragons in China (and thus qilin) are also most commonly depicted as golden, qilin may be of any color or even various colors, and can be depicted as bejeweled or exhibiting a jewel-like brilliance.[22] The qilin is depicted throughout a wide range of Chinese art, sometimes with parts of their bodies on fire.[21]

Lot: 131E - Burmese opium weight: antique Bronze Qilin 218 g, Chinese mythology, 1600-1885 AD

Burmese opium weight: antique Bronze Qilin 218 g, Chinese mythology, 1600-1885 AD; Although widely known as opium weights these bronze zoomorphic weights were used for the measurement of basic necessities throughout Burma (and also northern Thailand and Laos). A full set of weights normal consists of 10 pieces from very small sizes up the largest size known as a viss (around 1.6 kg) - although some later sets had additional larger weights too. The weights and measures system in Burma was carefully controlled and weights checked for accuracy. The production of these weights ended in Burma after the British took control of the country in 1885. Prices vary according to scarcity of the animal/mythical beast used, with rarer designs fetching higher prices. Some of the more recent Laotian weights use particularly uncommon and collectable designs. Weight: 218.50 g; Height: 50 mm; Base: 30 mm x 25 mm; Not attracted to the magnet; Age: several hundred years old; Provenance: private collection in St Petersburg, FL The qilin (English: /tʃiˈlɪn/ chee-LIN; Chinese: 麒麟) is a legendary hooved chimerical creature that appears in Chinese mythology, and is said to appear with the imminent arrival or passing of a sage or illustrious ruler.[1] Qilin are a specific type of the lin mythological family of one-horned beasts. The qilin also appears in the mythologies of other Chinese-influenced cultures. The earliest mention of the mythical qilin is in the poem 麟之趾; Lín zhī zhǐ; 'Feet of the Lin' included in the Classic of Poetry (11th – 7th c. BCE).[2][3] Spring and Autumn Annals mentioned that a lin (麟) was captured in the 14th year of Duke Ai of Lu (魯哀公) (481 CE); Zuo Zhuan credited Confucius with identifying the lin as such.[4][5][6] The bisyllabic form qilin (麒麟 ~ 騏驎), which carries the same generic meaning as lin alone, is attested in works dated to the Warring States period (475 – 221 BCE).[7] Qi denotes the male and lin denotes the female[8] (e.g. in Shuowen Jiezi).[9][10] Legends tell that qilin have appeared in the garden of the legendary Yellow Emperor and in the capital of Emperor Yao; both events bore testimony to the benevolent nature of the rulers.[20] It has also been told that the birth of the great sage Confucius was foretold by the arrival of a qilin.[1] Qilin generally have Chinese dragon-like features: similar heads with antlers, eyes with thick eyelashes, manes that always flow upward, and beards. The body is fully or partially scaled and often shaped like an ox, deer, or horse.[19][20] They are always shown with cloven hooves.[21] While dragons in China (and thus qilin) are also most commonly depicted as golden, qilin may be of any color or even various colors, and can be depicted as bejeweled or exhibiting a jewel-like brilliance.[22] The qilin is depicted throughout a wide range of Chinese art, sometimes with parts of their bodies on fire.[21]

Lot: 131F - Burmese opium weight - viss: antique Bronze Qilin 314 g, Chinese mythology, 1600-1885 AD

Burmese opium weight: antique Bronze Qilin 314 g, Chinese mythology, 1600-1885 AD Although widely known as opium weights these bronze zoomorphic weights were used for the measurement of basic necessities throughout Burma (and also northern Thailand and Laos). A full set of weights normal consists of 10 pieces from very small sizes up the largest size known as a viss (around 1.6 kg) - although some later sets had additional larger weights too. The weights and measures system in Burma was carefully controlled and weights checked for accuracy. The production of these weights ended in Burma after the British took control of the country in 1885. Prices vary according to scarcity of the animal/mythical beast used, with rarer designs fetching higher prices. Some of the more recent Laotian weights use particularly uncommon and collectable designs. Weight: 314.59 g; Height: 70 mm; Base: 35 x 35 mm; Age: several hundred years old; Not attracted to the magnet; Provenance: private collection in St Petersburg, FL The qilin (English: /tʃiˈlɪn/ chee-LIN; Chinese: 麒麟) is a legendary hooved chimerical creature that appears in Chinese mythology, and is said to appear with the imminent arrival or passing of a sage or illustrious ruler.[1] Qilin are a specific type of the lin mythological family of one-horned beasts. The qilin also appears in the mythologies of other Chinese-influenced cultures. The earliest mention of the mythical qilin is in the poem 麟之趾; Lín zhī zhǐ; 'Feet of the Lin' included in the Classic of Poetry (11th – 7th c. BCE).[2][3] Spring and Autumn Annals mentioned that a lin (麟) was captured in the 14th year of Duke Ai of Lu (魯哀公) (481 CE); Zuo Zhuan credited Confucius with identifying the lin as such.[4][5][6] The bisyllabic form qilin (麒麟 ~ 騏驎), which carries the same generic meaning as lin alone, is attested in works dated to the Warring States period (475 – 221 BCE).[7] Qi denotes the male and lin denotes the female[8] (e.g. in Shuowen Jiezi).[9][10] Legends tell that qilin have appeared in the garden of the legendary Yellow Emperor and in the capital of Emperor Yao; both events bore testimony to the benevolent nature of the rulers.[20] It has also been told that the birth of the great sage Confucius was foretold by the arrival of a qilin.[1] Qilin generally have Chinese dragon-like features: similar heads with antlers, eyes with thick eyelashes, manes that always flow upward, and beards. The body is fully or partially scaled and often shaped like an ox, deer, or horse.[19][20] They are always shown with cloven hooves.[21] While dragons in China (and thus qilin) are also most commonly depicted as golden, qilin may be of any color or even various colors, and can be depicted as bejeweled or exhibiting a jewel-like brilliance.[22] The qilin is depicted throughout a wide range of Chinese art, sometimes with parts of their bodies on fire.[21]

Lot: 131G - Burmese Opium weight viss: Bronze Qilin 19 g, Chinese mythology, 1600-1885

Burmese Opium weight viss: Bronze Qilin 19 g, Chinese mythology, 1600-1885 AD. Although widely known as opium weights these bronze zoomorphic weights were used for the measurement of basic necessities throughout Burma (and also northern Thailand and Laos). A full set of weights normal consists of 10 pieces from very small sizes up the largest size known as a viss (around 1.6 kg) - although some later sets had additional larger weights too. The weights and measures system in Burma was carefully controlled and weights checked for accuracy. The production of these weights ended in Burma after the British took control of the country in 1885. Prices vary according to scarcity of the animal/mythical beast used, with rarer designs fetching higher prices. Some of the more recent Laotian weights use particularly uncommon and collectable designs. Weight: 19 g; Height: 27 mm; Base: 12x 12 mm; Age: several hundred years old(?) Provenance: private collection in St Petersburg, FL The qilin (English: /tʃiˈlɪn/ chee-LIN; Chinese: 麒麟) is a legendary hooved chimerical creature that appears in Chinese mythology, and is said to appear with the imminent arrival or passing of a sage or illustrious ruler.[1] Qilin are a specific type of the lin mythological family of one-horned beasts. The qilin also appears in the mythologies of other Chinese-influenced cultures. The earliest mention of the mythical qilin is in the poem 麟之趾; Lín zhī zhǐ; 'Feet of the Lin' included in the Classic of Poetry (11th – 7th c. BCE).[2][3] Spring and Autumn Annals mentioned that a lin (麟) was captured in the 14th year of Duke Ai of Lu (魯哀公) (481 CE); Zuo Zhuan credited Confucius with identifying the lin as such.[4][5][6] The bisyllabic form qilin (麒麟 ~ 騏驎), which carries the same generic meaning as lin alone, is attested in works dated to the Warring States period (475 – 221 BCE).[7] Qi denotes the male and lin denotes the female[8] (e.g. in Shuowen Jiezi).[9][10] Legends tell that qilin have appeared in the garden of the legendary Yellow Emperor and in the capital of Emperor Yao; both events bore testimony to the benevolent nature of the rulers.[20] It has also been told that the birth of the great sage Confucius was foretold by the arrival of a qilin.[1] Qilin generally have Chinese dragon-like features: similar heads with antlers, eyes with thick eyelashes, manes that always flow upward, and beards. The body is fully or partially scaled and often shaped like an ox, deer, or horse.[19][20] They are always shown with cloven hooves.[21] While dragons in China (and thus qilin) are also most commonly depicted as golden, qilin may be of any color or even various colors, and can be depicted as bejeweled or exhibiting a jewel-like brilliance.[22] The qilin is depicted throughout a wide range of Chinese art, sometimes with parts of their bodies on fire.[21]

Lot: 135 - Gilt bronze Sino-Tibetan figure of Hayagriva with consort, Tibet, 18th century.

Gilt bronze Sino-Tibetan figure of Hayagriva with consort, Tibet, 18th century. Finely cast gilt bronze Sino-Tibetan figure of Hayagriva with consort, Tibet, 18th century. Size: 8” x 5” x 3” = 20.3 cm x 12.7 cm x 7.62 cm; Provenance: Private collection in Alabama, USA Hayagriva ("having the neck of a horse", IAST: Hayagrīva) is an important deity in Chinese, Tibetan and Japanese Buddhism. He originated as a yaksha attendant of Avalokiteśvara (Guanyin) in India,[1] and was assimilated into the ritual practices of early Buddhism. In Tibetan Buddhism, Hayagriva is the manifestation of wrathful Avalokiteshvara, and is considered an extremely wrathful male deity in the pantheon of Herukas in Vajrayana Buddhism.[1] Hayagriva together with his female consort Vajravarahi (Dorje Pakmo) remove hindrances and are renown for their epic conquering of the demon Rudra. Hayagriva's iconography encapsulates his embodiment of a wrathful manifestation of compassion, symbolizing an unwavering determination to surmount internal obstacles and external challenges. Displaying attributes such as a scowling countenance with three penetrating eyes, green horse heads, a raised sword, a threatening mudra, and symbolic ornaments, Hayagriva conveys an intense resolve in his representation. In Tibetan Buddhist practices, Hayagriva's significance is linked to his role in curing ailments, especially skin diseases like leprosy that are attributed to nāgas. Furthermore, specifically in the Nyingma school's Tibetan Buddhist Vajrayana practices, Black Hayagriva's role extends to confronting potent adversaries, exemplified through his and his consort Vajravarahi as Tröma Nagmo's cosmic battles against the demon Rudra and his epic earth-destructing demonic ego.[2] In Chinese Buddhism, Hayagriva assumes the mantle of a Dharma protector (dharmapala), particularly associated with travel and transportation. This is evidenced by the practice of placing license plates before his image within temples, invoking safeguarding influences for vehicles and their passengers. In the context of Japanese Mahayana Buddhism, he emerges as a form of Avalokiteśvara, with his dominion extending over beings embodying animal-like mental states.

Lot: 136 - Xuande Emperor 宣德帝 period (1426-1435), finely cast gilt bronze Sino-Tibetan, Vajrasattva

Xuande Emperor 宣德帝 period (1426-1435), finely cast gilt bronze Sino-Tibetan, Vajrasattva Finely cast gilt bronze Sino-Tibetan figure of Vajrasattva in dhyanasana pose, Size: 10” x 7” x 3” = 25.4 cm x 17.8 cm x 7.6 cm; Provenance: Private collection in Alabama, USA; Vajrasattva (Sanskrit: वज्रसत्त्व, Tibetan: རྡོ་རྗེ་སེམས་དཔའ། Dorje Sempa, short form: རྡོར་སེམས། Dorsem)[1] is a bodhisattva in the Mahayana and Mantrayana/Vajrayana Buddhist traditions. In Chinese Buddhism and the Japanese Shingon tradition, Vajrasattva is the esoteric aspect of the bodhisattva Samantabhadra and is commonly associated with the student practitioner who, through the master's teachings, attains an ever-enriching, subtle and rarefied grounding in their esoteric practice. In Tibetan Buddhism, Vajrasattva is associated with the sambhogakāya and purification practice. Vajrasattva appears principally in two Buddhist texts: the Mahavairocana Sutra and the Vajrasekhara Sutra. In the Diamond Realm Mandala, Vajrasattva sits to the East near Akshobhya Buddha. In some esoteric lineages, Nagarjuna was said to have met Vajrasattva in an iron tower in South India, and was taught tantra, thus transmitting the esoteric teachings to more historical figures.[2] His mantra is oṃ Vajrasattva hūṃ (Sanskrit: ॐ वज्रसत्त्व हूँ; Chinese: 唵 斡資囉 薩答 啊 吽 / 嗡 班扎 薩埵 吽; Pinyin: ǎn wòzīluō sàdá a hōng / wēng bānzhā sàduǒ hōng).

Lot: 138 - Huge Chinese Bronze 笑佛 laughing Buddha Budai, Qing dynasty, 53 cm

Large Chinese cast bronze sculpture of Hotei the Happy Buddha. Double Lotus base with copper bottom. Approx. 21" = 53 cm high x 17" wide x 14" depth. Weight: 25-30 lb. = 10-14 kg. Condition: scattered wear, commensurate with age and use, genuine green patina. Provenance: private collection in St. Petersburg, Florida, USA. Pick up is available at Tampa, Florida 33647, USA. Reference: Budai (Chinese: 布袋; pinyin: Bùdài; Korean: 포대, romanized: Podae; Japanese: 布袋, romanized: Hotei; Vietnamese: Bố Đại) is a nickname given to the ancient Chinese monk Qici (Chinese: 契此) who is often identified with and venerated as Maitreya Buddha in Chan Buddhism. With the spread of Chan Buddhism, he also came to be venerated in Vietnam, Korea, and Japan.[1] He is said to have lived around the 10th century CE in the Wuyue kingdom. The name "Budai" literally means "cloth sack",[1] and refers to the bag he is usually depicted carrying as he wanders aimlessly. His jolly nature, humorous personality, and eccentric lifestyle distinguish him from most Buddhist masters or figures. He is almost always shown smiling or laughing, hence his nickname in Chinese, the "Laughing Buddha".[a][2][3] As Budai is traditionally depicted as overweight and having a huge stomach (possibly a symbol of abundance or forgiveness) and many stories surrounding Budai involve his love of food and drink, he is also referred to as the "Fat Buddha", especially in the Western world.[4] The main textual evidence pointing to Budai resides in a collection of Chan Buddhist monks' biographies known as The Transmission of the Lamp.[5]

Lot: 141 - Chinese carved rosewood Luohan/Archat with a tiger, Qing dynasty

Luohan/Archat with a tiger, Qing dynasty, circa 1800 AD. Height: 155 mm = 15.5 cm = 6 inches; Width: 4.5 inches = 12 cm; Weight: 401 g = 14.2 oz. Condition: perfect for the age, two stable cracks at the back; Provenance: purchased at antique store in Florida, USA. References: Arhat is defined in Theravada Buddhism as one who has gained insight into the true nature of existence and has achieved nirvana.[1][2] Other Buddhist traditions have used the term for people far advanced along the path of Enlightenment, but who may not have reached full Buddhahood.[3] The understanding of the concept has changed over the centuries, and varies between different schools of Buddhism and different regions. A range of views on the attainment of arhats existed in the early Buddhist schools. The Sarvāstivāda, Kāśyapīya, Mahāsāṃghika, Ekavyāvahārika, Lokottaravāda, Bahuśrutīya, Prajñaptivāda, and Caitika schools all regarded arhats as imperfect in their attainments compared to buddhas.[4][5][6] Mahayana Buddhist teachings urge followers to take up the path of a bodhisattva, and to not fall back to the level of arhats and śrāvakas.[7] The arhats, or at least the senior arhats, came to be widely regarded by Hinayana (Theravada) buddhists as "moving beyond the state of personal freedom to join the Bodhisattva enterprise in their own way".[3] Mahayana Buddhism regarded a group of Eighteen Arhats (with names and personalities) as awaiting the return of the Buddha as Maitreya, while other groupings of 6, 8, 16, 100, and 500 also appear in tradition and Buddhist art, especially in East Asia called luohan or lohan.[8][9] They may be seen as the Buddhist equivalents of the Christian saint, apostles or early disciples and leaders of the faith.[8]

Lot: 144 - Buddhist temple, antique 14 religious pottery clay items, 1700-1900

Buddhist temple, antique 14 religious pottery clay items, 1700-1900. Description: 19th c. (and earlier), (14) pieces, including: • Two Tibetan clay Tsa-Tsa (2); • Three Stupa (3); • a glazed jar with Stupa form lid, • an old Chinese gray pottery round covered box, • and other assorted offerings and altar objects, etc., Dimensions: 6.25"h x 3.5"w (largest), 1.5"w (smallest) Provenance: private collection in New Jersey; References: TSATSA (also tsa-tsa, tsha-tsha) is a small sculptural votive offering used in Tibetan Buddhism. They are normally small plaques with decoration in relief, made in moulds with clay or rammed earth, but sometimes other materials such as metal may be used.[1] They descend from similar Indian plaques made for pilgrims to Buddhist pilgrimage sites such as Bodh Gaya.[2] STUPA In Bhutan the usual shape is a small chorten or stupa, also sometimes seen in Tibet, where it is a special funerary form.[3] In Buddhism, a stupa (Sanskrit: स्तूप, lit. 'heap', IAST: stūpa) is a mound-like or hemispherical structure containing relics (such as śarīra – typically the remains of Buddhist monks or nuns) that is used as a place of meditation.[1]

Lot: 147 - Tibetan tangka painting on silk/canvas, with 48 Buddhas, circa 1700-1800 AD, framed

Tibetan tangka painting on silk/canvas, with 48 Buddhas, circa 1700-1800 AD, framed Central Buddha depicted riding the horse in the clouds, surrounded by 47 smaller sitting Buddhas + 4 horsemen and 2 warriors. Sight size: 24" x 16.5" = 60.96 cm x 41.91 cm; Size of the frame: 32" x 24" = 81.28 cm x 60.96 cm; Weight: 12 lb. = 5.44 kg; Condition report: Scattered loss from rolling, not examined out of the frame. Framed under glass on March 5, 1996, by "Homer’s Picture Framing Gallery", St Petersburg, Florida, 6648 Central Ave, USA. Provenance: private collection is St. Petersburg, Florida, USA.

Lot: 149 - Tibetan copper gilded Buddha icon 1600-1750 AD (17th -18th century)

Tibetan copper gilded Buddha icon 1600-1750 AD (17th -18th century) Highly elaborated copper icon with semiprecious stones and gilded sitting figure of Buddha. For many centuries Tibet was a spiritual and religious leader in Asia. Many countries like China, Japan, Mongolia, South-Eastern Russia, Thailand, Indonesia, etc. adopted Buddhism as a major religion. Most of men in Tibet, instead of serving in the army, - served as monks. Tibet did not need an army, because it was respected as a motherland of Buddhism and protected by the neighboring countries. Size: 16.5 inches” x 123.25 inches = 41.5 cm x 33.5 cm; Weight: 2504 gram = 2 kg 504 gram; Provenance: Made in Bhutan? Then - private collection in USA 1940’s

Lot: 150 - Tibetan Tangka with three Buddhas and many other people, circa 1700 AD.

Tibetan Tangka with three Buddhas and many other people, circa 1700 AD. For many centuries Tibet was a spiritual and religious leader in Asia. Many countries like China, Japan, Mongolia, South-Eastern Russia, Thailand, Indonesia, etc. adopted Buddhism as a major religion. Most of men in Tibet, instead of serving in the army, - served as monks. Tibet did not need an army, because it was respected as a motherland of Buddhism and protected by the neighboring countries. On this tangka, you can see that people around three Buddhas have characteristic features of Tibetans with some relation to Chinese customs. Provenance: Central Tibet, Ngor Monastery(?), circa 1700, Painting. Mineral pigments on cotton cloth/canvas. Names (all three the same) of the sitting Buddhas are inscribed in Sanskrit, at the back of the painting cloth. Size: 35” x 27” = 89 cm x 68.5 cm Provenance: private collection in USA of American citizen, who used to live in China in 20th century Estimate: $20,000-$40,000 https://issuu.com/michaelbanyai/docs/nyr17598_salecat Central Tibet, Ngor Monastery, circa 1700 Paintings Mineral pigments on cotton cloth. From the Nasli and Alice Heeramaneck Collection, Museum Associates Purchase (M.77.19.11) South and Southeast Asian Art

Lot: 152 - Chinese Bodhisattva carved stone head, 6th century AD.

Chinese Bodhisattva carved stone head, 6th century ADA 6-th Century Chinese Stone Head Of Buddha, carved stone Bodhisattva head with serene expression, downcast eyes and full lips flanked by elongated ears, the Buddha with tiara, with hole 17-mm deep to head back. There are two birds, sitting on each brow. Birds may have meaning of purity and high spiritual values, which Bodhisattva achieved

Lot: 153 - Antique bronze plaque of 'thousand' armed Avalokiteshvara with sutra, Japanese

Antique bronze plaque of thousand armed Avalokiteshvara with sutra, Japan. An antique inscribed bronze plaque, of arched rectangular form, one side cast in relief with the multi-armed deity Avalokiteshvara seated on a throne, the reverse side - with an eight vertical line Sutra. Size: 6.5 x 4.25 inches = 16.5 cm x 10.7 cm; Weight: 539 g; One of the most popular devotional deities in Himalayan Buddhism, Avalokiteshvara (the Bodhisattva of Compassion) appears in many forms, but this “thousand-armed” form is one of the most popular. The many heads, eyes, and hands represent the countless ways in which Avalokiteshvara can see, hear, and benefit all sentient beings. Opinion of Japanese collector: I think it is a Japanese Thousand-Armed Kannon. The writing on the back is not a sutra, but looks like a wish for health or happiness. - Provenance: this item comes from the private Philippine collection of Lou A. and Barbara B. Pritchett. Lou Pritchett was the ex-Vice President of Procter and Gamble. Lou Pritchett rose through the ranks at Procter & Gamble and was instrumental in the creation of the partnership between Procter & Gamble and Wal-Mart. Pritchett was instrumental in bringing Proctor & Gamble to the Philippines during his time there. Now retired, Lou is a sought-after public speaker and author of Stop Paddling & Start Rocking the Boat.

Lot: 154 - Japanese antique bronze ITA-BUTSU (Buddhist image plate) with many characters (Buddhist mantra or sutra?) 1185-1868 AD

Japanese old copper/bronze ITA-BUTSU (Buddhist image plate) with many characters (Buddhist mantra or sutra?) 1185-1868 AD; REGION OF ORIGIN: Japan Width: 14 cm = 5.5 inches: Height 18.7 cm = 7.3 inches: Weight 449 g = 15.87 oz. CONDITION: Good considering the age. Used. This is the old original. This is never an imitation. MATERIAL: Copper or bronze; TYPE: ITA-BUTSU (Buddhist image plate) Provenance: private collection in Japan. Buddhism in Japan (日本の仏教, Nihon no Bukkyō) was first established in the 6th century CE.[3][4][5] Most of the Japanese Buddhists belong to new schools of Buddhism which were established in the Kamakura period (1185－1333).[6] During the Edo (Tokugawa)-period (1603–1868), Buddhism was controlled by the feudal Shogunate. The Meiji-period (1868–1912) saw a strong response against Buddhism, with persecution and a forced separation between Buddhism and Shinto (Shinbutsu bunri). ABOUT WORK: This has a good quality of old iron with atmosphere. This is serious old Japanese Buddhist image that specialist made. Another opinion of Japanese collector: I looked it up and it seems to be a scene of Buddha and his enlightened disciples. The writing on the back looks like an explanation about a Buddhist god, not a sutra. Provenance: private collection in Japan.

Lot: 155 - Xuande Emperor (1426-1435), Ming Dynasty certified lidded bronze burner, China

Xuande Emperor (1426-1435), Ming Dynasty certified lidded bronze burner, China Amazing genuine bronze burner with foo dog on the lid, marked with six characters on the bottom. The lid has 4 stoppers and 5 windows for the flavors to come out. Xuande reign marks proliferate on bronze censers but many of these are apocryphal. The Xuande Emperor (1425-1435) was a great patron of Vajrayana Buddhism, commissioning the production of thousands of exquisite ritual and religious bronzes for the altars and halls of the newly constructed Forbidden City as well as to present to Tibetan emissaries. His ten-year reign is considered the peak of Chinese bronze production and the Xuande reign mark’s continued employment gives an insight into the reverence towards the wares he produced. Height: 8 inches = 20. 2 cm Weight: 3 lb. 6.1 oz. = 1.534 kg Condition: genuine patina all over Provenance: private collection in Sarasota, Florida, USA. Censers, also known as incense burners, have a long history in China, dating back to ancient times. They were used for a variety of purposes, including religious ceremonies, medicinal treatments, and as a means of purifying the air.

Lot: 158 - Chinese carved wooden statue of Guan Yin, Qing or earlier

Chinese carved wooden statue of Guan Yin, Qing dynasty or earlier. Height: 30 inches = 75 cm. Base: 12 x 8 inches = 30 cm x 20 cm. Weight: 35 lb. = 15.75 kg. Provenance: bought at the auction in USA, from a big US collection of Oriental antiques. Condition: Overall condition is good for the age, with original paint. The paint is partially lost throughout the statue. Right hand, including fingers and wrist, was damaged during transportation and then professionally restored. Low Estimate: 4000; High Estimate: 12000; Original: Yes;

Lot: 159 - Antique Tibetan/Chinese bronze Buddha - Avalokiteshvara

Antique Tibetan Chinese bronze Buddha statue as Avalokitesvara Height: 8 in. = 20 cm. Width: 5.5 in. = 14 cm; Weight: 3 lb. = 1400 g Condition: part of the decoration, coming from left arm is missing References: Avalokitesvara (Sanskrit: lit. "Lord who looks down") is a bodhisattva who embodies the compassion of all Buddhas. Portrayed in different cultures as either male or female, Avalokitevara is one of the more widely revered bodhisattvas in mainstream Mahayana Buddhism, as well as unofficially in Theravada Buddhism. The original name for this bodhisattva was Avalokitasvara. The Chinese name Gunshyn Ps () is a translation of the earlier name "Avalokitasvara Bodhisattva." This bodhisattva is variably depicted as male or female, and may also be referred to simply as Gunyn. In Sanskrit, Avalokitesvara is also referred to as Padmapni ("Holder of the Lotus") or Lokevara ("Lord of the World"). In Tibetan, Avalokitesvara is known as Chenrezig, (Wylie: spyan ras gzigs) and is said to emanate as the Dalai Lama, the Karmapa and other high lamas.

Lot: 160 - CD "1000+ years’ old sound of Buddhist mantras, harmonizing human body", by Qi Gong Great Master Foo

CD with "1000+ years’ old sound of Buddhist mantras, harmonizing human body", by Qi Gong Great Master Foo, Emei Sacred Healing Sounds, by Great Qi Gong Master Foo (Zhongshi Wei Zhong Foo). 1) Universal Mantra; 2) Puxian Mantra; 3) Emei Healing Sounds for Healthy Internal Organs (approximately 10 different mantras for heart, blood, small and large intestines, kidney, liver, skin, muscles, brain, etc.); Condition: You will get brand new, sealed in plastic CD.

Lot: 161 - Genuine antique Tibetan wooden printing block, - Lotus

Antique Tibetan wooden printing block, - Lotus. Size: 16.7 cm x 14.6 cm x 2.4 cm = 6.5 x 6 x 1 inches. Weight: 10 oz. = 300 g. Age: 15th-19th century Condition: Fine, normal wood aging, no defects; Low Estimate: 500.0; High Estimate: 2000.0; Original: Yes; Circa: 1750;

Lot: 163 - Burmese opium weight viss: antique brass Fenghuang (Phoenix bird) bird 33 g, Chinese mythology, 1600-1885 AD

Burmese opium weight: Antique brass Fenghuang (Phoenix bird) bird 33 g, Chinese mythology, 1600-1885 AD Although widely known as opium weights these bronze zoomorphic weights were used for the measurement of basic necessities throughout Burma (and also northern Thailand and Laos). A full set of weights normal consists of 10 pieces from very small sizes up the largest size known as a viss (around

Lot: 163A - Burmese opium weight viss: Antique brass Fenghuang (Phoenix bird) bird 76 g, Chinese mythology, 1600-1885 AD

Burmese opium weight: antique brass Fenghuang (Phoenix bird) bird 76 g, 1600-1885 AD Although widely known as opium weights these bronze zoomorphic weights were used for the measurement of basic necessities throughout Burma (and also northern Thailand and Laos). A full set of weights normal consists of 10 pieces from very small sizes up the largest size known as a viss (around 1.6 kg) - although

Lot: 163B - Burmese opium weight: antique brass Fenghuang (Phoenix bird) bird 167 g, Chinese mythology, 1600-1885 AD

Burmese opium weight: antique brass Fenghuang (Phoenix bird) bird 167 g, Chinese mythology, 1600-1885 AD; Although widely known as opium weights these bronze zoomorphic weights were used for the measurement of basic necessities throughout Burma (and also northern Thailand and Laos). A full set of weights normal consists of 10 pieces from very small sizes up the largest size known as a viss (around

Lot: 163C - Burmese opium weight viss: Antique brass Fenghuang (Phoenix bird) bird 341 g, Chinese mythology, 1600-1885 AD

Burmese opium weight: antique brass Fenghuang (Phoenix bird) bird 341 g, Chinese mythology, 1600-1885 AD. Although widely known as opium weights these bronze zoomorphic weights were used for the measurement of basic necessities throughout Burma (and also northern Thailand and Laos). A full set of weights normal consists of 10 pieces from very small sizes up the largest size known as a viss (around

Lot: 163D - Burmese opim weight viss: antique bronze Fenghuang (Phoenix bird) bird 314 g, Chinese mythology, 1600-1885

Burmese opium weight: Antique bronze Fenghuang (Phoenix bird) bird 314 g, Chinese mythology, 1600-1885 AD. Although widely known as opium weights these bronze zoomorphic weights were used for the measurement of basic necessities throughout Burma (and also northern Thailand and Laos). A full set of weights normal consists of 10 pieces from very small sizes up the largest size known as a viss

Lot: 163E - Burmese opium weight viss: antique bronze Fenghuang (Phoenix bird) bird 296 g, Chinese mythology, 1600-1885 AD

Burmese opium weight: antique bronze Fenghuang (Phoenix bird) bird 296 g, Chinese mythology, 1600-1885 AD Although widely known as opium weights these bronze zoomorphic weights were used for the measurement of basic necessities throughout Burma (and also northern Thailand and Laos). A full set of weights normal consists of 10 pieces from very small sizes up the largest size known as a viss (around

Lot: 167 - Dragon skin 15 eyes brown transparent agate Dzi bead, Tibet, circa 200 BC-200 AD

Dragon skin 15 eyes brown transparent agate Dzi bead, Tibet, circa 200 BC-200 AD; Market value for ancient beads can easily reach into hundreds of thousands of US dollars - especially for beads with more "eyes." Tiny red spots caused by iron inclusion in the agate also increase the value. New dzi prices range from about ten to two thousand US Dollars, depending on quality and luster. Length: 66

Lot: 169 - Chinese carved gilt wood seated Buddha, Qing/Ming dynasty, 107 cm

Chinese carved gilt wood seated Buddha, Qing/Ming dynasty(?) Buddha is seating on pedestal, in royal ease posture, ready to help those in need. Real gold gilt with red and black paint showing through. Height: 42.75 in. = 107 cm; Base: 27 in. x 17 in. = 67 cm x 42 cm. Weight: 150 - 200 lb. Provenance: from the private collection of the Lawyer from Florida, acquired in 1950s-1960s. Shipping in USA: Freight UPS or FEDEX - $800-$1600; Shipping overseas (international): $2000-$3500. Condition Overall very good condition for the age, partial loss of gilt and paint, several vertical age splits and cracks, missing pieces, on the left side of the head, lower part of the body, and especially at base. Low Estimate: 30000 High Estimate: 60000 Orignal: Yes Medium: Wood

Lot: 171 - Chinese carved wooden gilt statue of immortal Shou Xin, 51 in, 130 lb.

Chinese carved wooden gilt statue of immortal Shou Xin, 51 in, 130 lb. LARGE CHINESE CARVED GOLD GILT WOOD IMMORTAL SHOU XIN FIGURE, RICHLY CARVED, EXCELLENT CONDITION, Height: 51 in. = 127 cm; Weight: 130 lb. = 58.5 kg; Condition = Almost perfect, a small crack near the head (see photo) Fu, Lu, and Shou is the concept of Happiness ( Fu), Prosperity (Lu), and Longevity ( Shou). This concept of the Chinese traditional religion is thought to date back to the Ming Dynasty, [1] when the Fu Star, Lu Star and Shou Star were considered to be personified deities of these attributes respectively. The term is commonly used in Chinese culture to denote the three attributes of a good life. Statues of these three gods are found on the facades of folk religion's temples and ancestral shrines, in nearly every Chinese home and many Chinese-owned shops on small altars with a glass of water, an orange or other auspicious offerings, especially during Chinese New Year. Traditionally, they are arranged right to left (so Fu is on the right of the viewer, Lu in the middle, and Shou on the far left). Shipping: because of heaviness 130 lb and large size shipping could be between $400 and $1000 in USA. Ask about quote. Condition = almost perfect, a small crack near the head (see photo) Low Estimate: 4000 High Estimate: 8000 Orignal: Yes Medium: Wood

Lot: 172 - Thai Sawankhalok ceramic charger, 26 cm, ca 1350 AD, Thailand (Siam)

Incredible, genuine, antique Thai double fish and flower BOWL, 14th-15th century Sawankhalok The term Sawankhalok covers the production of many hundreds of kilns of central Thailand. It is frequently used interchangeably with the term “Si Satchanalai”, but refers to a wider area not covered by specific Si Satchanalai kilns. For more information about these specific kilns of Si Satchanalai, see the map spot “Si Satchanalai”. Sawankhalok was in full production by the mid-1300s. The kilns produced: • Unglazed wares; • Monochrome white, black, brown, celadon, and olive wares; • Brown glaze with incised decoration inlaid with white; and • Underglaze iron decorated wares. Sawankhalok/Si Satchanalai clay is finer than Sukhothai clay and has many small black spots, due to the high iron content of the clay. Sometimes, the inclusions can be red or silver colored. Like Sukhothai, Sawankhalok mainly created relatively simple shapes – jars, bottles, kendis, bowls and plates. The earliest Sawankhalok/Si Satchanalai wares included dishes decorated with underglaze iron depictions of flowers in the bases, with fish on the cavettos, and specimens of the flowers and fish design have been found on the Turiang shipwreck, dated to around 1370. Diameter: 10.5 inches; Weight: 2 lb. 7.5 oz. = 1120 g = 1 kg 120 g; Condition: stable almost invisible hairline crack (photo 8); Estimate: $2000-$4000

Lot: 173 - Antique Buddha bronze statue, Ayutthaya Kingdom, 1500-1750 AD

Antique Buddha bronze statue, Ayutthaya Kingdom, 1500-1750 AD Height: 23.5 inches = 60 cm; Condition: genuine antique patina with some rust; Provenance: private collection in St Petersburg, Florida, USA. Reference: The Ayutthaya Kingdom - the Empire of Ayutthaya (1569–1767),[29] or the Ayutthaya Empire,[30] was a Siamese kingdom that existed in Southeast Asia from 12 March 1351[1] to 7 April 1767, centered around the city of Ayutthaya, in Siam, or present-day Thailand. European travelers in the early 16th century called Ayutthaya one of the three great powers of Asia (alongside Vijayanagar and China).[1] The Ayutthaya Kingdom is considered to be the precursor of modern Thailand, and its developments are an important part of the history of Thailand.[1] Karana mudra: The Karana gesture has its index finger and little finger pointing straight upwards, while the other fingers fold into the palm. The Karana Buddha can be depicted both seated and standing. The meaning of this gesture is to ward off evil and to get rid of demons and negative energy. A mudra is a symbolic hand gesture and finger posture that acts as a non-verbal mode of communication and self-expression. The mudra helps to evoke symbolic meanings of the specific mudra used to the mind. We can observe these mudras used in various forms of traditional and folk dances, yoga and meditation, sculptures, etc. Besides, Buddhist arts also depict the mudra as they are regarded as the general guidelines of the spiritual gestures portrayed and taught by the Buddha. Additionally, when Buddhist followers practice meditation while confronting Buddha Statue, the mudra maintained as that of Buddha statue helps to evoke symbolic representations of that mudra to the mind. This will help to achieve what they are seeking for.

Lot: 174 - Antique bronze Bodhisattva Statue with 4 arms (4 immesurables) - 99 cm, standing on the lotus, Nepal

Antique bronze Bodhisattva Statue with 4 arms (4 immesurables) - 99 cm, standing on the lotus, Nepal. A rare four-arm form of the bodhisattva of infinite compassion, identified by the effigy of Amitabha at the front of his crown and the combination of attributes: his main right hand makes the gesture of generosity, the upper one holds a rosary, one of his left hands clutches a ritual water pot, the other appears to have once held the stem of a lotus. We saw an earlier (7th century AD) Nepalese example of this form (always standing) on Huntington Archive. Magnet is not attracted to the metal of the statue. Dimensions: 39 x 11.5 x 8.5 in. = 99 cm x 29.2 cm x 21.6 cm; Weight: 17 lb. = 7.7 kg. When the immense compassion of all Buddhas is distilled, it takes on a very special form of a Bodhisattva. This Bodhisattva has a gentle and serene disposition on his face. He is white in colour and has four arms representing the Four Immeasurable of loving kindness, joy, equanimity and compassion. Provenance: private collection in Sarasota, Florida, USA

Lot: 175 - Antique pottery porcelain foo dog lion, with tail as a ruyi, Qing/Ming dynasty, China

Antique pottery porcelain foo dog lion, with tail as a ruyi, Qing/Ming dynasty, China; His long, bushy tail has been shaped as a ruyi. Bulging eyes and oversized ears give him a whimsical, almost comical look. A single, slight horn protrudes from the top of his head. Height: 25.5 cm = 10 inches; Length: 20 cm = 8 inches; Depth: 11.5 cm = 4.5 inches; Weight: 1734 g = 1 kg 734 g; Provenance: private collection, Sarasota, Florida, USA; Chinese guardian lions, or imperial guardian lions, are a traditional Chinese architectural ornament. Typically made of stone, they are also known as stone lions or shishi (石獅; shíshī). They are known in colloquial English as lion dogs or foo dogs / fu dogs. The concept, which originated and became popular in Chinese Buddhism, features a pair of highly stylized Asiatic lions—often one male with a ball which represents the material elements and one female with a cub which represents the element of spirit— that were thought to protect the building from harmful spiritual influences and harmful people that might be a threat. Used in imperial Chinese palaces and tombs, the lions subsequently spread to other parts of Asia including Japan (see komainu), Korea, the Philippines, Tibet, Thailand, Myanmar, Vietnam, Sri Lanka, India, Nepal, Cambodia, Laos, and Malaysia.

Lot: 176 - Chinese bronze mirror Buddha on lotus flower, Rare

Chinese bronze mirror with sitting Buddha on lotus flower, 15.8 cm; Rare. Weight: 1 lb. 9 oz. = 710 g; Diameter: 6.2 inches = 15.8 cm; Thickness of the rim: 5 mm; Rim: steeply inclined; Side: steeply inclined inward; Material: bronze ; Outer section: Raised circle; Inner section: Sitting Buddha; Mirror side: concave with preserved remnants of original polish; Age: presumably Qing or Ming dynasty. Condition Worn by natural aging, authentic patina, no defects Low Estimate: 1500; High Estimate: 3000; Original: Yes;

Lot: 177 - Chinese Buddhist antique bronze hand mirror

Chinese Buddhist antique bronze hand mirror. An archaic, leaf-shaped, hand mirror with one polished face, panel of figural scenes to the reverse within a border of stylized flames. Weight: 985 grams = 2 lb. Length: 23 cm = 9 in.Width: 17.4 cm. Age: 500-1000 AD. Provenance: From a central London collection formed between 1990-2000 Condition: edges are smooth; mirror is not symmetrical, which are good signs of being antiques; Low Estimate: 3000; High Estimate: 15000; Orignal: Yes;

Lot: 178 - Lotus & swastika Bronze mirror with Buddhist Chinese inscriptions

Lotus Bronze mirror with Buddhist symbols and Chinese inscriptions. Translation of Dr. Q_____ C________, PhD in Chinese Arts: - Four grand pledges; - The pledge to stop the endless worries. Diameter: 70 mm = 2 ¾ in. Weight: 129 g = 4 oz. Knob: 4 mm high, open. Mirror surface is flat and has 2 types of inscriptions. The words swastika come from the Buddhist scripture calling"", which are the rules to obey being a true Buddha. "" = There are so many things disturbing us,- Men should calm their heart and improve themselves. References: The swastika (Sanskrit: ) is an equilateral cross with four arms bent at 90 degrees. The earliest archaeological evidence of swastika-shaped ornaments dates back to the Indus Valley Civilization, Ancient India as well as Classical Antiquity. Swastikas have also been used in various other ancient civilizations around the world. It remains widely used in Indian religions, specifically in Hinduism, Buddhism, and Jainism, primarily as a tantric symbol to evoke shakti or the sacred symbol of auspiciousness. The word "swastika" comes from the Sanskrit swastika - "su" meaning "good" or "auspicious," "asti" meaning "to be," and "ka" as a suffix. The swastika literally means "to be good". Or another translation can be made: "swa" is "higher self", "asti" meaning "being", and "ka" as a suffix, so the translation can be interpreted as "being with higher self". Condition: Normal aging of the bronze, genuine patina, no defects. Low Estimate: 3000. High Estimate: 6000. Original: Yes

Lot: 178A - 1995, March, Sotheby’s Catalog “Indian and Southeast Asian Art”, New York

1995, March, Sotheby’s Catalog “Indian and Southeast Asian Art”, New York Wednesday, March 23, 1995 Number of pages: approximately 100; Number of lots: 344; Each lot has a color or black & white photo, description in English and estimate in US dollars;

Lot: 180 - Newari altar bronze mirror,-right thought, Nepal

Newari altar bronze mirror,-right thought, Kathmandu, Nepal. This old mirror is a sacred symbol representing right thought. It reflects things as they really are, & can be seen on both Tibetan & Newari altars. This belonged to a Newari in Kathmandu, & is in excellent condition, nice patina. Width: The face is 7 inches across = 17.5 cm. Height: it stands 12 inches tall = 30 cm. Weight: 170 g. Newa people The Newa (Nepal Bhasa: New(h), Classical Nepal Bhasa: Newr or Newl) (Nepali: ) are the indigenous people of Nepal's Kathmandu Valley. The valley and surrounding territory have been known from ancient times as Nepal Mandala. Newars have lived in Nepal Mandala since prehistoric times, and immigrants that arrived at different periods in its history eventually merged with the local population by adopting their language and customs. Newars are a linguistic and cultural community of mostly Tibeto-Burman and some Indo-Aryan ethnicities. Scholars have also described the Newars as being a nation. Scholars in this field have consensus that prehistoric Newar (Newari) were originally interconnected to the ancient Kirat people (Kiratis). Stone Age, prehistoric Kirat tools found by Dr. A. Y. Shetenko (Leningrad Institute of Archaeology) date back to 30,000 years ago, matching prehistoric tools unearthed in China's Gobi Desert and Yunnan. According to Nepal's 2001 census, the 1,245,232 Newars in the country are the nation's sixth largest ethnic group, representing 5.48% of the population. Condition Very good condition, original patina, no defects Low Estimate: 500 High Estimate: 1000 Orignal: Yes

Lot: 181 - Chinese Neolithic(?) carved jade turtle, Inner Mongolia

Chinese Neolithic(?) carved jade turtle statue with a bird, Inner Mongolia. Length: 8 ½ inches = 21.5 cm; Width: 5 ½ inches = 14.5 cm; Weight: 2 lb. 15 oz. = 1340 g = 1kg 340g; Age: presumably 2000-4000 BC; Condition: very good for the age; there is minor stable hairline natural crack 3 long at the right posterior area (refer to the photos), which do not affect the integrity of the statue. This crack goes only to the center and then stops Condition very good for the age; there is minor stable hairline natural crack 3 long at the right posterior area (refer to the photos), which do not affect the integrity of the statue. This crack goes only to the center and then stops Low Estimate: 2000 High Estimate: 10000

Lot: 182 - Masterpiece – Asian Water Buffalo, calf & rider, antique carved stone, China, inscription: "this is a gift from nephew to his aunt"

Masterpiece – Asian Water Buffalo, calf & rider, antique carved inscribed stone, China. Inscription on the bottom 12 or more characters: the meaning is “this is a gift from nephew to his aunt”. Length: 18.5 cm = 7.25 inches; Height: 14 cm = 5.4 inches; Weight: 1151 g = 1 kg 151 g; Moh’s hardness: 3.0 - steatite (soap stone); Inscription on the bottom - 12 or more characters; Provenance: Private collection in Sarasota, Florida, USA. The water buffalo (Bubalus bubalis), also called the domestic water buffalo or Asian water buffalo, is a large bovid originating in the Indian subcontinent and Southeast Asia. The wild water buffalo (Bubalus arnee) most likely represents the ancestor of the domestic water buffalo.[3] Results of a phylogenetic study indicate that the river-type water buffalo probably originated in western India and was domesticated about 6,300 years ago, whereas the swamp-type originated independently from Mainland Southeast Asia and was domesticated about 3,000 to 7,000 years ago.[4] The river buffalo dispersed west as far as Egypt, the Balkans, and Italy; while swamp buffalo dispersed to the rest of Southeast Asia and up to the Yangtze River valley.[4][5][6] They are currently listed as endangered under the IUCN Red List of Threatened Species, and it is estimated that there are less than 1,000 wild water buffalo remaining. These suspected wild individuals reside in small parts of India, Bhutan, Nepal, and Thailand. Threats: Habitat loss (especially to rice farming), hybridization with domestic buffalo, hunting, and diseases introduced by livestock. Although wild water buffalo can be locally common where they still persist, the world population is estimated to be fewer than 4,000 individuals and declining.

Lot: 184 - Antique Chinese large jade sitting dragon, Qing dynasty(?)

Weight: 7.5 lb. Height: 12 in. Width: 5 in. Condition: used, no defects; Provenance: from private collection in Florida, USA; purchased in 1980’s -1990's. Terms of sale: All sales are final! Please, ask all you questions before you bid!

Lot: 186 - Shang dynasty? Chinese Carved Jade 3 Rams Tripod Burner

Shang dynasty(?) Chinese Carved Jade 3 Rams Tripod vase burner. Weight: 2 lb. =900 g; Height: 4.25 inches = 10 cm; Condition: very good for age, no cracks or defects, just minor scratches; Condition very good for age, no cracks or defects, just minor scratches Low Estimate: 3000 High Estimate: 6000

Lot: 187 - Shang/Zhou dynasty? Chinese carved dark jade rhinoceros

Shang/Zhou dynasty Chinese carved dark jade rhinoceros, great patina Possible attributions: Shang dynasty: 1600 BC to 1046 BC or Zhou dynasty: 1111 BC to 255 BC; Weight: 2 lb. 8 oz. = 1150 g; Length: 6 = 15 cm; Height: 3.75 = 9 cm; Condition: Some aging wear of the surface (refer to the pictures); Low Estimate: 3000; High Estimate: 6000;

Lot: 188 - Chinese Nephrite Jade Panda Bear, 36 cm, Eastern Han Dynasty 漢朝 25-220 AD

Chinese Nephrite Jade Bear, 36 cm, Eastern Han Dynasty 漢朝 25-220 AD Kneeling bear with human like body. The body of the bear is covered with raised archaic images of people, animals, trees, etc. Age: Eastern Han Dynasty (25–220 AD) with Zhou Dynasty (1046-256 BCE) motifs. Weight: 42.0 lb. = 19 kg; Height: 14.5 in. = 36.2 cm; Width: 12” = 30 cm; Base: 7 x 8 inches = 18 x 21.5 cm: Provenance: from private collection in Florida, USA. Proves of the usage of ancient tools: jade surface has uneven traces of cuts, polishing and hand drilling. Exposed growing crystals prove of a solid age (around 2000 years). A lot of microscopic pictures (x50) are available on demand. Certificate of authenticity will be issued by Eternity Gallery. References: Similar Jade Bear was sold in USA, on Sat, Dec 10, 2011 on Live Auctioneers by Elite Decorative Arts, for $7,050,000.

Lot: 189 - Liao dynasty (907-1125AD) Chinese antique jade small recumbent horse

Chinese antique jade small recumbent horse, attributed to Liao dynasty (907-1125 AD). Height: 2.75 in. = 7 cm; Length: 5 in. = 12.5 cm; Weight: 1 lb. = 450 g; Age: attributed to Liao dynasty (9071125). Condition: Fine, no defects. Archaic evidences of exposed crystal plane, diffusive markings, dissolved pits and cleaving veins are seen. Provenance: from private collection in Florida, USA; purchased in 1980's -1990's References: Sui, Tang, Song & Yuan Dynasties (589 A.D. -1368 A.D.) The designs of Tang Dynasty jade artifacts are seen to be characterized by reality and its relation to daily life. Due to the popularity of Buddhism, many jade Buddhist figures are made during this period. Owing to the particular cultural development such as the Tang trio color ceramics, many jade artifacts are painted with rich colors and guilt with gold. Flying fairy of Buddhist figure is appeared as single piece jade artifacts or constitutes major motif on the artifacts. Because of frequent communication with foreign countries, foreigners visited China quite often that many motifs of Tang Dynasty are appeared as foreigners from the west which are called Hu people. The designs of Song, Yuan, Liao and Kim Dynasties jade artifacts are more daily life oriented. The main theme of many Song Dynasty jade artifacts is lad with different posture and the main themes of Liao and Kim Dynasties are the scenes of spring with birds, flowers and ponds, the scenes of Autumn Mountain with pine trees, deer and animals. Condition; Fine, no defects. Archaic evidences of exposed crystal plane, diffusive markings, dissolved pits and cleaving veins are seen. Low Estimate: 2000; High Estimate: 4000; Terms of sale: All sales are final! Please, ask all you questions before you bid!

Lot: 190 - Qing/Ming Chinese Double Elephant Jade Vase, 11.5cm

Chinese Antique Jade double elephant vase, attributed to Qing/Ming dynasty. In Buddhism the elephant is a symbol of mental strength. Height: 4.5 in. = 11.5 cm; Width: 3.5 in = 10.5 cm; Depth: 2.5 in. = 6.5 cm; Weight: 1 lb. 12 oz. = 800 g; Condition: some natural aging, no defects; Provenance: from private collection in Florida, USA; purchased in 1980s -1990's in Germany; Ming & Qing

Lot: 191 - Certified Qing/Ming dynasty Chinese jade spinach vase, 26 cm

Certified Qing/Ming dynasty Chinese antique jade spinach vase with lid, 26 cm. The relief pattern imitates the pattern is from the Bronze Age period during the Shang dynasty. The two elephant heads represent a Buddhist meaning. In Buddhism the elephant is a symbol of mental strength. Age: Ming to mid Qing dynasty 1368- 1700 AD; The handles in the shape of the elephant trunks hold the rings. The rings were carved originally from the whole piece. Height: 10.5 in. = 26 cm; Width: 5 in. = 12.5 cm; Depth: 2.5 in. = 6.2 cm; Weight: 2 lb. 14 oz. = 1.2 kg; Condition: there is stable vertical crack from the rim down to the middle of the vase; otherwise very good condition. This jade vase is accompanied by certificate of authenticity. Original: Yes; All sales are final! Please, ask all you questions before you bid!

Lot: 192 - 商朝 Ritual nephrite jade blade Ya Zhang (teeth) with owl at top, Shang Dynasty (1600 BC-1046 BC) very rare

商朝 Ritual nephrite jade blade Ya Zhang (teeth) with owl at top, Shang Dynasty (1600 BC-1046 BC) very rare Ya Zhang means teeth, used for string attachment to a wooden stick for performing ritual to Heavenly God in ancient period of Xia and Shang Periods (~ prior to 1122 BC). VERY RARE RITUAL ITEM IN CHINESE HISTORY!!!! Length: 13 inches = 32.3 cm; Width: 2.8 inches = 7.0 cm; Thickness: from 3 mm to 6 mm; Mohs hardness: 3-4; Very rare. Only one other is known in existence (in private collection). Estimate: $10,000,000 USD; Provenance: private collection of Chinese professor from New Jersey, brought to USA from Taiwan in early 1900’s.

Lot: 192A - Beautiful and unique jade stamp of Emperor Gaozu, Han dynasty (202 BC – 195 BC)

SEAL/STAMP of First Han Dynasty Emperor - Han Gaozu (202 BC-195 BC), which I just deciphered. Emperor Seal Stamp means power of the country. This emperor defeated the Qin dynasty, who built the Great Wall of China. If you check Christie’s or Sotheby’s, seal stamps of emperors, usually were sold quickly in millions dollars. This one was made from the best Hetian mutton Jade and uniquely engraved with GOLD. THE BOTTOM: Emperor’s Seal (in 4 words). Translate 4 characters - ? Bottom: 1.375” x 1.25” = 34.9 mm x 31.75 mm; Height: 1.375” inches = 34.9 mm = 3 cm 49 mm; Height with rabbit: 2 inches = 5 cm; Weight: 3.81 oz. = 108 g; Similar seal of Qianlong Emperor was sold for $37 million. Provenance: private collection of University professor from New Jersey, USA. Emperor Gaozu of Han (Chinese: 漢高祖;[a] 256 – 1 June 195 BC),[5] also known by his given name Liu Bang (劉邦), was the founder and first emperor of the Han dynasty, reigning from 202 to 195 BC. He is considered by traditional Chinese historiography to be one of the greatest emperors in history, credited with establishing the Pax Sinica, one of China's longest golden ages.[not verified in body]

Lot: 193 - Certified Chinese jade horse & monkey on chariot, Sui/Tang dyn

Genuine certified antique Chinese jade horse and monkey on chariot trophy, Sui/Tang dynasties. Weight: 3 lb.10 oz. = 1660 g; Length: 9.5 in. = 23.5 cm; Height: 4.5 in. = 11.5 cm; Authenticity report: Genuine antique, appraised and analyzed by Orenda Lab, Santa Fe, NM. Fair Market value: $145,000 US; Replacement value: $250,000 US; Age: Sui/Tang dynasty (581-650 C.E.); Condition: used, no defects. Provenance: from private collection in Florida, USA; purchased in 1980's -1990's. References: Frank Aon, M. Sci., is a renowned antiquities forensic scientist of Orenda Lab, Investigation and Analysis of Artifacts and Antiquities of Santa Fe, NM. He has 37 years of experience in evaluating Chinese and American jades, bronzes, and other antiquities. Orenda lab is the only one in USA, which has developed hand-made ancient tools and has a database of ancient tools signatures and aging samples of the jades, corresponding to different Chinese dynasties. Frank Aon has a highest record in selling of jade items on the US auctions with his appraisal. http://www.liveauctioneers.com/item/10346988 Auction House: Elite Decorative Arts, Boynton Beach, Fl, on Dec 10, 2011. Lot 100, Rare Eastern Han dynasty Solid Nephrite Jade Bear was sold for $7,050,000 US. This jade statue is accompanied by certificate of authenticity. Condition: used, no defects, microscopically - ancient tools signatures; Original: Yes; All sales are final! Please, ask all you questions before you bid!

Lot: 194 - 周 White jade ritualistic mask, Zhou Dynasty (1046-256 BC)

周 white jade nephrite ritualistic mask, Zhou dynasty (1046-256 BC). Weight: 1 lb. 12 oz. = 800 g; Height: 9.25 in. = 23.7 cm; Width: 6.5 in. = 16.7 cm. Authenticity report: according to the opinion of Frank Aon (Orenda Lab): early Qing dynasty (by tool signatures) in the style of Shang dynasty. Provenance: from private collection in USA, purchased in 1980's. This jade mask is accompanied by certificate of authenticity. Condition: Very good, no defects; there is some dirt, which is hard to remove (I keep it for authenticity). Original: Yes; All sales are final! Please, ask all you questions before you bid!

Lot: 195 - 2003, September, Sotheby’s Catalog “Fine Chinese Ceramics & Works of Art”, New York

2003, September, Sotheby’s Catalogue “Fine Chinese Ceramics & Works of Art”, New York Wednesday 17, September 2003 Number of pages: 179; Number of lots: 187; Each lot has a color photo, description in English and estimate in US dollars;

Lot: 198 - Han dynasty (206 BC-220 AD), Chinese Jade small green vase & lid

Han dynasty (206 BC-220 AD), Chinese Jade small green vase with lid Age: Han dynasty (206 BC - 220 AD) or earlier; Weight: 5 oz. = 140 g; Diameter: 2.5 in. = 6.25 cm; Height: 2.25 in. = 5.6 cm; Provenance: from private collection in Florida, USA; purchased in 1980 -1990's Condition: Perfect for the age, normal jade wear, no defects; Original: Yes; Terms of sale: All sales are final! Please, ask all you questions before you bid!

Lot: 199 - Antique Chinese carved nephrite jade urn & lid, with 6 bats design, Tang dynasty (202 BC -220 AD)?

Antique Chinese carved nephrite jade urn & lid, with 6 bats design, Tang dynasty (202 BC -220 AD)? There are carved archaic Chinese characters (4 x 3 =12) on 2 sides and on the bottom of the urn. Height: 9.75 inches = 25 cm; Length: 9 inches = 23 cm; Moh’s hardness 5.0-6.0; Total Weight: 4,134 g = 4 kg 134 g; Weight of the vase: 2,922 g = 2 kg 922 g; Weight of the lid: 1,212 = 1 kg 212 g; Provenance: Private New York City collection, - acquired in the USA Market. Condition Report: genuine patina with micro crystals, 4 x 2 cm old stable erosion on one side. Auction results: AN ARCHAISTIC BRONZE-FORM JADE VASE AND COVER, HU Song-Ming dynasty. Sold for US$38,175 including premium. https://www.bonhams.com/auction/28438/lot/45/an-archaistic-bronze-form-jade-vase-and-cover-hu-song-ming-dynasty/

Lot: 200 - Neolithic Chinese Museum Jade crawling Amphibian, 20 cm, 2500-4000 BC

Neolithic Chinese Museum Jade crawling Amphibian. Length: 8 inches = 20 cm; Weight: 4 lb. = 1.8 kg; Condition: natural aging of jade, old chips with smooth edges; Age: over 4000 years old; Authenticity report: Genuine; Provenance: from private collection in Florida, USA; purchased in 1980's -1990's. Condition: natural aging of jade, old chips with smooth edges; Original: Yes; Terms of sale: All sales are final! Please, ask all you questions before you bid!

Lot: 201 - Chinese Nephrite jade pitcher, Shijiahe culture 2500–2000 BC, certified

Certified Chinese Nephrite jade pitcher, Shijiahe culture (2500-2000 BC), Hubei. Width: 9 inches = 235 mm. Diameter: 5.52 inches = 135 mm. Height from the bottom to the top of the lid: 6 inches = 160 mm. Weight of pitcher: 4 lb. 12 oz. = 2170 g. Weight of Lid: 12 oz. = 320 g. Total weight, including lid: 5.5 lb. = 2500 g. Provenance: from the estate sale in Washington State, USA. Condition: normal age wear more at the bottom and on the side walls, which is another proof of authenticity, no defects. Authenticity report by Dr. Ming Chieh Chen, Certified Appraiser, Palm Beach Appraisers Association:Made of green tone nephrite jade pitcher vase was used possibly for ritual ceremonies.Based on the degree of jade antiquity, motif and carving style, age of object may be from the Shijiahe culture (2500-2000BC) of late Neolithic cultures, centered around Yangtze river region in Hubei, China. Estimate Value for object is :$120,000-150,000. References: Shijiahe culture. The Shijiahe culture (Chinese: ; pinyin: Shjih Wnhu) (2500-2000 BC) was a late Neolithic culture centered around the middle Yangtze River region in Hubei, China. It succeeded the Qujialing culture in the same region and inherited its unique artifact of painted spindle whorls. Pottery figurines and distinct jade worked with advanced techniques were also common to the culture. The remains of copper ore and artifacts were discovered in one Shijiahe settlement.The type site was discovered at Tianmen County, Hubei, China. The upper layer of the type site belonged to the Qujialing culture. The site at Shijiahe covered an area of around 1,200,000 m. The settlement was surrounded by a moat and rammed earth wall. The type site was likely a regional center.Shijiahe is one of the largest towns excavated so far, almost a perfect square, one kilometer on each side. This was a period in which villages and towns expanded symmetrically in oval, square, rectangle and trapezoid shapes.[1] Condition: normal age wear more at the bottom and on the side walls, which is another proof of authenticity, no defects; Low Estimate: 50,000; High Estimate: 150,000; Original: Yes;

Lot: 202 - Certified Chinese jade Phoenix bird, Xia dynasty (2070 -1600BC)

Certified archaic Chinese jade Phoenix bird, Xia dynasty (2070- 1600 BC). Weight: 1 oz. = 36.31 g. Length: 4.5 in. = 10 cm. Height: 2 in. = 5 cm. Authenticity report: Genuine antique tremolite jade, with ancient tools signatures according to the opinion of Frank Aon (Orenda Lab). Age: Xia dynasty 2070 - 1600 BC. Provenance: from private collection in Florida, USA; purchased in 1980's -1990's. This jade is accompanied by certificate of authenticity. Condition: Used, with age related changes, no defects. Original: Yes; Terms of sale: All sales are final! Buyer assumes all responsibility for bidding! No refunds will be given under any circumstances! No returns! Please, ask all you questions before you bid! If you have any doubts - do not bid, please!

Lot: 203 - Certified Jade plaque Chariot, Chinese God over cloud, Tang dynas

Certified Jade plaque with chariot with Chinese God over cloud, Early Tang dynasty 618-750 C.E. Description: A chariot with a man, riding a horse over the clouds. There is a two dragon - design around the plaque. Possibly, the plaque was a part of table screen or a wall decoration. Width: 13.25 in. = 33 cm. Height: 8.25 in. = 20.7 cm. Weight: 2 lb. 5 oz. = 1,180 g. Authenticity report: Genuine, - antique hand-made carved jade, analyzed and appraised by Frank Aon from Orenda Lab, Santa FE, NM. Fair Market value: $75,000. Replacement value: $150,000. Provenance: from private collection in Florida, USA; purchased in 1980's -1990's. References: Frank Aon, M. Sci., is a renowned antiquities forensic scientist of Orenda Lab, Investigation and Analysis of Artifacts and Antiquities of Santa Fe, NM. He has 37 years of experience in evaluating Chinese and American jades, bronzes, and other antiquities. Orenda lab is the only one in USA, which developed ancient tools and has a database of ancient tools signatures and aging samples of the jades, corresponding to different Chinese dynasties. Frank Aon has a highest record in selling of jade items on the US auctions with his appraisal. http://www.liveauctioneers.com/item/10346988 Auction House: Elite Decorative Arts, Boynton Beach, Florida, on Dec 10, 2011. Lot 100, Rare Eastern Han dynasty Solid Nephrite Jade Bear was sold for $7,050,000 US! This jade plaque is accompanied by certificate of authenticity. Condition: The front surface is covered with mottled white thin patina. The back surface is more polished. No defects Low Estimate: $75,000 US; High Estimate: $150,000 US; Terms of sale: All sales are final! Please, ask all you questions before you bid! Unconditionally guaranteed to be authentic.

Lot: 204 - Certified Chinese Warring States, Jade Horse Trophy (450-220 BC)

Certified Chinese Jade double horse container with lid: Warring States period 450 B.C.E. - 220 B.C.E. Possible purpose of the container: 1. trophy award for the hero in the war; 2. used as a container for water, wine or balsamic oils; 3. used as a food or wine container or libation cup. Dimensions of the major horse: Weight: 10 kg = 23 lb. Height: 22.5 cm = 9 in. Width: 13.6 cm = 5.5 in. Length:

Lot: 206 - Certified Chinese Jade Wine Cup: Beast on Bull, Ming dynasty

Certified Chinese Jade Wine Container Beast, Standing on the Bull, Ming dynasty/Early Qing dynasty. Length: 7 in. = 17.5 cm; Height: 10 in. = 25 cm; Weight: approximately. 5-8 lb. Condition: used, normal age wear, no damage. Jade is semitransparent to light; Age: Ming dynasty (1368 - 1644). Provenance: from private collection in Florida, USA; purchased in 1980's -1990's. This jade statue is accompanied by certificate of authenticity. Condition: used, normal age wear, no damage. Jade is semitransparent to light; Low Estimate: 25,000; High Estimate: 50,000; Terms of sale: All sales are final! Please, ask all you questions before you bid! Unconditionally guaranteed to be authentic.

Lot: 208 - Lying Bull, -Antique Chinese Jade Statue, Qing dynasty

Lying Bull, - Antique Chinese Jade Statue, Qing dynasty (?), 16.5cm, 700 g. Height: 2.5 = 6 cm. Width: 6.5 = 16.5 cm. Depth: 2 = 5.5 cm Weight: 1 lb. 8 oz. = 700 g. Age: Qing Dynasty? Condition fine, no defects, natural aging of jade; Low Estimate: 2000; High Estimate: 6000; Original: Yes;

Lot: 211 - Chinese carved Honan jade vase with lid and 3 palm trees

Chinese carved Honan jade vase with lid and 3 palm trees, 16.7 cm Height with cover: 6.75 inches = 16.7 cm. Height without cover: 5 inches = 12.5 cm. Weight with cover: 1 lb. 20z. = 500 g. Age: unknown. Provenance: was purchased on American auction for $1295 on July 19, 2003 Condition: the biggest palm tree is partially broken, refer to the images; Low Estimate: 2500; High Estimate: 5000; Original: Yes;

Lot: 212 - Astonishing translucent Nephrite Chinese jade ram Qing

Astonishing Chinese antique jade translucent nephrite cup with ram head, Age: Qing dynasty or earlier. Weight: 1 lb. = 450 g. Height; 4 in.= 10.5cm. Length: 3.5 in. = 9 cm. Width: 2.75 in. = 7 cm. Age: Qing dynasty or earlier Condition: There are 2 vertical and one horizontal veins 3-5 cm long, which look like cracks, but they are absolutely stable and should be considered as natural veins; no other defects, refer to the images, please Low Estimate: 5000; High Estimate: 10000; Original: Yes

Lot: 216 - Magnificent carved stone Chop Seal, Chinese Grass Script

Magnificent Soap Stone Chop Seal with 2 dragons & ancient Chinese Running or Grass inscriptions, Qing dynasty or earlier; Height: 6 in. = 14.5 cm; Diameter of the base: 3 in. = 7.9 cm; Weight: 4 lb. = 1820 g. Condition fine, beautifully carved, heavily used as a seal, with bottom seal, naturally covered with ink. There are 2 chips: 1) 9 x 3 mm at the bottom; 2) 6 x 3 mm in the area of outer ear of one dragon;   Low Estimate: 1000; High Estimate: 5000; Original: Yes

Lot: 219 - Antique carved Stone carved Dragon, Chinese Grass script

Antique Soap Stone carved Dragon, Chinese Grass script; Ancient Chinese Running or Grass inscriptions, Qing dynasty or earlier. Height: 3 inches = 7.8 cm = 78 mm; Base: 2 in x 1 in. inches = 49 mm x 29 mm; Weight: 8 oz. = 200 g; Approximate age: 100-1000 years old; Condition Very good, insignificant scratches, no defects; Low Estimate: 400; High Estimate: 1000; Original: Yes;

Lot: 222 - Chinese antique carved bull horn: 4 monkeys & fruit

Chinese antique carved bull horn with 4 monkeys and huge fruit Length: 10.75 in. = 27.5 cm; Weight: 163.82 g; Age: unknown; Provenance: from private collection in Florida, USA; purchased in 1980's -1990's; Condition: used antique, but no defects; Terms of sale: All sales are final! Buyer assumes all responsibility for bidding! No refunds will be given under any circumstances! No returns! Please, ask all you questions before you bid! If you have any doubts - do not bid, please! Unconditionally guaranteed to be authentic.

Lot: 223 - Chinese antique cinnabar plate, Qianlong mark (1736-1795)

Chinese antique cinnabar plate, Qianlong mark (1736-1795) China, cinnabar plate, shallow dish with fluted edging and gilt rim, carved decoration of people meeting in a garden landscape, heavy with trees, mark on base. Diameter 8.4 inches = 21.5 cm; Weight: 451 g; Real age – Republic of China (1912-1949)? Provenance: private collection in Massachusetts, USA

Lot: 226 - 乾隆 Qianlong Emperor (1735-1796), Chinese carved bone clad QUAN YIN (Guanyin), 53.3 cm

乾隆 Qianlong Emperor period (1735-1796), Chinese carved bone clad QUAN YIN (Guanyin). Bone clad Quan Yin holding a bottle that holds the water of life in one hand, standing on a double lotus base. Incised makers mark 乾隆 at the bottom underside. Height: 21'' = 53.3 cm. Width: 5.75'' = 14.6 cm. Weight: 2731 g = 2 kg 731 g = 6 lb. 0.3 oz. Condition: very high quality

Lot: 227 - Antique Chinese carved ivory Doctor’s model, circa 1800-1900

Antique Chinese carved ivory Doctor’s model, circa 1800-1900. Carved bone figure, depicting a reclining nude holding a peony, a flower associated with feminine beauty, spring and love. Engraving for the hair and the pupils of the eyes; otherwise an uncolored expanse of voluptuous surfaces. The young woman wears a slight smile, a necklace, two freely moving bracelets and tiny shoes on her lotus (bound) feet. Wooden base. Length: 5.5 inches = 13.75 cm; Weight: 87.48 g; Condition: excellent, rich color of cream to gold, smooth unctuous surface polished to a high hand finish. Shipping in USA only.

Lot: 228 - Pair of Chinese carved bone vases with 3 men, 1800-1900

Pair of carved bone vases with 3 men. Made in 1800-1900 AD. Height: 7.25 in = 181 mm; Weight: 167.8 g + 167.3 g; Condition: Excellent, no defects; Original: Yes; Shipping in USA only.

Lot: 229 - Pair of antique Chinese carved bone vases with 2 ladies design (1800-1900)

Pair of Chinese carved bone vases with 2 females design (1800-1900). Height: 7.28 inches = 185 mm. Weight: 165.62 g + 152.68 g. Condition: Excellent, no defects Original: Yes; Shipping in USA only.

Lot: 230 - Set of antique carved ivory & wood salt and pepper shakers, 1800-1900 AD.

Set of antique carved ivory & wood salt and pepper shakers, 1800-1900 AD. Height of salt shaker: 58 mm; Height of pepper shaker: 70 mm; Weight of salt shaker: 31.94 g; Weight of pepper shaker: 56.57 g. Shipping in USA only.

Lot: 231 - Antique Carved ivory & wood salt shaker

Antique Carved ivory & wood salt shaker. Height of salt shaker: 70 mm; Weight of salt shaker: 49.56 g; Condition: used, but perfect for the age of more than 140 years old. Warning: will not be sold and shipped overseas. For USA buyers only.

Lot: 234B - Antique ivory bracelet of the wife of the tribal chief, Central Africa, 1850-1900

Antique ivory bracelet of the wife of the tribal chief, Central Africa, 1850-1900 Outer diameter: 108 mm; Inner diameter: 65.5 mm; Weight: 394.57 g; Provenance: old collection in Florida, USA

Lot: 234C - Genuine Ostrich egg shell, Ivory Coast, Africa, 1981

Genuine Ostrich egg shell, Ivory Coast, Africa, 1981 Height: 145 mm = 14.5 cm Weight: 324.4 g; Condition: there is a hole, which was used to extract the yolk and white. There are some herbs inside. The egg shell is strong, there are no cracks. Provenance: brought from Ivory Coast in 1981. Biology The female common ostrich lays her fertilized eggs in a single communal nest, a simple pit, 30 to 60 cm (12–24 in) deep and 3 m (9.8 ft) wide,[1] scraped in the ground by the male. The dominant female lays her eggs first, and when it is time to cover them for incubation she discards extra eggs from the weaker females, leaving about 20 in most cases.[2] A female common ostrich can distinguish her own eggs from the others in a communal nest.[3] Ostrich eggs are the largest of all eggs,[4] though they are actually the smallest eggs relative to the size of the adult bird — on average they are 15 cm (5.9 in) long, 13 cm (5.1 in) wide, and weigh 1.4 kilograms (3.1 lb), over 20 times the weight of a chicken's egg and only 1 to 4% the size of the female.[5] They are glossy cream-colored, with thick shells marked by small pits.[6] The eggs are incubated by the females by day and by the males by night. This uses the coloration of the two sexes to escape detection of the nest, as the drab female blends in with the sand, while the black male is nearly undetectable in the night.[6] The incubation period is 35 to 45 days, which is rather short compared to other ratites. This is believed to be the case due to the high rate of predation.[5] Typically, the male defends the hatchlings and teaches them to feed, although males and females cooperate in rearing chicks. Fewer than 10% of nests survive the 9 week period of laying and incubation, and of the surviving chicks, only 15% of those survive to 1 year of age.[7] A possible origin for the myth that ostriches bury their heads in sand to avoid danger lies with the fact that ostriches keep their eggs in holes in the sand instead of nests, and must rotate them using their beaks during incubation; digging the hole, placing the eggs, and rotating them might each be mistaken for an attempt to bury their heads in the sand.[8]

Lot: 237 - Artist Zesun - "General Zhang Fei punishing corrupted official", Chinese painting on silk, 张毅德怒鞭都邮, Qing dynasty

Chinese painting on silk, 张毅德怒鞭都邮, Qing dynasty. Description: Scene depicts a man being tortured, Watercolor and ink on silk, sight size is 13" x 13" = 32.5 cm x 32.5 cm Signed upper right. Exceptional detail in the features of the figures, Encased in wooden frame that measures 17" x 16.50" = 42.5 cm x 41.25 cm; Professional framing in Michaels store: acrylic Plexiglas (scratch- and shatter- resistant, UV protection, non-glare), acid free backup. Opinion of the expert from China: "Sorry, I could only identify the first 2 columns of characters 张毅德怒鞭都邮. The painting is about a story in the 14-th century Chinese novel "Romance of the Three Kingdoms". From 169 AD to 280 AD, Chinese was divided into 3 kingdoms, namely WEI, SHU and WU. It shows a famous general in the state of SHU, Zhang Fei (Yi De) who punished a corrupted official named Du You by whipping him. I was not able to identify the name of the artist as well. The painting seems old (Qing dynasty or earlier).

Lot: 238 - Magnificent museum Japanese scroll: "Tang general Guo Ziyi", by RYURIKYO 柳里恭/ YANAGISAWA KIEN 柳沢 淇園 (1704-1758)

Magnificent museum Japanese scroll: "Tang general Guo Ziyi", by RYURIKYO 柳里恭/ YANAGISAWA KIEN 柳沢 淇園 (1704-1758) Monumental, magnificent, museum quality, antique historical hanging scroll painting of the aging general Guo Ziyi (with his family) from Tang dynasty. Biography of the artist: Yanagisawa Kien 柳沢 淇園 / Ryurikyo 柳里恭 (1704~1758) ： Kien was born in Edo, and raised with a special education and martial arts. He's already knew the way of painting from Kano-ha when he was 8 years old, and he learned the way of Chinese painting when he was 12 years old. He was famous for multi-talented and he was the master of at least 16 kinds such as Tea ceremony, playing koto, medicine, fencing, javelin, horse riding, etc, which make people to call him genius. He found painting talent of Ikeno Taiga and taught him the way of Chinese painting. His pseudonyms are Chikukei, Gyokukei, Kienshujin, Kien, Ryurikyo, Ryushikobi, etc... Primary Material = Silk. Technique = Hand painted. Roller Ends = Wood Condition = Refer to all photos, there are stains and wrinkles overall, damage, some damage in the mounting. Size of the scroll: 92.7 cm x 207 cm = 36.5" x 81.4" inches; Size of the art painting only: 63 cm x 138 cm = 32.5” x 54” inches Length of the wooden bar: 103.7 cm = 41 inches; References: Biography of the Tang general Guo Ziyi Guo Ziyi (Kuo Tzu-i; 郭子儀: 郭子仪,: Guō Zǐyí,: Kuo1 Tzu3-i2) (697 – July 9, 781), formally Prince Zhōngwǔ of Fényáng (汾陽忠武王), was the Tang dynasty general who ended the An Lushan Rebellion and participated in expeditions against the Uyghur Khaganate) and Tibetan Empire. He was regarded as one of the most powerful Tang generals before and after the Anshi Rebellion. After his death he was immortalized in Chinese mythology as the God of Wealth and Happiness (Lu Star of Fu Lu Shou). Guo Ziyi was a reportedly a Nestorian Christian. Guo Ziyi was born into the family of a middle-class civil servant in Hua Prefecture (華州, present-day Hua County in Shaanxi). Around 735 Guo Ziyi was saved from a court martial by the poet Li Bai, who intervened on his behalf with the local commander. Unlike other members of his family, Guo Ziyi entered political life through the official military examinations instead of a literary exam (for civil servants). He passed the military examinations in 749 and became an officer in the border regions of the Tang Empire and quickly rose through the ranks to become a Jiedushi (regional military governor). Low estimate: $10,000; High estimate: $50,000

Lot: 239 - Chinese scroll painting Scholar under the tree, attributed to Shao Mei (1909-1954)

Chinese scroll painting Scholar under the tree, attributed to Shao Mei (1909-1954); China, scroll painting of a man, standing in a garden, with blossoming tree, featuring bright red flowers, and red seal and calligraphy signature, signed Shao Mei. Width 17 inches = 43.2 cm, Length: 50 inches = 127 cm; Provenance: private collection in USA. Biography: Born in 1909, Chen Shao Mei was known for her unique method of fusing traditional Chinese painting styles with modernist techniques and aesthetics. The artist’s oeuvre is often associated with the values of stillness, calmness, and serenity. Her abilities to blend complementary colours, the meticulous use of brushstrokes, and her mastery to innovate modern art movements made her very famous among her peers. She is considered to be one of few celebrated Chinese female artist due to her painting “A Scholar Sitting on the Boat” which got sold in Beijing for a record price of $1,123,339 USD in 2013. Her works are often described as evoking a sense of tranquillity, expressing lines of brushstrokes and vibrant colours which give its viewers a sense of movement and energy. The artist’s background is not without challenges. She lived during an era of political change and social upheaval in China, and her works were often targeted to be censored and criticized. Nevertheless, the artist continued to persevere in both in art and in life that she reflected her challenges and philosophy unto her creations through her exemplary abilities as an artist. She died at a young age of 45 in 1954. Her ground-breaking style as an artist, and her legacy as one of the few successful females from her era, continue to draw both audiences and aspiring artists alike to be enamored and inspired.

Lot: 241A - Antique Chinese/ Japanese Wild Boar scroll painting on paper

Antique Chinese/ Japanese Wild Boar scroll painting on paper; Heart size: 6.5 inches x 13.25 inches = 16.5 cm x 33.7 cm; Full size: 10.6 inches x 37 inches = 27 cm x 94 cm; Length of wooden roller stick: 12.5 inches = 32 cm; Age: circa 1700-1900;

Lot: 242 - Ancient people & crane, Chinese hanging scroll 175 cm

Ancient people and crane, Chinese hanging scroll painting 80 x 28 in. Materials: ink, watercolors, hand painted on paper; Signed: seal unknown; Scroll: = 70x22 inches = 175cm x 55cm; Painting: 38 x 19 in. = 95cm x 47.5cm; Age: unknown; Shipping in USA. We suggest USPS Priority, FEDEX or UPS- below $25 International Shipping We ship worldwide, please, contact about shipping rates Condition Perfect. Refer to insignificant creases, stains, aging and imperfections; Low Estimate: 1000; High Estimate: 2000;

Lot: 243 - 砚台 Antique Chinese ink stone with famous poem - Feng Qiao Ye Bo 枫桥夜泊, by the author - Zhang Ji 张继, from the Tang dynasty

砚台 Antique Chinese ink stone with famous poem - Feng Qiao Ye Bo 枫桥夜泊, by the author - Zhang Ji 张继, from the Tang dynasty. Size: 13 cm x 7.5 cm x 2 cm; Weight: 470 g; 1 lb. 0.5 oz. Mohs hardness: 5.5; Name of the poem is Feng Qiao Ye Bo 枫桥夜泊, the author - Zhang Ji 张继 from the Tang dynasty, name of

Lot: 244 - Chinese antique jade brush pot, 14 x 7 cm, 601 g;

Chinese antique jade brush pot, 14 x 7 cm, 601 g; China, jade brush pot, in the form of a duck, simplistically rendered, in dark green hues with feather details and patina on an polished fossil flat base. Length 5 1/2 inches = 14 cm; Height 2 3/4 inches = 7 cm; Weight: 601 g Weight of the base 219 g; Mohs index: 6.0-6.5 (jade scale 6.0-6.5) Provenance: Private collection in USA.

Lot: 245 - Yu Wenxiang (1910-1993), a pair of snow scene tiles, raised surface, Chinese, each 36.8 cm x 24.7 cm;

Yu Wenxiang, a pair of snow scene tiles, raised surface, Chinese, each 14.5” x 9.75” = 36.83 cm x 24.76 cm; Provenance: private collection in Alabama, USA Auction results: One panel: $5,625; https://hindmanauctions.com/items/10546015-yu-wenxiang Lot 30: Yu Wenxiang, Sep 23, 2021 10:00AM CT; LIVE / CHICAGO; Estimate: $5,000 - $7,000; Sold for $5,625 Porcelain height 29 1/4 x width 17 in., 74.3 x 43.2 cm. SALE 933 - ASIAN WORKS OF ART

Lot: 246 - Qianlong period, Bingshen year (1780 AD), famille rose, He Jing Ai Mei story porcelain plaque. Certified. 名称：乾隆丙申年作和靖爱梅人物故事粉彩瓷板画

Qianlong period, Bingshen year (1780 AD), famille rose, He Jing Ai Mei story porcelain plaque. Certified. 名称：乾隆丙申年作和靖爱梅人物故事粉彩瓷板画. Calligraphy poem/signed upper right. Size: 10 x 15.5 inches = 25.4 cm x 39.37 cm; Weight: Provenance: private collection in Sarasota, Florida, USA.

Lot: 247 - Chinese hanging scroll painting, Birds on Rockery

Chinese hanging scroll painting: water color on paper: Birds on Rockery Hanging Scroll, Chinese watercolor on paper, ink and color on paper: birds on rockery; inscribed and signed with two artist seals; Size: 185 cm x 42 cm; Condition Very good, insignificant creases; Low Estimate: 1000; High Estimate: 3000;

Lot: 249 - Chinese hanging scroll "Plum Blossoms", hand-painted on paper

Chinese hanging scroll "Plum Blossoms", hand-painted on paper; Primary Material: Paper; Technique: Hand painted; Roller Ends: Wood; Condition: Refer to all pictures: insignificant stains, wrinkles, damage. Size of the scroll: W68.5 x H 139(cm): W 26.97 x 0 .72 (inch); Weight: 510 g; Width (including roller ends): 78 cm;

Lot: 252 - 道士 Taoist Priest, Antique Chinese oil painting on canvas, Qing dynasty

A daoshi (道士 "master of the Tao"), translated as Taoist priest, Taoist monk, Taoist master or Professional Taoist, is a priest in Taoism. Along with Han Chinese priests, there are also many practicing ethnic minority priests in China.[1] Some orders are monastic (Quanzhen orders), while the majority are not (Zhengyi orders). Some of the monastic orders are hermitic, and their members practice seclusion and ascetic lifestyles in the mountains, with the aim of becoming xian, or immortal beings. Non-monastic priests live among the populace and manage and serve their own temples or popular temples. The activities of the Taoists tend to be informed by materials which may be found in the Daozang, or Daoist Canon; however, Taoists generally choose, or inherit, specific texts which have been passed down for generations from teacher to student, rather than consulting published versions of these works. Beautiful Chinese painting: Oil on Canvas on Board, Heart/sight size 22" x 13.5"= Size with frame, 24" x 16" = Weight with a frame: 1645 g = 3 lb. 10 oz. Condition Report: Canvas has cracks scattered throughout. Provenance: Bought on the auction in Florida, USA, from private collection in Florida, USA

Lot: 252A - Stranger, - attributed to Xiao Qian Zhong, Chinese hanging scroll painting #P001896;

Chinese hanging scroll painting, Stranger, - attributed to Xiao Qian Zhong, #P001896; Painting size: 54 x 19 inches = 135 cm x 47.5 cm; Scroll size: 77 x 25 inches = 192 cm x 62 cm; Material: ink, water colors on paper; Hand painted (verified microscopically, under x100 magnification); Ends: wood; Condition: very good, refer to several horizontal creases;

Lot: 253 - 張大千 Zhang Daqian (1899-1983), (CHANG DAI-CHIEN), Pair of Chinese scroll paintings: “Scholar under a tree”, certified

張大千 Zhang Daqian (1899-1983), (CHANG DAI-CHIEN), Pair of Chinese scroll paintings: “Scholar under a tree”, certified. Heart size of each painting: 52.5” x 17.25” inches = 133.3 x 43.8 cm; Scroll each: 73”x 20.6” = 185.4 cm x 52.32 cm; Roller: 23.85” = 60.6 cm; Roller ends: old brown wood. Paper yellowish, 50-80 years old; First

Lot: 254 - 郞世寧 Chinese scroll silk painting “White Eagle on the rock”, signed Lang Shining, (Giuseppe Castiglione) 1725 AD.

郞世寧 Chinese scroll silk painting “White Eagle on the rock”, signed Lang Shining, (Giuseppe Castiglione) 1725 AD. Giuseppe Castiglione, S.J. (simplified Chinese: 郞世宁; traditional Chinese: 郞世寧; pinyin: Láng Shìníng; 19 July 1688 – 17 July 1766), was an Italian Jesuit brother and missionary in China,

Lot: 255A - 于非闇 Yu Fei An (1888-1959) painting of a Peacock, with calligraphy, Chinese scroll

于非闇 Yu Fei An (1888-1959) painting of a Peacock, with calligraphy, Chinese scroll. Painting: 50” x 26”= 127 cm x 66 cm; Scroll: 83” x 30.5“= 211 cm x 77.5 cm; Roller: 34” = 86 cm; Roller ends: black wood; Auction prices for original: $10,000 - $100,000 USD; Age of the paper: 10-70 years old Biography: Yu Fei'an was born in Beijing in 1889. Educated in Beijing Normal University. Lived in Taiwan. Died July 3, 1989. Has works collection in are Ashmolean Museum, Museum of Fine Arts Boston, Taipei Fine Arts Museum. 于非闇（1889年4月21日—1959年7月3日[1][2]），满族，初名魁照，后改名照，字仰枢，别署非闇，又号非厂、老非、闲人[3]。祖籍山东蓬莱，生於北京，清末贡生[1]，是中华民国和中华人民共和国工笔花鸟画家、书法家[3]，北京市一、二、三届人大代表[2]。 Yu Fei'an (April 21, 1889 - July 3, 1959[1][2]) was a Manchu. His first name was Kuizhao, and later he was renamed Zhao. His courtesy name was Yangshu, and his alias was Fei'an, also known as Feichang and Feichang. Laofei, idler [3]. His ancestral home is Penglai, Shandong, and he was born in Beijing. He was a Gongsheng student in the late Qing Dynasty[1]. He is a meticulous flower-and-bird painter and calligrapher in the Republic of China and the People's Republic of China[3], and a representative of the first, second and third Beijing Municipal People's Congress[2]

Lot: 256 - Guan Yin Buddha, painted by Li Gonglin (1049-1106 AD), Song dynasty period, Chinese scroll painting on silk, certified

Guan Yin Buddha, painted by Li Gonglin (1049-1106 AD), Song dynasty period, Chinese scroll painting on silk, certified Painting: 51.6” x 26.35” = 131 cm x 67 cm; Scroll: 90” x 32” = 228 cm x 81.3 cm; Length of the roll: 33.5” = 85 cm; Six red seals/stamps (2 large square – upper middle, 1 square -lower right, 1 similar square-lower left, 1-middle right

Lot: 257 - Artist- Fan Jialin 汎加琳 Chinese watercolor painting, 76 x 37 cm, framed

Framed Chinese watercolor painting, signed, sealed. Framed Chinese watercolor painting, ink and color on paper; inscribed and signed with one artist seal; Painting size: 23 in. x 11 in. = 57.5 cm x 27.5 cm; Frame size: 30.5 in. x 15 in. = 76.25 cm x 37.5 cm; Condition: Perfect, - preserved under glass;

Lot: 258 - 趙孟頫 Zhao Mengfu (1254-1322 AD) of the Yuan Dynasty, “Horse inspection”, - Large antique Chinese painting, certified

趙孟頫 Zhao Mengfu (1254-1322 AD) of the Yuan Dynasty, “Horse inspection”, - Large antique Chinese painting, certified The painting was framed under plexiglass, many years ago. It appears to be in ink and color on silk; may be laid down on board (I have not had it out of the frame). Some toning and minor cracks in silk, none affecting main scene. •

Lot: 259 - Chinese hanging scroll painting, attr. Qian Hui An (1833-1911), Three wise men talking

Chinese hanging scroll painting, -Three wise men talking, - attributed to Qian Hui An (1833-1911). Stock # 1615. Scroll size: 72 in. x 17.4 in. = 180 cm x 43.5 cm. Painting size: 25.5 in x 9.8 inches = 64 cm x 24.7 cm. Material: ink and water colors on paper. Hand-painted (verified under x 100-magnification microscope). Shipping in USA: We suggest USPS Priority Express, FEDEX ground or UPS ground- below $30. International Shipping: We ship worldwide, please, contact about shipping rates. We suggest USPS Express Mail. Condition of the painting is good, refer to aging creases, folds and stains. Condition of the base scroll is fair - refer to repaired tears at the top, near the wooden bars. Auction results: from $1,153 up to $37,065 (from 1 thousand to 37 thousand dollars) $37065, $23166, $19293, $15444, $12500, $11254, $11119, $10625; $8870, $6563, $5627, $5240, $4942, $4180, $3600, $2895, $2129, $1209, $1153 Low Estimate: 1500; High Estimate: 25000;

Lot: 261A - Vintage art Nouveau style Chinese beauty & cockatoo, framed print, by Scott Evans 1847-1898, Indiana, USA

Vintage art Nouveau style Chinese beauty & cockatoo, framed print, by Scott Evans 1847-1898, Indiana, USA Heart size: 14 inches x 17.5 inches = 35.5 cm x 44.5 cm; Size of the frame: 25.5” x 21” inches = 64.7 cm x 53.3 cm; Provenance: Estate collection in Clearwater, FL, USA Vintage art Nouveau style Asian woman with long tailed cockatoo (bird of paradise) framed print signature stamp "Stan David" artist (De Scott Evans 1847-1898 born in Indiana), seal signature lower right corner. Beautiful antique scroll border and effect, muted soft mauve and golden/taupe with grays, pale yellow and blue applied color. Set in a covered glass frame, bamboo style gold painted with straw textured border. Wired, cardboard backed and ready to hang. Beautiful picture, framed well.

Lot: 262 - The Rickshaw Boy or Camel Xiangzi, (1936-1937) by Lao She (1899-1966), printed in Hong Kong, in traditional Chinese characters

The Rickshaw Boy or Camel Xiangzi, (1936-1937) by Lao She (1899-1966), printed in Hong Kong, in traditional Chinese characters. An important book, written by famous Chinese writer Lao She, published in Honk Kong in 1936-1937. Shu Qingchun (3 February 1899 – 24 August 1966), courtesy name Sheyu, best known by his pen name Lao She, was a Chinese novelist and dramatist. He was one of the most

Lot: 265 - Oval copper plate, 11.7 cm, Yuan dynasty (1271-1386)

Oval copper plate, 11.7 cm, Yuan dynasty (1271-1386). Weight: 250 g = 11 oz. Length: 11.7 cm = 4.5 inches. Width: 75 mm = 2 7/8 inches. Made: Yuan dynasty (1271-1386) Condition: normal age and usage wear Low Estimate: 500; High Estimate: 2000; Original: Yes;

Lot: 266 - Genuine Song Dynasty Lovely Antique Chinese Blue Crackled Vase 960–1279 AD

Song Dynasty(960–1279 AD) Lovely Antique Chinese Celadon Crackle Glaze Vase or Jar w/ Stand. This is a 2-tone thick porcelain or pottery vase, jar or storage vessel. It has a crackle celadon glaze with dark stains in areas. Vase comes with a simple Chinese wood display stand. With an old dealer price tag that reads: "MING 1450 $495.00 ". Age: Although exact age is unknown, but it does appear to be antique and likely of Song dynasty (1115-1368) Width: 4.1 in. = 10 cm Height without stand: 4.5 in. = 11 cm Height with stand: 5.5" tall Weight: 12.8 ounces total = 300 g Condition: Good overall condition with wear, spots, glaze stains, base rim restoration. Vase is, obviously, handmade and the shape is not proportional, which proves old age. Microscopic research under 50x magnification: you can see multiple different size gas bubbles in the glaze, which is very strong prove of the ancient kiln technology - over 500 years. Provenance: from a huge private collection of Chinese porcelain and pottery from Santa Cruz estate, California, USA. Chinese Collector (he paid $495 for it 50 years ago). Similar bowl was sold on Sotheby's for $185,000 http://www.sothebys.com/en/auctions/ecatalogue/2013/chinese-works-of-art-n08974/lot.92.lotnum.html Condition: Good overall condition with wear, spots, glaze stains, base rim restoration. Low Estimate: $20,000 High Estimate: $40,000; Original: Yes

Lot: 267 - Pair of Chinese porcelain white-blue saucers, Qing Dynasty

Beautiful Genuine Pair of Chinese antique porcelain white-blue saucers. Diameter of bigger plate: 6.25 in. = 19 cm; Diameter of smaller plate: 5.5 in. =14 cm; Weight of bigger plate: 7 oz. = 200 g; Weight of smaller plate: 5 oz. = 120 g; Age: presumably during Tong Zhi Emperor period (1856-1875); Condition: Very good, some age wear; there are several small (1-2 mm) chips on the edges, no cracks. The chips are old and smooth, looks like they were a part of manufacturing process. The edges of the rim at the bottom of both saucers are not glazed. All these details prove authenticity of Qing dynasty age. Low Estimate: 500; High Estimate: 1,000; Original: Yes

Lot: 268A - Portrait of princess UlaNara at age 16, painted by Giuseppe Castiglione “Lang Shining” in 1734, Chinese porcelain plate.

Portrait of princess UlaNara at age 16, painted by Giuseppe Castiglione “Lang Shining” in 1734, Chinese porcelain plate. Hoifa-Nara, the Step Empress: Ula-Nara or Ulanara, the Step Empress (11 March 1718 – 19 August 1766), of the Manchu Plain Yellow Banner Ula-Nara clan, was a consort of the Qianlong Emperor. She was seven years his junior. Diameter: 8 inches = 20 cm; Weight: 13. 6 oz. = 385 gram; Height: 1.75 inches = 4.5 cm; Condition: perfect, no defects Provenance: private collection of in USA. Market price: A silk painting of Ula-Nara was auctioned at HK$ 40 million = $5 million USD in 2012. Another painting of Qing Dynasty Empress was sold at more than $130 Million USD in 2015. Giuseppe Castiglione, S.J. (simplified Chinese: 郎世宁; traditional Chinese: 郎世寧; pinyin: Lángshìníng) (19 July 1688 – 17 July 1766), was an Italian Jesuit brother and a missionary in China, where he served as an artist at the imperial court of three emperors – the Kangxi, Youngzheng and Qianlong emperors. He painted in a style that is a fusion of European and Chinese traditions.

Lot: 269 - Chinese flambe glazed porcelain vase, Qianlong (1736-1795) Fanghu mark on bottom,

Chinese flambe glazed porcelain vase, Qianlong (1736-1795) Fanghu mark on bottom, Height: 7.5” = 19 cm. A FLAMBÉ-glazed vase, Fanghu seal mark and period of Qianlong Emperor (1736-1795). 亞洲重要私人收藏 清乾隆 窰變釉杏圓貫耳方壺 《大清乾隆年製》款. Provenance: Private collection in Alabama, USA. Auction results: Christie’s and Sotheby’s -$30,000 - $200,000 USD chrome-extension://efaidnbmnnnibpcajpcglclefindmkaj/https://images1.bonhams.com/original?src=Images/live/2013-04/10/S-20579-0-1.pdf

Lot: 270 - 唐三彩 Tang Sancai glazed powerful horse rider warrior, China (618-907 AD)

唐三彩 Tang Sancai glazed powerful horse rider warrior, China (618-907 AD); Figure Dimensions: 10.5 x 10 inches = 26.67 cm x 25.4 cm; Sancai (Chinese: 三彩; pinyin: sāncǎi; lit. 'three colours')[1] is a versatile type of decoration on Chinese pottery using glazes or slip, predominantly in the three colours of brown (or amber), green, and a creamy off-white. It is particularly associated with the Tang dynasty (618–907) and its tomb figures,[1] appearing around 700.[2] Therefore, it is commonly referred to as Chinese: 唐三彩 Tang Sancai in Chinese. Tang sancai wares were sometimes referred in China and the West as egg-and-spinach by dealers, for their use of green, yellow, and white, especially when combined with a streaked effect.[3] The Tang dynasty three-color glazed pottery is the treasure of ancient Chinese ceramic firing techniques. It is a kind of low-temperature glazed pottery popular in the Tang dynasty. The glaze has yellow, green, white, brown, blue, black and other colours. The yellow, green, and white colour-based are most predominant, so people call it "Tang Sancai." Because the Tang Sancai is unearthed in Luoyang earliest and is found the most in Luoyang, it is also called "Luoyang Tang Sancai." It uses lead-glazed earthenware, and although two firings were needed,[1] it was easier and therefore cheaper to make than Chinese porcelain or celadon, and suitable for making large figures, if necessary made up of several moulded sections assembled after a first firing. Vessels, mostly rather small and made for burial, were made in the technique as well as figures. Small plates with three feet, typically about 18–40 cm (7–16 inches) across, called "offering-trays", are a distinctive type, with more carefully controlled decoration than other types of pieces.[4] The white may come from the natural colour of the fired clay, sometimes coated with a transparent glaze, or there may be a white slip. The brown and green colours came from adding metal oxides to a lead glaze, and in fact blues and blacks are also found. The blue came from adding imported cobalt, and was therefore more expensive and used sparingly, often on smaller pieces.[5] - Provenance: this item comes from the private collection of Lou A. and Barbara B. Pritchett. Lou Pritchett was the ex-Vice President of Procter and Gamble. Lou Pritchett rose through the ranks at Procter & Gamble and was instrumental in the creation of the partnership between Procter & Gamble and Wal-Mart. Pritchett was instrumental in bringing Proctor & Gamble to the Phillipines during his time there. Now retired, Lou is a sought-after public speaker and author of Stop Paddling & Start Rocking the Boat. Special fitted wooden stand is included.

Lot: 270B - Genuine Tang Dynasty (618-907AD) unearthed Sancai ware - lady figurine,

Authentic Chinese Tang Dynasty (AD 618 - 907) unearthed SanCai ware - a lady figurine; Weight: 84.75 g; Height: 118 mm = 11.8 cm; Base: 43 x 26 mm; Condition: natural fine aging of glaze and clay; Genuine, authentic; Sancai (Chinese: 三彩; pinyin: sāncǎi; literally: 'three colours')[1] is a versatile type of decoration on Chinese pottery using glazes or slip, predominantly in the three colours of brown (or amber), green, and a creamy off-white. It is particularly associated with the Tang Dynasty (618–907) and its tomb figures, appearing around 700. Therefore, it is commonly referred to as Chinese: 唐三彩 Tang Sancai in Chinese. Tang sancai wares were sometimes referred in China and the West as egg-and-spinach by dealers, for their use of green, yellow, and white, especially when combined with a streaked effect. It uses lead-glazed earthenware, and although two firings were needed, it was easier and therefore cheaper to make than Chinese porcelain or celadon, and suitable for making large figures, if necessary made up of several moulded sections assembled after a first firing. Vessels, mostly rather small and made for burial, were made in the technique as well as figures. Small plates with three feet, typically about 18-40 cm (7-16 inches) across, called "offering-trays", are a distinctive type, with more carefully controlled decoration than other types of pieces. Detail of a sancai tomb guardian The white may come from the natural colour of the fired clay, sometimes coated with a transparent glaze, or there may be a white slip. The brown and green colours came from adding metal oxides to a lead glaze, and in fact blues and blacks are also found. The blue came from adding imported cobalt, and was therefore more expensive and used sparingly, often on smaller pieces.

Lot: 275 - Chinese antique porcelain dark blue bowl, Qing/Ming dynasty.

Chinese antique porcelain dark blue bowl, Qing/Ming dynasty; Diameter: 11.5 inches; Height: 4 inches; Condition: perfect almost no defects, very small old chip on the edge; Provenance: private collection in Florida, USA; Question: what is a white line on the photos? Answer for the question: The white line on the first three photos is a white thread for the label, attached to the bowl, it is not a crack. The condition of the bowl is perfect.

Lot: 276 - Chinese antique porcelain light blue bowl, Qing/Ming dynasty

Chinese antique porcelain light blue bowl, Qing/Ming dynasty; Diameter: 12 inches; Height: 4 inches; Condition: perfect no defects; Provenance: private collection in Florida, USA

Lot: 277 - “Swirling eyes” Chinese gray earthenware amphora, Han dynasty, 206 BC-220 AD;

“Swirling eyes” Chinese gray earthenware amphora, Han dynasty, 206 BC-220 AD; Rare vase, made in Han Dynasty, 206BC-220AD, of typical form with distinct ovoid mouth and wide strap handles. Height: 6" = 15.2 cm; Width: 6.25" = 15.88 cm; Diameter: 4.5"d = 11.43 cm Provenance: private collection in New York, USA. From the collection of Prof of Chinese studies Philip Gould, New York. Biographical Note Dr. Philip Gould was born in New York City on October 17, 1922. After graduating high school, Dr. Gould earned a bachelor’s degree at New York University in Art History, and then went on to earn a Doctorate in Art History from the University of Paris in 1953. He worked as an instructor of Art History at Columbia University from 1954 to 1958, after which time he travelled to France in order to perform research funded by a Fulbright Research Grant. In 1959, Professor Gould joined Sarah Lawrence College and contributed widely to the college throughout his 34 years as an Art History professor, specializing in Asian Art. Dr. Gould has lectured at many educational institutions in New York, including Fordham University, Pratt Institute and Parsons School of Design. He has traveled and lectured in Europe, Africa, and Southeast Asia and worked as a visiting professor at the University of Taiwan in Taipei and at Teachers College in Beijing. Professor Gould was awarded the distinguished title of Professor Emeritus upon his retirement in 1993.

Lot: 278 - Genuine TANG/Song dynasty Chinese celadon bowl, 153 mm

Genuine Chinese celadon TANG/Song dynasty bowl, 153 mm. THIS IS A BEAUTIFUL PIECE OF CHINESE CELADON WARE. This celadon bowl is probably Tang/Song (618-1279 AD) type of porcelain ware. Authenticity report: Genuine. Inner center of the bowl lost the glaze because of continuous usage. Dimensions: Diameter: 6 in. = 153 mm, Height: 2.5 in. = 67 mm, Weight: 13.10 oz. = 370 g. Condition: there is a hair-line, absolutely stable, almost invisible crack inside the bowl and a chip on the base rim.

Lot: 279 - Porcelain Tea bowl, marked: made for Emperor Huizong, Song dynasty (1100-1126AD)

Porcelain Tea bowl, marked: made for Emperor Huizong, Song dynasty (1100-1126AD); Often known as oil drop glazed tea bowl. Diameter: 8.25” inches = 21 cm Diameter of the base: 2.5” inches =6.35 cm Height: 4 inches = 10.16 cm; Condition; perfect for the age; Provenance: private collection of Chinese professor in New Jersey, brought from Taiwan in early 1900’ Similar tea bowl sold on Sotheby’s for $10,000,000

Lot: 280A - Ming dynasty (1368-1644 AD) terracotta figurine: Priest holding Zodiac Dog.

Impressive genuine Ming figurine. Height: 195 mm = 19.5 cm Weight: 337 g = 11.9 oz. Condition: natural aging of clay and glaze, no defects. Provenance: from old British collection, acquired on UK art market in 1980s.

Lot: 281 - Magnificent 56 cm, Japanese Arita blue white porcelain charger, Meiji period, 1885-1912.

The charger contains a beautiful painting of several peonies, other flowers, many leaves and two tropical birds, sitting on a cherry tree, with a background of bamboo constructions. Although there are no marks, we may attribute this charger to Meiji period, . The surface of the charger is wavy, proving handmade production. There are 7 stilt marks on the back in the center. Stilts can be used in a few ways: they can be used to allow vessels to have glaze on the interior and exterior (including the bottom), as well as to nest and stack them in the kiln. Stand is made of hard red wood, carved especially for this charger. Diameter of the charger: 24.25 inches = 56.5 cm; Height: 4 inches = 10 cm; Height of the charger with stand: Approximately 30.5 inches = 76 cm. Weight: approximately 6-8 kg; Condition: almost perfect, no chips, no cracks, just a small area (1 x 2 cm) of uneven glaze on the front surface. Provenance: from estate collection in Florida, USA. When were reign marks first used? Imperial reign marks in kaishu, or regular script, began to appear regularly at the beginning of the Ming dynasty (1368-1644) and continued throughout the subsequent Qing dynasty (1644-1911). You would not expect to find reign marks on pieces from earlier dynasties. The most common marks on porcelain tend to be written in underglaze blue within a double circle. There was a brief time during the Kangxi period in 1667 when the emperor issued an edict forbidding the use of his reign mark on porcelain in case the ceramics were smashed and discarded. This resulted in many porcelain marks simply comprising empty under-glaze blue double circles, or the use of auspicious symbols in underglaze blue such as an artemesia leaf, a lingzhi mushroom or the head of a ruyi sceptre.

Lot: 282 - Chinese porcelain fish bowl, Qianlong Emperor (1711-1799)

Chinese Masterpiece, Famille Rose, porcelain fish bowl, Qianlong Emperor Period Made. Magnificent fish bowl, on a matching wooden stand, with a lot of hand-painted decorations. Mark: Da Qing Qianlong Nian Zhi "Great Qing Qianlong Period Made": 25 September 1711 7 February 1799. The style of writing of Qing reign marks varies, but can be separated into two broad divisions within which there are

Lot: 283 - PORCELAIN GILT CHINESE ROSE MEDALLION FLOOR VASE 95 cm

PORCELAIN GILT CHINESE ROSE MEDALLION FLOOR VASE with wooden stand. Approx. height: 38 inches = 95 cm tall, The wood stands adds 12 inches = 30 cm. Approximate weight: 70-80 lb. Approximate age: 1850-1950. Authenticity report: The dating of Asian Works of Art is very difficult and opinions of authenticity vary between experts and specialists. Subsequently, we strongly encourage all prospective buyers and/or his/her agent to carefully examine and inspect any and all items they wish to bid on before the auction. All references to time periods and cultures are only an opinion and are not a guarantee of authenticity. Shipping in USA by Craters and Freighters 5105 W Knox St., Tampa, FL 33634 (813) 889-9008 (813-889-9008), approximately $400-$600. International shipping: UPS, Craters and Freighters (813-988-4162). Example: shipping to China by ocean boat to port Hong Kong - $950. Shipping to China by air - $1700-$2000. Ask for shipping cost, please! Local pick up is available, - if you live or take your vacation in Florida or Georgia. You can save hundreds of dollars by picking it up from Clearwater or Tampa, FL. This vase fits perfectly to the back seat of most of the large size cars, make sure there is 38-40" x 20" space in your car. Condition: Perfect for the age, no cracks or chips, some normal wear of the lower base rim.

Lot: 284 - LARGE SATSUMA EARTHENWARE KORO VASE & lid: Meiji period

LARGE SATSUMA EARTHENWARE KORO VASE with lid: Meiji period. The Meiji period ( Meiji-jidai), also known as the Meiji era, is a Japanese era which extended from September 1868 through July 1912. The cover surmounted by a shishi or guardian dog, also with shishi handles on the main body. Decorated in colored enamels and gilding. Beautiful aging crackles all over. Size: Approximately 33 in. tall x 22 in. wide. Weight: 40 lb. Weight with packing: 55 lb. Condition: Several cracks and chips in the area of legs of the vase, body of the dog on the lid and ears of all three dogs are damaged, refer to the photos, please. Shipping in USA by Freight FedEx or UPS may cost $500-$1000, depending on shipping terms. International shipping is available: Approximate cost $1000-$2000. Please, contact before bidding about the cost and terms of shipping. Condition: Several cracks and chips in the area of legs of the vase and body of the dog on the lid. Ears of all three dogs are damaged/broken, refer to the photos, please.

Lot: 284A - Rare Japanese antique vase, by Shimizu Yasuda, Kyoto, 1889-1947(?)

Rare Japanese antique vase, by Shimizu Yasuda, Kyoto, 1889-1947(?) Characters at the left of bottom read "Painted by Tanigawa of Kyoto", While at right - read "Made by Shimizu Yasuda of Kyoto, the Great Japan". The sign of the bottom says that: 大日本 - Empire of Greater Japan; 清水安田製 - made by Shimizu Yasuda; 京都長谷川画 - painted by Tanigawa in Kyoto. I think that this is Kiyomizu ware made in 1889-1947 and the artist is Tanigawa. Height: 92 cm = 36 inches; Weight: 20.2 kg = 45 lb.; Condition: almost perfect for the age, gentle crazing, mostly at the bottom, hairline crack at the bottom; Provenance: from Estate sale in Florida, USA. Kiyomizu ware (清水焼 Kiyomizu-yaki?) is a type of Kyō ware traditionally from Gojōzaka district near Kiyomizu Temple, in Kyoto. The history of Kiyomizu ware dates back to the Momoyama period (1573-1600). The earlier production phase is known as Ko-Kiyomizu (old Kiyomizu). One of the foremost producers of Kiyomizu ware is the Unraku kiln (雲楽窯 Unraku-gama?), led by the current Unrako Saito III.

Lot: 285 - 製堂和中亥辛熙康 Kangxi period (1672), Zhonghetang kiln, Chinese porcelain vase with battle scene

製堂和中亥辛熙康 Kangxi period (1672) magnificent Chinese porcelain vase with battle scene; 康熙辛亥中和堂製 left to right; 製堂和中亥辛熙康 right to left; Kangxi (period) and Xinhai (10th year of Kangxi) Zhonghetang Kiln Signed with eight characters,

Lot: 287 - Chinese antique snuff black bottle: Waiter & cashier

Chinese antique snuff black glass bottle: Waiter and cashier in Chinese restaurant. The bottle was open for a while and original bronze cosmetic powder/eye shadow has accumulated in a plastic bag. The lucky bidder will get original ancient cosmetics!!!!!!! Description: Waiter in the restaurant with inscriptions Height (cork including): 2.7 in. = 73 mm Weight: 2 oz. = 64.35 g Condition: Used, slightly scratched, no defects Authenticity report: genuine antique hand-made painting and glass blowing. Provenance: from private collection in Florida, USA; purchased in 1980's -1990's History Snuff bottles were used by the Chinese during the Qing Dynasty to contain powdered tobacco. Smoking tobacco was illegal during the Dynasty, but the use of snuff was allowed because the Chinese considered snuff to be a remedy for common illnesses such as colds, headaches and stomach disorders. Therefore, snuff was carried in a small bottle like other medicines. The snuff bottle is comparable to the snuff box used by Europeans. Tobacco was introduced to the court at Beijing some time during the mid- to late-16th century. It was originally smoked in pipes before the establishment of the Qing Dynasty. The use of snuff and snuff bottles spread through the upper class, and by the end of the 17th century it had become a part of social ritual to use snuff. This lasted through most of the 18th century. Eventually, the trend spread into the rest of the country and into every social class. It was common to offer a pinch of snuff as a way to greet friends and relatives. Snuff bottles soon became an object of beauty and a way to represent status. The highest status went to whoever had the rarest and finest snuff bottle. The peak of snuff bottle manufacture was during the 18th century. The use of snuff increased and decreased with the rise and fall of the Qing Dynasty and died away soon after the establishment of the Republic of China. However, replica snuff bottles are still being made, and can be purchased in souvenir shops, flea markets and museum gift shops. Original snuff bottles from the Qing period are a desirable target for serious collectors and museums. A good bottle has an extra quality over and above its exquisite beauty and value: that is touch. Snuff bottles were made to be held and so, as a rule, they have a pleasant tactile quality. Condition: Used antique, slightly scratched, no defects. Terms of sale: All sales are final! Buyer assumes all responsibility for bidding! No refunds will be given under any circumstances! No returns! Please, ask all you questions before you bid! If you have any doubts - do not bid, please! Unconditionally guaranteed to be authentic.

Lot: 288 - Chinese antique snuff black bottle: Great Wall of China

Description: under the glass you can see Great Wall of China with characters on both sides. Height (with the cork): 2.7 in. = 6.8 cm. Weight: 1.5 oz. = 39.83 g. Authenticity report: genuine antique hand-made painting and glass blowing. Provenance: from private collection in Florida, USA; purchased in 1980's -1990's. Condition: Used antique, slightly scratched, no defects; Terms of sale: All sales are final! Buyer assumes all responsibility for bidding! No refunds will be given under any circumstances! No returns! Please, ask all you questions before you bid! If you have any doubts - do not bid, please! Unconditionally guaranteed to be authentic.

Lot: 289 - Chinese snuff bottle, painted from inside

Chinese snuff bottle, painted from inside Height with a cork: 63 mm Weight: 20.53 g;

Lot: 290 - Chinese cloisonné enamel snuff bottle with flowers design, Qing dynasty

Weight: 47.41 g; Height with cap: 64 mm = 6.4 cm; Condition: perfect for the age. Provenance: from the collection of Medical Doctor from St Petersburg, Florida, USA.

Lot: 291 - 唐三彩 Tang Sancai style large horse, glazed porcelain/pottery, China

唐三彩 Tang Sancai style large horse, glazed porcelain/pottery, China CHINESE SANCAI TANG STYLE HORSE: Chinese porcelain Tang Dynasty style War Horse, having a Sancai glazed finish. Height: 13"=33 cm; Length: 14" = 35.5 cm; Width: 7.25" = 18.4 cm; Weight: 3 kg 22 g = 6 lb. 10.6 oz. Condition Report: Gentle wear commensurate with age and use. Provenance: private collection in St Petersburg, FL, USA. Sancai (Chinese: 三彩; pinyin: sāncǎi; lit. 'three colours')[1] is a versatile type of decoration on Chinese pottery using glazes or slip, predominantly in the three colours of brown (or amber), green, and a creamy off-white. It is particularly associated with the Tang dynasty (618–907) and its tomb figures,[1] appearing around 700.[2] Therefore, it is commonly referred to as Chinese: 唐三彩 Tang Sancai in Chinese. Tang sancai wares were sometimes referred in China and the West as egg-and-spinach by dealers, for their use of green, yellow, and white, especially when combined with a streaked effect.[3] The Tang dynasty three-color glazed pottery is the treasure of ancient Chinese ceramic firing techniques. It is a kind of low-temperature glazed pottery popular in the Tang dynasty. The glaze has yellow, green, white, brown, blue, black and other colours. The yellow, green, and white colour-based are most predominant, so people call it "Tang Sancai." Because the Tang Sancai is unearthed in Luoyang earliest and is found the most in Luoyang, it is also called "Luoyang Tang Sancai." It uses lead-glazed earthenware, and although two firings were needed,[1] it was easier and therefore cheaper to make than Chinese porcelain or celadon, and suitable for making large figures, if necessary made up of several moulded sections assembled after a first firing. Vessels, mostly rather small and made for burial, were made in the technique as well as figures. Small plates with three feet, typically about 18–40 cm (7–16 inches) across, called "offering-trays", are a distinctive type, with more carefully controlled decoration than other types of pieces.[4] Detail of a sancai tomb guardian The white may come from the natural colour of the fired clay, sometimes coated with a transparent glaze, or there may be a white slip. The brown and green colours came from adding metal oxides to a lead glaze, and in fact blues and blacks are also found. The blue came from adding imported cobalt, and was therefore more expensive and used sparingly, often on smaller pieces.[5]

Lot: 292 - Chinese antique carved Beijing Glass tall yellow/purple vase, 23 cm

Height: 9.5 in. = 23 cm; Weight: 1002 g = 1 kg 2 g = 2 lb. 3.4 oz. Seal marks on the bottom and 4 marks on the body. Provenance: from private collection in Florida, USA; purchased in 1980’s -1990's in Honolulu, Hawaii. Auction results: these vases could be sold in the range of $5,000 - $25,000 Terms of sale: All sales are final. No refunds, no returns. Ask all your questions before bidding, please.

Lot: 293 - Peking glass yellow ball vase

Chinese carved Beijing Glass yellow-green vase. Height:__________Seal mark on the bottom. Provenance: from private collection in Florida, USA; purchased in 1980s -1990's Condition: Excellent, no defects; Original: Yes;

Lot: 294 - Song-Yuan Dynasty (11th-14th c) brown-glazed Martaban storage jar, China.

Song-Yuan Dynasty (11th-14th c) brown-glazed Martaban storage jar, China. Height: 13.75 in. = 34.92 cm; Width: 12.5 in. = 31.75 cm; Upper opening (outer diameter): 5 in. = 12.7 cm; Weight: 13 lb. = 5.896 kg. A stoneware pottery jar used for storage, made in southern China, Fujian or Guangdong province, since Song Dynasty for domestic use, as well as export. They were widely exported to South East Asia and further afield, and sometimes known as Martaban Jars due to the transit port of that name in Burma. This jar on offer is of the classic form, likely made in the South China during Southern Song to Yuan Dynasty (11-14th century, precisely dating these pieces are difficult). The jar features a full dipped dark iron glaze on the top half of the body. Some glaze running and uneven application makes this piece very charming. Four hand-molded handles perch on the shoulder for ropes in its original use. Strong surface wear and characteristic patina suggests its age and possible burial history. Part of the glaze near the bottom, appears worn off due to the use and age, or it wasn't applied fully originally. It retains an old dealer sticker on the upper part as shown in one of the detail photos. These utilitarian jars were humble in nature, unrefined and rustic, devoid of excessive decoration, but some resumed a mystic status in cultures such as Japanese, Philippine and Borneo Dyak people. - Provenance: this item comes from the private collection of Lou A. and Barbara B. Pritchett. Lou Pritchett was the ex-Vice President of Procter and Gamble. Lou Pritchett rose through the ranks at Procter & Gamble and was instrumental in the creation of the partnership between Procter & Gamble and Wal-Mart. Pritchett was instrumental in bringing Proctor & Gamble to the Philippines during his time there. Now retired, Lou is a sought-after public speaker and author of Stop Paddling & Start Rocking the Boat.

Lot: 295A - Longquan celadon blue glazed bottle vase, S. Song-Yuan dynasties (1200-1400AD);

Longquan celadon blue glazed bottle vase, S. Song-Yuan dynasties (1200-1400 AD); Bottle vase with Molded Peony and Arabesque Vine Decorations, Southern Song-Yuan Dynasties (13th-14th Centuries). Vase has magnificent colors, which depend on the intensity of the light and change from green in the room to green/blue in the shadow to bright blue color on the sun. Height: 30.75 cm = 307 mm; Weight: 1 kg 540 g = 1540 g = 3 lb. Condition: normal age ware, no defects, base was not glazed. References: Similar celadon vase was sold in 2015, on Sotheby’s Auction for $237,500 USD http://www.sothebys.com/en/auctions/ecatalogue/2015/song-ceramics-yang-de-tang-collection-n09338/lot.101.html Similar celadon vases from Yuan dynasty: https://www.pinterest.com/pin/364721269800425792/ Similar celadon vase with molded peony from Southern Song – Yuan dynasties, is located in Kyoto National Museum, Japan https://www.pinterest.com/pin/23643966764111262/ Gourd-shaped Bottle with Molded Peony and Arabesque Vine Decorations, Southern Song-Yuan Dynasties (13th-14th Centuries) (Manshu-in Temple, Kyoto). Kyoto National Museum. Gourd-shaped bottles are called huluping in China. In Japan, they were used as flower vases. This bottle was imported to Japan before the Momoyama Period and has been preserved as a flower vase ever since.

Lot: 296 - Certified Chinese Junyao porcelain vase, Jin/Yuan dynasty

Junyao pear-shaped vase, yuhu-chun-ping, Jin/Yuan dynasty (1115-1368). Delicately potted, standing on a short straight-cut foot, the swollen body with a tall neck, ending on a flaring rim, covered overall in a light-blue glaze and attractively splashed purple color in several (10) areas, suffused throughout with an attractive irregular russet crackles. Height: 7.2 in. = 18 cm. Biggest diameter: 4.5 in. = 11.5 cm. Diameter of the base: 2.35 in. = 6 cm. The opening is very small: 4 mm. Weight: 1 lb. 3 oz. = 540 g. Condition: very good for the age, about one dozen of tiny (1-4 mm) indentations (from the bubbles?) throughout the surface. They were originally present at the moment of glazing because of the original technique glazing over the hot wood. It means, they actually prove the authenticity. Age: Jin/Yuan dynasty (1115-1368). Authenticity report: According to our 30 years' experience in collecting of Asian and European antiques the probability of being genuine is very high. Provenance: from old US collection, purchased in 1980s. References: 1) Similar vase was sold at Christie's for $84,241 US + 15% buyers premium, on Nov 2009. http://www.christies.com/Lotfinder/lot_details.aspx? 2) Another similar Jun bowl Song dynasty was sold in 2013 for $173,000. http://www.sothebys.com/en/auctions/ecatalogue/2013/chinese-works-of-art-n08974/lot.93.lotnum.html Condition: Perfect. No defects, no cracks, natural aging of the porcelain; Condition and proof of authenticity: finely crackled glaze, where larger lines of crazing are broken down into smaller paddocks, occasional detritus, bubble bursts (areas of misfiring), natural wear of the bottom rim. (Allen pp.159-160) Terms of sale: All sales are final! Please, ask all you questions before you bid! Unconditionally guaranteed to be authentic.

Lot: 296A - 鈞窯 Antique Chinese Junyao Vase, Northern Song/Yuan dynasty, 1100-1300 AD

鈞窯 Antique Chinese Junyao Vase, Northern Song/Yuan dynasty, 1100-1300 AD Description: Jun ware vase, with noble blue-silver color, with purple splash, from Late N. Song – Early Yuan dynasty. Height: 17.7 cm = 7 inches; Weight: 479 g = 1 lb. 0.9 oz. Item condition: perfect, no cracks or imperfections, base rim unglazed. Signs of authenticity of the 鈞窯 Antique

Lot: 298 - Chinese porcelain vase, Jingdezhen ware, Jiang Qing (1796-1820) mark on the bottom;

Chinese porcelain vase, Jingdezhen ware, Jiang Qing mark on the bottom(1796-1820); Height: 6.4 inch = 16 cm; Condition: no defects; Provenance: private collection in USA; Jingdezhen ware refers to ceramics, particularly Chinese porcelain, produced in the vicinity of Jingdezhen in southern China. Jingdezhen may have produced pottery as early as the sixth century CE, though it is named after the reign name of Emperor Zhenzong, in whose reign it became a major kiln site, around 1004. By the 14th century it had become the largest centre of production of Chinese porcelain, which it has remained.[1] From the Ming period onwards, official kilns in Jingdezhen were controlled by the emperor, making imperial porcelain in large quantity for the court and the emperor to give as gifts. Although apparently an unpromising location for potteries, being a remote town in a hilly region, Jingdezhen is close to the best quality deposits of petuntse, or porcelain stone, in China, as well as being surrounded by forests, mostly of pine, providing wood for the kilns. It also has a river leading to river systems flowing north and south.[2] It has produced a great variety of pottery and porcelain, for the Chinese market and as Chinese export porcelain, but its best-known high quality porcelain wares have been successively Qingbai ware in the Song and Yuan dynasties, blue and white porcelain from the 1330s, and the "famille rose" and other "famille" colours under the Qing dynasty.

Lot: 300 - Kangxi period (1661-1722) blue & white, porcelain plate, Qing dynasty

Amazing thin porcelain, transparent to light. At the base: square shop mark in a double circle, underglaze blue. Diameter: 140 mm = 14 cm; Foot diameter: 53 mm = 5.3 cm; Weight: 170.23 g; Provenance: private collection of serious trusted collector in Singapore. Kangxi reign‎: ‎5 February 1661 – 20 December 1722;

Lot: 301 - Qianlong mark 1736-1795?, Chinese porcelain vase, 12 people

Huge Chinese porcelain vase & lid, 12 busy people, Qianlong Emperor mark period 1736-1795, 35 cm. Scene of the family, horseman and peasants, working at the estate. Height: 14 in. = 35 cm. Biggest diameter: 5.25 in. = 15.5 cm. Weight: 5.5 lb. = 2.5 kg. Condition: perfect, no defects. Provenance: from private collection in Florida, USA; purchased in 1980's -1990's. Condition: Excellent, no defects, some wear around the contact area between lid and vase. Terms of sale: All sales are final! Buyer assumes all responsibility for bidding! No refunds will be given under any circumstances! No returns! Please, ask all you questions before you bid! If you have any doubts - do not bid, please!

Lot: 301C - Antique Chinese Buddhist 2 brass temple bells, 124 g, 40 mm diameter

Antique Chinese Buddhist 2 brass temple bells, 124 g, 40 mm diameter The bells produce pleasant low pitch sound, which protects from evil spirits. Diameter of each bell: 40 mm; Weight of bell 1: 59.50 g; Weight of bell 2: 63.43 g; Provenance private collection in St. Petersburg, Florida, USA

Lot: 302 - Chinese gilt bronze standing naked figure, Han dynasty (206 BC – 220 AD)

Chinese gilt bronze standing naked figure, Han dynasty (206 BC – 220AD) China. Han Dynasty, gilt bronze figure, standing with feet apart, missing arms, with great detail shown on the feet, eyes, and hair, where the two arms should be are two empty sockets, completely free standing. Height: 4 inches = 103 mm = 10.3 cm; Weight: 174 g; Provenance: private collection in Massachusetts, USA.

Lot: 304 - Chinese antique hand painted Rose Medallion porcelain plate, Qing dynasty

Chinese antique hand painted Rose Medallion porcelain plate, Qing dynasty; Diameter: 10.25 inches = 26.1 cm; Height: 49 mm = 4.9 cm Weight: 1 lb. 10.9 oz. = 763 g Condition: There is a stable professionally cured crack, almost invisible at the face side. Provenance: very old private collection in Clearwater, Florida

Lot: 305B - Chinese Export Rose Mandarin 22.8 cm porcelain bowl, Qing Dynasty circa 1820;

Chinese Export Rose Mandarin 22.8 cm porcelain bowl, Qing Dynasty circa 1820; Hand painted beautiful plate with petal /scalloped edge; Diameter: 22.8 cm; Height: 4.5 cm; Weight: 1 lb. 11.2 oz. = 780 g; Condition: the edge was broken and professionally repaired (see photos); https://www.1stdibs.com/furniture/decorative-objects/bowls-baskets/decorative-bowls/chinese-export-rose-mandarin-porcelain-bowl-circa-1820/id-f_14476672/?utm_content=condensed&allowUniversalLink=no&gclid=Cj0KCQjwm9yJBhDTARIsABKIcGaADqIHrwr04-jsQlSBn1xUzvbIlqkplg_dfA2T8r4TU0FHNaiRTDAaAklQEALw_wcB&gclsrc=aw.ds $26,000 - Chinese Export Rose Mandarin Porcelain Bowl, circa 1820

Lot: 306 - Chinese Porcelain Vase Qianlong mark, Carps & Lotus

Chinese Porcelain Vase Qing Dynasty Carps & Lotus, Qianlong Emperor 1736-1795 Chien Lung = Qianlong Emperor 1736-1795. Height: 14.5 in = 36 cm: Weight: 4 lb. = 2 kg. Shipping in USA by FEDEX International shipping: FEDEX, UPS, USPS Express mail Ask for shipping cost, please! References: Reign Marks on Qing Ceramics 1644-1912 http://www.chinese-porcelain-art.com/Chinese-Reign-Marks-Ming-Qing.html

Lot: 307 - Attributed to Tang Yin 1736, Qing Dynasty, Chinese porcelain vase

Attribution: Precious Chinese porcelain vase, Qing Dynasty, signed by Tang Yin, 1736, There are following characters on the vase: 1) From Left to right: _________________, Red Phoenix in Morning Sun. One of the Chinese traditional Lucky pictures, saying talented person in the right time. ____________________, January,1736, , Place, _______________- . 2) The very famous seal _________________"", meaning very good precious collection. 3) Seals on the bottom. _______________,, the two are Emperor Qian Long's seals. I don't know the one in the middle. The words around the bottom: ____________. Saying that Tang Ying take advantage of making this vase pot on January, 1736. Tang Ying was the best porcelain artist. He was good at painting, making poems, making seals and he was famous for making good porcelain. His works were in top quality and were liked by Emperor Yong Zheng and Emperor Qian Long.Translation by expert, PhD: Blue-and-White porcelain Jar. Chinese Inscription on the body: which means: Imperially written in the middle period of the great auspicious month in the first year of Qianlong reign (1736). Produced by ____ studio. Seal:_______ which means: The red phoenix flying toward the sun. Inscription on the bottom: _________which means: "On the great auspicious day in the first year of Qianlong of the Great Qing (dynasty), Tang Ying, the imperial bestowed vice director of Imperial Household Office, who also manages the imperial kiln factory, produced (the jar) based on the commission of the emperor". Seals from right to left: Seal 1: Seal of imperial review of Qianlong. Seal 2: Art studio of bamboo art. Seal 3: Imperially used by Qianlong of the Imperial Qing (dynasty). Weight: 10 lb. = 4500 g. Height: 14 inches = 35 cm. Diameter in the middle: 8.5 inches = 21 cm. Diameter at the top: 2 inches = 5 cm. Diameter at the bottom: 2.65 inches = 12 cm. Provenance: from private collection in Florida, USA; Purchased in 1980's -1990's. References: http://most-expensive.net/vase. Condition: perfect, some aging wear, no major defects. There is one imperfection on the side surface of the vase, above the right wing of the phoenix bird; Terms of sale: All sales are final! Buyer assumes all responsibility for bidding! No refunds will be given under any circumstances! No returns! Please, ask all you questions before you bid! If you have any doubts - do not bid, please!

Lot: 308 - Certified Chinese porcelain vase, Ming dynasty, (1447-1487) mark and period

Certified Chinese porcelain vase, Ming dynasty, (1447-1487) mark and period The mark of 4 characters in seal script pronounced CHEN GHUA NIAN ZHI, which means made during reign of Chenghua. The seal is incised in a deep black square area at the bottom, without glaze. Chenghua is the reign of a Chinese emperor during Ming dynasty. Height: 23.6 inches = 60 cm; Upper Diameter: 6 inches = 15.5 cm; Biggest Diameter: 10.8 inches = 27 cm; Biggest Circumference/Perimeter: 32.8 inches = 82 cm; Base diameter: 7.5 inches = 18.7 cm; Weight: 19 lb. = 8.5 kg; Condition: Very good for the age, genuine gentle crazing all over, several hairline stable cracks at the bottom (see the photos), which continue to the body of the vase for approximately 7 cm and then disappear. Possibly these cracks appeared during baking in the kiln. There is no glaze on the upper rim, which means that upper part of the vase was cut, presumably in 18th century, by European collector. High magnification photos (x50) are available on demand. Provenance: made in China in 1447-1487 at Jingdezhen kiln in Jiangxi province, at the same period has been decorated with colors in Beijing. Bought by Western European buyer in 18th-19th century. Later in 20th century moved to USA, sold from Estate sale, bought in antique store in Florida, USA. Market price: If this vase would not be cut at the top and there would not be a hairline crack at the bottom – the price may go up to $50,000,000 and higher. Because of these 2 problems – the market price is only $5,000,000 - $10,000,000 USD. This vase is still unbelievable beautiful and rare. https://alaintruong2014.wordpress.com/tag/mark-and-period-of-chenghua/ This vase is authenticated as genuine, made in the period of Chenghua (1447-1487) by Dr. Qing Chang, PhD, who is a Research Curator of the Crow Collection of Asian Art, Dallas Arts District, TX, USA. http://crowcollection.org/curator-conversations/a-conversation-with-our-new-curator-dr-qing-chang/ Certificate of authenticity is available in English and Chinese.

Lot: 308B - Ming dynasty, Tianshun period (1458-1464), Meiping Chinese white blue noble porcelain vase with court scene, Jiangxi province

Chinese white blue noble porcelain Meiping vase with court scene, Ming dynasty, Tianshun period (1458-1464), Jiangxi province Description: Amazing handmade porcelain vase with underglaze blue decoration of court scene in the middle; flowers (roses?) at the top and leaves at the bottom The surface of the vase is smooth and cool to touch and slightly wavy (with wavelength 1.5 cm) according to the movement of the potter’s hands during rotating of the potter’s wheel. The blue colors are muted with a noble ivory shade. There is an obvious process of de-vitrification: fading of the glaze, which happens over several hundred years. Height: 11.8 inches = 30 cm; Width: 6.5 inches = 16.8 cm; Widest circumference: 20.5 inches = 52 cm; Diameter of the base: 4 inches = 10 cm; Weight: 4 lb. 4.2 oz. = 1932 g = 1 kg 932 g; Provenance: from private collection in Florida, USA Era dates: Zhengtong (正統): 18 January 1436 – 13 January 1450 Tianshun (天順): 15 February 1457 – 26 January 1465 References: 1. He Li Chinese ceramics a new comprehensive survey. 1996, The Asian Art museum of San Francisco. p.223 2. Zhu Qizhen (Chinese 朱祁鎮; 29 November 1427 – 23 February 1464) was the sixth and eighth emperor of the Ming Dynasty. He ascended the throne as the Zhengtong Emperor (Chinese 正統; pinyin: Zhèngtǒng; literally: "right governance") in 1435, but was forced to abdicate in 1449, in favour of his younger brother the Jingtai Emperor, after being captured by the Mongols during the Tumu Crisis. In 1457, he deposed Jingtai and ruled again as the Tianshun Emperor (Chinese: 天順; pinyin: Tiānshùn; literally: "obedience to Heaven") until his death in 1464. His temple name is Yingzong (英宗).

Lot: 308C - 康熙皇帝 Kang Xi period: 1660-1722, Chinese porcelain vase with original stand, Qing dynasty

康熙皇帝 Kang Xi period: 1660-1722, Chinese porcelain vase with original stand, Qing dynasty. Double circle concept. When the Qing dynasty succeeded the Ming in 1644, the use of nianhao (Imperial reign marks) initially continued, but were suspended for a period by imperial edict during the Kangxi reign (1660-1722). Height of the vase: 9 inches = 23.7 cm; Height of the vase on the wooden stand: 12 inches = 30.5 cm; Diameter of the widest part: 4.3 inches = 11 cm; Diameter of the base 3.25 inches = 8 cm; Weight: 1 lb. 12 oz. = 792 g; The wooden stand is antique and a masterpiece by itself. Condition: genuine imperfections of glaze, mostly at the bottom, no cracks or other defects. Obvious signs of glaze devitrification and microscopic gas bubbles variation in the glaze, which proves the old age of several hundred years of this vase. Provenance: bought 20 years ago at Sarasota estate sale.

Lot: 308D - Four Phoenixes antique Chinese porcelain vase, Qing dynasty

Four Phoenixes antique Chinese porcelain vase, Qing dynasty Amazing hand painted vase, with genuine network of craquelures, which is a sign of authentic aging antique. Height of the vase: 14 inches = 35.5 cm; Diameter of the widest part: 8 inches = 21 cm; Diameter of the base 5.8 inches = 14.5 cm; Weight: 7 lb. 14 oz. = 3,572 g = 3 kg 572; Condition: genuine imperfections of glaze, mostly at the bottom, no cracks or other defects. Provenance: bought approximately 8 years ago at St. Petersburg, Florida, USA estate sale.

Lot: 309 - Museum saddled horse, Chinese Ming early glazed ceramic

Museum horse with a saddle, Chinese early glazed ceramics, Ming Dynasty(?) Height: 13 = 32.5 cm; Weight: 10 lb. = 4.5 kg; Age: Attributed to Ming dynasty (1368-1644) or earlier; Condition: very good for this age, insignificant repairs: right ear and end of the tail was glued;

Lot: 310A - Wei/ Six dynasties (386-589 AD), Large Chinese Terracotta Horse

Description: Genuine ancient, excavated Chinese Terracotta Horse, made in Wei/ Six dynasties (A.D 386-589). Height: 16.5 in. = 41 cm, Length: 13 in. = 32.5 cm, Weight: 9 lb. = 4 kg, Condition: fine, no cracks or other defects. Authenticity: genuine antique, Wei/ Six dynasties (A.D 386-589). Authenticated by Dr. Qing Chang, PhD as Northern Wei terracotta horse. Provenance: from private collection in Florida, USA; purchased in 1991 at auction in California.Similar horse was estimated at Sotheby's at 60,000-80,000 in 2003. Provenance: from old US collection, purchased in 1980's. State of Wei: The State of Wei (simplified Chinese: ; traditional Chinese: ; pinyin: Wèi), sometimes romanized Ngwei to distinguish it from Wey, was a Zhou Dynasty vassal state during the Warring States Period (475 - 221 BCE) of Chinese history. Its territory lay between the states of Qin and Qi and included parts of modern day Henan, Hebei, Shanxi and Shandong. After its capital was moved from Anyi to Daliang (today Kaifeng) during the reign of King Hui of Wei, Wei was also called the state of Liang. References: 2005 The University of Kansas, Lawrence, KS. Condition: Very Fine, no cracks or other defects, spots of imprints of antique tissues. Originally there was a lot of soil and dirt after excavation, so extensive cleaning was done. Terms of sale: All sales are final! Buyer assumes all responsibility for bidding! No refunds will be given under any circumstances! No returns! Please, ask all you questions before you bid! If you have any doubts - do not bid, please! Unconditionally guaranteed to be authentic.

Lot: 310B - 2013, June 21, TimeLine Catalogue “Antiquities”, London, UK

2013, June 21, TimeLine Catalogue “Antiquities”, London, UK June 21, 2013; Number of pages: 134; Number of lots: 1374; Each lot has a color photo, description in English and estimate in EURO and US dollars;

Lot: 311 - Antique Chinese YiXin Zisha tea pot with cover, signed

Authentic Chinese YiXin Zisha tea pot with cover, signed Chinese character seal mark at the bottom of the pot and 2 marks on the bottom of the lid It's not clay and it's not sandy mud. It's a special kind of rock which is mostly mineral deposits found under the ground near Yixing city. Nowadays the rock after it's mined are grounded by the machine with water, then it's filtered. The paste (just like the bean paste) is then used to make the teapots, Bonsai Pot, etc This paste is called Zisha Sand, because it contains very fine sandy particles. Height: 4 inches = 10 cm Length: 4-6 inches = 10-15 cm; Weight: 327 g. Age: 100-200 years. Provenance: from private collection in Florida, USA; purchased in 1980's -1990's Condition: Used antique, excellent, no defects; Terms of sale: All sales are final! Buyer assumes all responsibility for bidding! No refunds will be given under any circumstances! No returns! Please, ask all you questions before you bid! If you have any doubts - do not bid, please! Unconditionally guaranteed to be authentic.

Lot: 311A - Yixing zisha 宜興紫砂 gourd teapot, mark of Xiang Meijuan, Chinese pottery

Yixing zisha 宜興紫砂 gourd teapot, mark of Xiang Meijuan, Chinese pottery; Description: Xiang Meijuan Chinese brown stoneware, decorated with carved flowers on branches, with naturalistic branch form spout, handle and lid finial, carved seal to underside, two character mark to lid interior. Height: 5 inches = 12.7 cm; Length: 6 inches = 15.24 cm; Width: 4 inches = 10.16 cm; Weight: 288 g = 10 oz. Condition Report: Good, small chip to inner rim of cover, no cracks or repairs observed. Provenance: Asian works of art from a New York scholar's collection. References: Yixing clay (simplified Chinese: 宜兴泥; traditional Chinese: 宜興泥; pinyin: Yíxīng ní; Wade–Giles: I-Hsing ni) is a type of clay from the region near the city of Yixing in Jiangsu Province, China, used in Chinese pottery since the Song dynasty (960–1279) when Yixing clay was first mined around China's Lake Tai. From the 17th century on, Yixing wares were commonly exported to Europe. The finished stoneware, which is used for tea ware and other small items, is usually red or brown in colour. Also known as zisha (宜興紫砂) ware, they are typically left unglazed and use clays that are very cohesive and can form coils, slabs and most commonly slip casts. These clays can also be formed by throwing. The best known wares made from Yixing clay are Yixing clay teapots, tea pets, and other tea-ware.

Lot: 311B - Antique Chinese 4 dragons Yixin Zisha tea pot, Qing Dynasty, China

Four dragons antique Chinese Yixin Zisha tea pot, Qing Dynasty, China. Height: 10.5 cm; Weight of the teapot with lid: 322.61 g; Purple-Sand clay teapots have a history of more than five hundred years. In Chinese, they are known as Zisha Hu (紫砂壺), with the characters Zisha (紫砂) literally meaning "purple sand." Throughout this history, there have been several main waves in popularity of collecting Zisha clay pots, including: • the late Ming Dynasty, • the reign of the Qianlong Emperor during the Qing Dynasty, • the late Qing and • early Republic, and the present day. The last thirty-odd years from the 1980s until now have seen a particular swell of interest in these pots, which is still going strong. The main reason for these waves, of course, was the circumstances during these periods of history; these were the "golden ages," when China was flourishing in terms of both culture and economy, resulting in the so-called "fine collections from times of peace and prosperity."

Lot: 311C - Antique Chinese Bamboo Yixin Zisha tea pot, Qing Dynasty, China

Antique Chinese Bamboo Yixin Zisha tea pot, Qing Dynasty, China. Height: 8 cm; Length: 17 cm; Weight of the teapot with lid: 367.08 g; Purple-Sand clay teapots have a history of more than five hundred years. In Chinese, they are known as Zisha Hu (紫砂壺), with the characters Zisha (紫砂) literally meaning "purple sand." Throughout this history, there have been several main waves in popularity of collecting Zisha clay pots, including • the late Ming Dynasty, • the reign of the Qianlong Emperor during the Qing Dynasty, • the late Qing and • Early Republic, and the present day. The last thirty-odd years from the 1980's until now have seen a particular swell of interest in these pots, which is still going strong. The main reason for these waves, of course, was the circumstances during these periods of history; these were the "golden ages," when China was flourishing in terms of both culture and economy, resulting in the so-called "fine collections from times of peace and prosperity."

Lot: 312 - 螢石雕獨占鰲頭 Certified carved fluorite crystal fish “A Boy sitting on the head of the Ao”, Qing Dynasty, 1800’s

Carp known to most Westerners as Koi Fish, the Chinese carp has numerous symbolic values within Chinese culture. The carp is a powerful symbol of strength and perseverance. The scales and whiskers of the carp resemble that of a dragon, a great symbol of power in China. Length: 13.1 inches (33.5 cm); Height: 7.5 inches (19.5 cm); Width: 3.75 inches (10.8 cm); Weight: 14.4 lb. (6.530 kg); Mohs’ hardness: 5.0 - 5.5; Circa 19th century; Qing dynasty (1644-1911) Mineral: Fluorite – Mohs’ hardness: 5.0-5.5; Fluorite was mined in the Hunan, Fujian or Jiangxi province. Provenance: brought to USA in 1970’s by Chinese emigrants from Vietnam This work depicts a little boy sitting on a large fish with a long tail, and he holds the end of the fish tail. Actually, the large fish with a long tail represents Ao, a huge legendary animal combining fish and dragon from sea. A boy sitting on the head of Ao represents a lucky meaning: to come to the first in triennial palace examinations. In ancient China, the main purpose of scholars’ study was to pass the civil examinations to get official position from the governments. Therefore, this piece should be made for the interest of scholars, installing in a scholar’s studio. There is a carved cavity underneath, which is for a pedestal to make the art work stable. References: 1) https://www.fabreminerals.com/specimens/RSCN-china-notable-specimens.php 2) https://www.chinasage.info/symbols/animals.htm#XLXLSymAo

Lot: 318 - Chinese celadon Porcelain 10 cm shipwreck bowl with corals, 1752

Chinese celadon Porcelain 10 cm bowl with beautiful corals, shipwreck GELDERMALSEN anno 1752. From our Shipwreck Porcelain Collection, a fine crackled porcelain bowl, ex-Christie's, from the so-called "Nanking Cargo," which is the term applied to the porcelain recovered from the wreck of the Geldermalsen ship that sank on January 3rd, 1752. The Geldermalsen was a cargo ship belonging to the Dutch East India Company that struck a reef on its way back from Canton China, and sank off the coast of Indonesia in the Linnga archipelago. It took with it to the bottom of the sea over 150,000 ceramic pieces, nearly 700,000 pounds of tea, as well as gold and other cargo. The ship lay submerged for over 230 years, before being salvaged by Michael Hatcher in 1984, where after the recovered porcelain was sold through Christie's auction house. The treasure was sold at Christie's for 37 million guilders, about 50,000,000 euro today Nice shipwreck bowl from the ship GELDERMALSEN. The ship sunk on January 3, 1752. The wreck is found in 1984. The ship contained over 160.000 pieces of porcelain. Some of the salvaged cargo of Geldermalsen was auctioned in May 1986 at Christie's auction house in Amsterdam. Diameter: 4 inch. = 10.3 cm = 103 mm Height: ca. 1 6/8 inch. = 4.5 cm = 45 mm Weight: 200 g = 8 oz. Age: 1752 and older Condition; covered with coral incrustations, no defects. Original: Yes; Circa: 1750;

Lot: 320 - Chinese celadon shipwreck porcelain 16.5 cm plate with flower, 1752

Chinese celadon Porcelain 16 cm plate flower design, shipwreck GELDERMALSEN, 1752 From our Shipwreck Porcelain Collection, a fine crackled porcelain bowl, ex-Christie's, from the so-called "Nanking Cargo," which is the term applied to the porcelain recovered from the wreck of the Geldermalsen ship that sank on January 3rd, 1752. The Geldermalsen was a cargo ship belonging to the Dutch East India Company that struck a reef on its way back from Canton China, and sank off the coast of Indonesia in the Linnga archipelago. It took with it to the bottom of the sea over 150,000 ceramic pieces, nearly 700,000 pounds of tea, as well as gold and other cargo. The ship lay submerged for over 230 years, before being salvaged by Michael Hatcher in 1984, where after the recovered porcelain was sold through Christie's auction house. The treasure was sold at Christie's for 37 million guilders, about 50,000,000 Euro today. Nice shipwreck plate from the ship GELDERMALSEN. The ship sunk on January 3, 1752. The wreck is found in 1984. The ship contained over 160.000 pieces of porcelain. Some of the salvaged cargo of Geldermalsen was auctioned in May 1986 at Christie's auction house in Amsterdam. This is one plate of it. Diameter: 6.5 inch. = 165 mm = 16.5 cm; Height: 1 5/8 inch. = 43 mm = 4.3 cm; Weight: 1 lb. = 450 g; Age: 1752 and older. Condition: Fine, the bottom is covered with corals, no defect; Original: Yes; Circa: 1750;

Lot: 321 - Antique Chinese iron lock with a key, Qing dynasty

Antique Chinese iron lock with a key, Qing dynasty. Weight: 266.23 g; Length: 13 cm = 130 mm; Length with a key: 17.8 cm = 178 mm; Age: several hundred years old (?) Attracted to the magnet; Condition: The key partially moves, but it is impossible to remove it out completely. Provenance: private collection in St Petersburg, Florida, USA.

Lot: 321A - Antique Chinese brass/bronze butterfly furniture decoration, Qing dynasty

Antique Chinese brass/bronze butterfly furniture decoration, Qing dynasty; Weight: 63.85 g; Height: 7.6 cm = 76 mm; Width: 12.1 cm = 121 mm; Age: several hundred years old (?) Not attracted to the magnet; Condition: one small piece in the middle of the butterfly moves up and down, like a hinge. Provenance: private collection in St Petersburg, Florida, USA.

Lot: 322 - Chinese carved huanghuali/zitan wood cabinet, Qing dynasty, 74 inches high

Chinese carved huanghuali/zitan wood cabinet, Qing dynasty, 74 inches high Unique, genuinely antique, carved wood cabinet from Qing dynasty. This cabinet was made meticulously from 2 species of wood, without any nails or screws. All the connections are made with mortise and tenon joints. The frame is made from harder species of wood: oak or zitan. The walls are made from different wood: Huanghuali. There 2 major parts upper cabinet stands on the base. There is a secret invisible shelf, which can be used to hide treasures and money. Height: 74 inches = 188 cm; Width: 38 inches = 96.5 cm Depth: 22 inches = 56 cm; Total weight of two pieces: 120-140 lb. = 60 -70 kg Condition: major parts are original and in good condition. The locks on the front doors were replaced, but the original locks are available. The gilt is partially old and partially repainted. Provenance: Private collection in Clearwater, Florida.

Lot: 322A - Antique Chinese wooden cabinet, 179 cm, Qing dynasty, 1644-1850

Antique Chinese wooden cabinet, 179 cm, Qing dynasty, 1644-1850. This magnificent cabinet is embellished with gilding and breathtaking hand-painted scenes, expertly captured on the cabinet's surface. Three fitted interior shelves. Still retaining its original bronze hardware. Chinese carved huanghuali/zitan wood cabinet, with chinese copper character as a handle. Condition: This exclusive antique is in very good shape. Width: 3 ft 2 inch = 97 cm; Height: 5 ft 10.5 inch = 179 cm; Depth: 1 foot 7 inch = 53 cm; This cabinet was made meticulously from 2 species of wood, without any nails or screws. Later some screws were added for the handles. All the connections are made with mortise and tenon joints. The frame is made from harder species of wood: oak or zitan. The walls are made from different wood: Huanghuali. Provenance: private collection in Ottawa, Ontario, Canada, Estimate price: $5,000-$10,000 US

Lot: 323 - Chinese antique Carved Canopy from Opium or Wedding Daybed, Qing Dynasty, 201cm

Chinese antique Carved Canopy from Opium or Wedding Daybed, Qing Dynasty Suzhou category: Opposite to the Beijing category, characterized by its elaborate decoration, developed from early Qing Dynasty furniture Size: 80.5 in. x 26.5 in. = 201 cm x 66 cm = 2 m x 0.66 m Weight: 10 -15 lb. = 5-10 kg Condition: used, some chips at the back, no major defects Materials: wood, rattan, covered with red lacquer in front. The upper bar is a long solid wood, without any interruptions. The upper bar has to two strong metal handles, which are connected to the bar in an original a secure way: all the way through. Six vertical bars are connected to the upper bar by woodworking joints, without nails. Small horizontal lower bars are connected to vertical bars through the wooden joints, enforced by 10 antique nails. We have counted 8 x 2 small nails (golden or copper) to attach two metal covers around the corners. Similar item was found in Great Britain, Birmingham: https://www.1stdibs.com/furniture/seating/day-beds/antique-chinese-opium-bed-wedding-daybed-carved-wood-canopy-circa-1850/id-f_1277514/ Low Estimate: 5000.0; High Estimate: 10000.0; Original: Yes; Circa: 1750 AD;

Lot: 323A - Chinese 3 Taoist deities carved antique red wood plaque, framed, Qing dynasty, 19th century

Chinese 3 Taoist deities carved antique red wood plaque, framed, Qing dynasty, 19th century; Size of the frame: 56.5 cm x 34.5 cm; Size of the wooden plaque: 36 cm x 13.4 cm; Weight of the frame: 2 kg 305 g; Condition: very good, framed under glass; Provenance: private collection in Florida, USA.

Lot: 324 - Chinese antique carved bamboo dragon boat with 18 Archats, awaiting return of Buddha

Length: 15.5 inches = 38.7 cm; Width: 6 inches = 15 cm; Weight: 2 lb. 5.7 oz. = 1064 g In Buddhism, an arhat (Sanskrit) or arahant (Pali) is one who has gained insight into the true nature of existence and has achieved nirvana.[1][2] Mahayana Buddhist traditions have used the term for people far advanced along the path of Enlightenment, but who may not have reached full Buddhahood.[3] The understanding of the concept has changed over the centuries, and varies between different schools of Buddhism and different regions. A range of views on the attainment of arhats existed in the early Buddhist schools. The Sarvāstivāda, Kāśyapīya, Mahāsāṃghika, Ekavyāvahārika, Lokottaravāda, Bahuśrutīya, Prajñaptivāda, and Caitika schools all regarded arhats as imperfect in their attainments compared to buddhas.[4][5][6] Mahayana Buddhist teachings urge followers to take up the path of a bodhisattva, and to not fall back to the level of arhats and śrāvakas.[7] The arhats, or at least the senior arhats, came to be widely regarded by Hinayana (Theravada) buddhists as "moving beyond the state of personal freedom to join the Bodhisattva enterprise in their own way".[3] Mahayana Buddhism regarded a group of Eighteen Arhats (with names and personalities) as awaiting the return of the Buddha as Maitreya, while other groupings of 6, 8, 16, 100, and 500 also appear in tradition and Buddhist art, especially in East Asia called luohan or lohan.[8][9] They may be seen as the Buddhist equivalents of the Christian saint, apostles or early disciples and leaders of the faith.[8]

Lot: 325 - Chinese wooden board table screen carving, Qing dynasty

Chinese Antique Wooden board table screen carving, Qing/Ming dynasty. Height of the screen + base: 11 inches = 26.8 cm. Width of the screen: 7.5 inches = 14 cm. Width of the base: 6.5 inches = 16.5 cm. Weight of the base: 160 g. Weight of the screen: 260 g Total weight: 420 g. Provenance: from private collection in Florida, USA; purchased in 1980's -1990's; Condition: natural aging of the wood, no damage; Terms of sale: All sales are final! Buyer assumes all responsibility for bidding! No refunds will be given under any circumstances! No returns! Please, ask all you questions before you bid! If you have any doubts - do not bid, please! Unconditionally guaranteed to be authentic.

Lot: 326 - Fisherman named Xu (许) antique Chinese carved hard red wood, Qing dynasty

Antique Chinese carved hard red wooden Fisherman, late Qing dynasty(?) Weight: 2 lb. 8 oz. = 1150 g. Height: 13 inches = 32.5 cm. Condition: normal age wear, no defects. A fisherman is holding on a left shoulder a long stick with wide part at the top. I am not sure what does it mean. There are 2 drilled holes in the funnel part of the stick. Age: approximately 1800-1920 Condition normal age wear, no defects; Low Estimate: 2500; High Estimate: 5000;

Lot: 327B - Royal Taste: The Art of Princely Courts in Fifteenth-Century China Hardcover – November 6, 2015, Brand new book

Royal Taste: The Art of Princely Courts in Fifteenth-Century China Hardcover – November 6, 2015, Brand new book Royal Taste offers a rare opportunity to examine more than a hundred objects from five museums in Hubei, China, including metal and porcelain work, jewelry, paintings and sculpture. Highlights include exciting archeological finds from recently excavated royal tombs and state-commissioned Daoist statues from Mt Wudang that illustrate the luxurious life and religious practice of princely courts in early and mid-Ming China (1368-1644). With essays and entries from seven leading scholars, this beautifully illustrated catalogue offers fresh perspectives on the material culture of China at a time before Europe entered its great age of discovery. Major themes include the impact of state patronage on Daoist and Tibetan Buddhist art, and the role of princely courts in defining late imperial Chinese art and culture. Condition: Brand new book, still in plastic. Original price: $65.00 + taxes • Publisher ‏ : ‎ Ringling Museum, Scala Arts Publishers Inc. (November 6, 2015) • Language ‏ : ‎ English • Hardcover ‏ : ‎ 192 pages • ISBN-10 ‏ : ‎ • ISBN-13 ‏ : ‎ • Item Weight ‏ : ‎ 3.7 pounds • Dimensions ‏ : ‎ 9.95 x 1.02 x 11.81 inches

Lot: 328A - Antique German large tea pot & cover, bullet mark Thuringia, Germany;

Antique German large tea pot & cover, bullet mark Thuringia, Germany; There is a bullet shape sign at the bottom, which means: Oscar Schlegelmilch Langewissen, Thuringia Germany; Height: almost 10 inches = 24 cm; Diameter: 3.7 x 3.7 in. = 9.5 x 9.5 cm; Weight with cover: 2 lb. = 900g; Condition: Fine, there is 5 cm at the edge of the cover, some loss of gilt; Age: 1892-1950;

Lot: 330 - A pair of antique large, heavy Chinese Jade + Zitan wood table screens

A pair of antique large, heavy Chinese Jade + Zitan wood table screens Each jade plaque (14.75” x 11”) finely carved to depict cranes among lotus blossoms, Lingzi and cherry blossom tree, set in 2” deep frames which are in turn fitted in well carved Zitan stands, with overall dimensions of 24.75” x 17”. Overall dimensions: Height: 24.75 inches = 62.86 cm; Width: 17 inches = 43.18 cm; Provenance: Private collection in Alabama, USA;

Lot: 331 - Chinese antique Carved Wooden Qilin, Qing dynasty

Chinese antique handmade Carved Wooden Qilin, Qing dynasty (?) Weight: 3 lb. 7 oz. = 1600 g. Height: 12 inches = 29.5 cm. Length: 7.5 inches = 18.5 cm. Age: presumably Qing dynasty (1644-1912). Material: Red hard wood. Condition Overall very good condition. Amazing handmade carving from the whole piece of hardwood There are following damages: the right ear is broken, front upper and lower teeth are missing, decoration detail under left leg is partially broken. There is a stable (only 5 mm deep) vertical crack in the base (picture#2); Low Estimate: 2000; High Estimate: 5000; Orignal: Yes;

Lot: 332 - Chinese antique bronze horse

Height: 15.6 cm; Length: 21 cm; Weight: 1 lb. 11.8 oz. = 788 g; Does not stich to the magnet; Age: unknown; Provenance: bought in Caucasian mountains

Lot: 333 - Chinese cloisonne vase, 12 in. 19th c

Chinese cloisonne vase, 19th c. Height: 12 inches = 30 cm. Condition: used, but nice, no defects; Original: Yes;

Lot: 333A - Tall antique Chinese cloisonné vase/lamp, Late Qing dynasty

Amazing huge antique Chinese cloisonné vase/lamp with three Phoenix birds, Late Qing dynasty or Republican period. Total Height: 40.5 inches = 103 cm; Total Weight: 17 lb. = 7.71 kg Condition: Electrical wiring is in good working condition, the bulb lights brightly.

Lot: 334 - Chinese antique Cloisonne red Vase, Qing Dynasty?

Chinese antique cloisonne red Vase, attributed to Qing dynasty Heavy: 4-7 lb. Height: approximately 20 inches; Diameter in the middle: 8 in. Diameter at the opening: 7 in. Provenance: from private collection in Florida, USA; purchased in 1987 in Germany; Condition: natural aging, no damage; Terms of sale: All sales are final! Buyer assumes all responsibility for bidding! No refunds will be given under any circumstances! No returns! Please, ask all you questions before you bid! If you have any doubts - do not bid, please! Unconditionally guaranteed to be authentic.

Lot: 335 - Cloisonne Chinese copper box, Qing dynasty or earlier

Genuine hand-made, antique cloisonne Chinese copper box, Qing dynasty or earlier. Length: 3 ¾ in. = 95 mm. Width: 3 in. = 75 mm. Height: 1.5 in. = 40 mm. Weight: 200 g = 6.5 oz. References: Cloisonné is an ancient technique for decorating metalwork objects, in recent centuries using vitreous enamel, and in older periods also inlays of cut gemstones, glass, and other materials. The resulting objects can also be called cloisonné. The decoration is formed by first adding compartments (cloisons in French[1]) to the metal object by soldering or adhering silver or gold wires or thin strips placed on their edges. These remain visible in the finished piece, separating the different compartments of the enamel or inlays, which are often of several colors. Cloisonné enamel objects are worked on with enamel powder made into a paste, which then needs to be fired in a kiln. The technique was in ancient times mostly used for jewellery and small fittings for clothes, weapons or similar small objects decorated with geometric or schematic designs, with thick cloisonne walls. In the Byzantine Empire techniques using thinner wires were developed to allow more pictorial images to be produced, mostly used for religious images and jewelry, and by then always using enamel. By the 14th century this enamel technique had spread to China, where it was soon used for much larger vessels such as bowls and vases; the technique remains common in China to the present day, and cloisonné enamel objects using Chinese-derived styles were produced in the West from the 18th century. Condition: fine, 2 small piece of blue enamel inside are missing. Right corner of the lid (near the hinge) is damaged. Hinge looks original. The box opens fully, stays open. In the closed condition there is a 2 mm gap between the lid and a box. Low Estimate: 1000; High Estimate: 2000; Original: Yes;

Lot: 336 - Chinese antique Ordos style bronze camel, 14 cm, 940 g

Chinese antique bronze camel. Length: 5.5 inches = 14 cm, Height: 4.25 inches = 10 cm, Weight: 2 lb. 1 oz. = 940 g. Age: several hundred years old. Provenance: private collection in Florida, purchased in 1980's -1990's. The Ordos culture comprises the period from Upper Paleolithic to the late Bronze age at the Ordos Desert, in the south of the Inner Mongolian Autonomous Region of the People's Republic of China. The Ordos were predominantly Mongoloid, as known from their skeletal remains and artifacts,[1] but numerous interactions between Europoid and Mongoloid might have also taken place in that region over the course of several centuries,[2] until its occupation by Qin and Han dynasties. Condition: beautiful old patina, no defects. Terms of sale: All sales are final! Buyer assumes all responsibility for bidding! No refunds will be given under any circumstances! No returns! Please, ask all you questions before you bid! If you have any doubts - do not bid, please! Unconditionally guaranteed to be authentic.

Lot: 337 - Warring States (475-221 BC) Chinese Bronze Rhinoceros wine container

Chinese Bronze Rhinoceros wine container, Warring States (475-221 BC) ZUN, shaped as a rhinoceros, has two horns on the head and a round lid on the back. The whole body is covered with cloud decoration. Around the neck and about the front part of the body are wrinkles. Age: Warring States (mid.4th cent.-221 B.C). Weight: 4 lb. 9 oz. = 2080 g. Length: 11 in. = 28 cm. Width: 4 = 9 cm; Height: 5.5 in. = 13.5 cm. Condition: very old, authentic patina all over, the lid opens only up to 40 degrees, otherwise there are no other defects, a lot of white oxidation inside the vessel. Provenance: from private collection in Florida, USA, purchased in 1980's -1990's. References: Archaeological evidence shows that rhinoceros have been found in China since earliest times. A text on oracle bones from the late Shang dynasty (1300 - 1050 BC) records the king hunting rhinoceros, whose tough, thick hide was used as body armor by high-ranking soldiers. In the war-torn centuries preceding the Han period, the rhinoceros was hunted nearly to distinction, becoming so rare that it attained almost mythical status. http://www.easterncurio.com/easten%20curio/F%20Bronze&Copper%20Pieces/F2%20Animal/Animal01.htm...... http://www.flickr.com/photos/sftrajan/7315946912/ Rhinoceros-shaped bronze 'Zun' (wine vessel) - gold and silver inlaid cloud design - Western Han Dynasty (202 BC to 8AD). Unearthed in Shaanxi Province National Museum of China () Beijing, China .the rhinoceros lived in China in ancient times...... Condition: very old, authentic patina all over, the lid opens only up to 40 degrees, otherwise there are no other defects, a lot of white oxidation inside the vessel. Terms of sale: All sales are final! Buyer assumes all responsibility for bidding! No refunds will be given under any circumstances! No returns! Please, ask all you questions before you bid! If you have any doubts - do not bid, please!

Lot: 338 - Monumental bronze Gui/Kuei (ritual vessel) Zhou dynasty (1046 BC-256 BC), China

Monumental bronze Gui/Kuei (ritual vessel) Zhou dynasty (1046 BC-256 BC), China. Huge size archaic Chinese ritual bronze Gui/Kuei vessel. Mounted with two figural animal handles and having an ample bowl-shaped body with rounded sides, all cast in low relief with geometric patterns, bands, and Taotie masks. Approx. 8'' height x 20'' width x 15'' diameter. Weight: 24 lb. = 10.88 kg. Genuine multicolored, strongly attached patina and oxidation.Provenance: Private collection in St Petersburg, Florida, USA. A gui is a type of bowl-shaped ancient Chinese ritual bronze vessel used to hold offerings of food, probably mainly grain, for ancestral tombs. As with other shapes, the ritual bronzes followed early pottery versions for domestic use, and were recalled in later art in both metal, pottery, and sometimes stone. The shape changed somewhat over the centuries but constant characteristics are a circular form (seen from above), with a rounded, wide, profile or shape from the side, standing on a narrower rim or foot. There are usually two, or sometimes four, handles, and there may be a cover or a square base (or both). References: The Kang Hou Gui, an 11th-century BC example in the British Museum was chosen as object 23 in the A History of the World in 100 Objects.[3] The British Museum bowl inscription on the inside of the bowl tells that King Wu's brother, Kang Hou, who was the Duke of Kang and Mei Situ were given territory in Wei. The inscription relates a rebellion by remnants of the Shang, and its defeat by the Zhou, which helps us to date it. Because historians know exactly when this unsuccessful rebellion against the Zhou dynasty took place then the bowl can be dated very accurately.[4] https://ncartmuseum.org/object/kuei-ritual-vessel/

Lot: 338A - Western Zhou (1122-771 BC) archaic bronze tripod ding, China.

Western Zhou (1122-771 BC) archaic bronze tripod ding, China. Western Zhou (1122-771 BC) tripod ding, twin handled, archaic bronze, China. Geometrical design – two fighting animals? Dimensions: 6.5 x 11.25 in. = 16.51 cm x 28.57 cm; Weight: approx. 10 lb. = 4.5 kg; Natural patination of bronze, more expressed inside the ding. Metallurgical analysis of similar dings from Allen’s collection: copper – 47.7%, tin – 7.34%, lead- 43.91%. According to the protocols of the Western Zhou, a common officer was entitled to three dings. - Provenance: this item comes from the private collection of Lou A. and Barbara B. Pritchett, collected during their life in Philippines. Lou Pritchett was the ex-Vice President of Procter and Gamble. Lou Pritchett rose through the ranks at Procter & Gamble and was instrumental in the creation of the partnership between Procter & Gamble and Wal-Mart. Pritchett was instrumental in bringing Proctor & Gamble to the Phillipines during his time there. Now retired, Lou is a sought-after public speaker and author of Stop Paddling & Start Rocking the Boat.

Lot: 338B - Shang - Han dynasty (1200BC-200AD), Chinese bronze banded jar

The Hu was a lidded jar or vase, dating from the late Shang to the Han dynasty. Its original use was a wine vessel. Two small ring heavy handled hu. Note mold casting lines on the bottom. Height: 6 inches = 15 cm Width: 4.5 inches = 11 cm; Weight: 1 lb. 9.2 oz. = 714 g; Condition: genuine multicolored patina; no defects; Provenance: from the American collection of Washington, DC, USA, collected prior to 1949;

Lot: 339 - Chinese Bronze Deer, Qianlong Emperor mark, Qing dynasty

Qing dynasty, Qianlong Emperor (1735-1796) period, Chinese bronze deer. Height: 15 inches = 42 cm; Length: 11.5 inches = 29 cm; Weight: 7 lb. = 3 kg; Provenance: private collection in Florida, purchased in 1980's -1990's Condition: Partial oxidation of the bronze, some loss of gilded layer, otherwise - perfect. Terms of sale: All sales are final! Buyer assumes all responsibility for bidding! No refunds will be given under any circumstances! No returns! Please, ask all you questions before you bid! If you have any doubts - do not bid, please! Unconditionally guaranteed to be authentic.

Lot: 340 - Terracotta Army of Qin Shi Huang, 4 Chinese Bronze Soldiers, Qin dynasty (221-206 BC)

Attributed to Qin dynasty (221 to 206 BC); -Tallest soldier with 2 hair nodes. Weight: 1480 g = 3 lb. 4 oz , Height: 14 = 35 cm; -Middle soldier with 1 small hair node Weight: 3 lb. 8 oz. =1600 g; Height: 13.5 = 34 cm; -Middle soldier with 1 big hair node - Weight: 3 lb.=1400 g; Height: 13.25 = 33.5 cm; -Kneeling soldier with 1 small hair node; Weight: 3 lb. 8 oz.= 1600 g ; Height: 10.5 in. = 26.5 cm; Total weight: 14 lb. = 6 kg; Tallest soldier with 2 hair nodes: 14 = 35 cm; 3 lb. 4 oz. = 1480 g; Middle soldier with 1 small hair node: 13.5 = 34 cm; 3 lb. 8 oz. = 1600 g; Middle soldier with 1 big hair node 13.25 = 33.5 cm 3 lb. = 1400 g. Kneeling soldier with 1 small hair node 10.5 = 26.5 cm; 3 lb. 8 oz. = 1600 g; Suggested Shipping in USA - FED-EX ground, UPS ground, approximately $50-$100. International shipping is available, ask for rates, please. Condition: Natural green patina and oxidation all over, remnants of clay or soil - inside the statues; Low Estimate: 2000; High Estimate: 6000;

Lot: 341 - Broken bronze ding, Shang – Zhou dynasties (1200 BC -300 BC)

Broken bronze ding, Shang – Zhou dynasties (1200 BC -300 BC) Weight: 6.8 lb. Original size: 10.3 x 10.2 x 8.7 inches Provenance: private collection in California, USA.

Lot: 342 - Chinese Gilded Iron pair of Foo Dogs, Ming/Qing dynasty or earlier

Chinese gilded Iron pair of Foo Dogs, Ming/Qing dynasty or earlier. Weight: 5 lb. Base; 2.5 x 5.5 in. Height: 6 in. = 15 cm. Age: over 300 years old. Provenance: private collection in Florida, USA, purchased in 1980's -1990's. Condition: rust all over, partial loss of gild, no major defects; Original: Yes; Terms of sale: All sales are final! Buyer assumes all responsibility for bidding! No refunds will be given under any circumstances! No returns! Please, ask all you questions before you bid! If you have any doubts - do not bid, please! Unconditionally guaranteed to be authentic.

Lot: 343 - Chinese gilded bronze lotus incense burner, Qing dynasty

Chinese gilded bronze incense burner in the shape of lotus, Qing Dynasty. Symbolism of the burner: "Lotus" means "to continue" in Chinese language means many. So, Lotus with a child means "continue to deliver many children". Lucky words for mothers. Three legs in the shape of frogs. Diameter: 5.5 inches = 14 cm. Height: 6 in. = 14 cm. Weight: 4 lb. 12 oz. = 2 kg 150 g. Condition: used, natural patina, no defects. Authenticity report: genuine Provenance: private collection in Florida, USA, purchased in 1980's -1990's; Condition: used, natural patina, no obvious defects; Terms of sale: All sales are final! Buyer assumes all responsibility for bidding! No refunds will be given under any circumstances! No returns! Please, ask all you questions before you bid! If you have any doubts - do not bid, please! Unconditionally guaranteed to be authentic.

Lot: 346 - Chinese Antique Bronze Tea Pot, Qing Dynasty

Chinese antique bronze tea pot, Qing dynasty (1644-1912); There is an image of the jade girl on the phoenix bird and golden boy on the dragon on both sides of the pot. - Dragon and Phoenix; - golden boy and jade girl -- immortal boy and girl in waiting of a divine house; Weight: 12 oz. = 350 g; Height: 4 in. = 10.5 cm; Diameter: 3.25 in. = 7.5 cm; Authenticity report: genuine antique, 6 character mark on the bottom; Provenance: bought on antique market in Germany in 1980's. Condition: Natural patina with some oxidation; Terms of sale: All sales are final! Buyer assumes all responsibility for bidding! No refunds will be given under any circumstances! No returns! Please, ask all you questions before you bid! If you have any doubts - do not bid, please! Unconditionally guaranteed to be authentic.

Lot: 347 - Ming Dynasty Bronze/Copper Lion Incense Burner with lion

Ming Dynasty Bronze/Copper Lion Incense Burner with lion and 2 candle holders Mystical lion on the cover, 2 candle holders on the sides. Rich patina everywhere; rich natural bronze oxidation inside 4 ancient characters on one side with 2 phoenix birds above 4 ancient characters on the other side with 2 phoenix birds above. Translation of the characters: Let your house - be full of gold and jade. Usually, these burners were used for burning candles and herbs for Buddha shrine. Seal with 6 characters on the bottom Weight: 2 lb. 6 oz. = 1100 g. Height (burner with lion cover): 7.5 inches = 17.5cm. Width: 6.5 inches = 16 cm Condition Rich patina everywhere; rich natural bronze oxidation inside Low Estimate: 4000 High Estimate: 12000 Original: Yes

Lot: 349 - Chinese Museum Bronze Song dynasty plate: gilded Dragon

Antique Chinese Bronze hand-made plate with gilded Dragon, birds and flowers Bronze or Silver(?) with chased and punched decoration and gilding. Vessels such as these were made for formal entertaining. Presumable age: Southern Song dynasty (1127-1279) or Yuan dynasty (1271-1368), Possibly was made in lower reaches of Yangzi River. Weight: 8 oz. = 230 g; Diameter: 17 cm = 6.75 inches. Similar plate is exposed in Metropolitan museum, in New York, USA. Condition: Beautiful patina, no defects; Low Estimate: 40000; High Estimate: 150000; Original: Yes;

Lot: 350 - White Bronze Ming Dynasty, Incense Burner

White Bronze Ming Dynasty Bronze Incense Burner, silvered and gilded; partial oxidation. Usually, these burners were used for burning candles and herbs for Buddha shrine. Seal with 6 characters on the bottom. Weight: 4 lb. = 1800 g. Height: 8 inches = 20.5cm; Biggest width: 9.5 inches = 25 cm. Provenance: bought on antique market in Florida, USA. Condition Natural patina everywhere; silvered and gilded; partial oxidation Low Estimate: 3000 High Estimate: 6000 Orignal: Yes

Lot: 352 - Warring States, Chinese Bronze mirror: Three Shan

Chinese Bronze mirror: Three T Shan, Warring States, 480-221 BC. Diameter: 5 inches = 126 mm. Weight: 7 oz. = 200 g. Rim: concave, with sharp edge. Side: slightly inclined inwards. Knob is very small, hole is blocked by oxidized metal; Round circle around knob, which is rare, usually a square. Mirror surface: flat. Inner section: 3 T Shan, against finely patterned ground (feather pattern) Metal: white bronze, nice patina. Mirrors with 4 or 5 Shan shapes as the main motif are one of the representative types of Warring States period. It is not clear, however, what the Shan shape signifies. One suggestion is that it is an early form of the T-shape, found on TLV mirrors and the liubo gaming board, but to date there is no proof of this. Condition Some oxidation, patina and rust, which is normal for this age. Low Estimate: 800 High Estimate: 3000

Lot: 353 - Warring States, Chinese bronze mirror T Shan Tiger Deer

Chinese Bronze mirror - 3 T Shan, 2 deer & tiger, Warring States 480-221 BC; Diameter: 8.25 in. = 208 mm; Weight: 2 lb. 5 oz. = 1080 g; Condition: beautiful genuine patina, no other defects. Condition beautiful genuine multicolored patina, no other defects. Low Estimate: 20000 High Estimate: 50000 Orignal: Yes

Lot: 354 - Archaic Warring States, inlaid Jade & Turquoise Bronze mirror

Amazing Warring States, inlaid Jade & Turquoise Bronze mirror Inlaid antique jade and 8 turquoise stones, with 8 characters in between; Jade inlaid contains images of turtle, tiger, dragon and another one; Translation: Have Long Life & Wealth, Have Year-to-Year Peace, Meaning: Have Long Life and Year-to-Year Peace, Translation was done by the expert Chinese Etymologist, who is well known in Taiwan and China; Age of the mirror: Warring States 481-221 BC; Weight: 11 oz. = 310 g; Diameter: 4.9 in. = 125 mm; Condition: extensive thick genuine patina on both sides. Knob is partially blocked by oxidation and rust. References: The Warring States period ( "http://en.wikipedia.org/wiki/Simplified_Chinese_characters" title="Simplified Chinese characters">simplified Chinese: ; "http://en.wikipedia.org/wiki/Traditional_Chinese_characters" title="Traditional Chinese characters">traditional Chinese: ; "http://en.wikipedia.org/wiki/Pinyin" title="Pinyin">pinyin: Zhànguó Shídài) is a period in "http://en.wikipedia.org/wiki/History_of_China#Ancient_China" title="History of China">ancient China following the Spring and Autumn period and concluding with the victory of the state of Qin in 221 BC, creating a unified China under the Qin dynasty. Different scholars use dates for the beginning of the period ranging between 481 BC and 403 BC, but Sima Qian's date of 475 BC is most often cited. Most of this period coincides with the second half of the "http://en.wikipedia.org/wiki/Eastern_Zhou_dynasty" title="Eastern Zhou dynasty">Eastern Zhou dynasty, although the "http://en.wikipedia.org/wiki/Chinese_sovereign" title="Chinese sovereign">Chinese sovereign (king of Zhou) was merely a "http://en.wikipedia.org/wiki/Figurehead" title="Figurehead">figurehead. The name of the period was derived from the "http://en.wikipedia.org/wiki/Record_of_the_Warring_States" title="Record of the Warring States"> Record of the Warring States, a work compiled early in the "http://en.wikipedia.org/wiki/Han_dynasty" title="Han dynasty">Han dynasty.

Lot: 355 - Bronze Mirrors from Ancient China, by Donald Graham Jr., Chinese Antique Research Book, 1994

Bronze Mirrors from Ancient China, by Donald Graham Jr., Chinese Antique Research Book, 1994 Beautiful large book on the subject of ancient Chinese bronze mirrors. It has a lovely cloth covered hard shell that it slides into for protection. The book is in immaculate condition. Lots of full color images. If you’re into the subject this is an excellent refe Condition: Very Good: A book that has been read and does not look new, but is in excellent condition. No ... Read more about the condition Book Title: Bronze Mirrors from Ancient China: Donald H. Graham Jr. Collectio Publisher: Donald H Graham Jr. Publ. Original Language: English; Inscribed: Yes; Edition: First Edition; Vintage: Yes; Publication Year: 1994; Format: Hardcover; Language: English; Era: 1990s; Author: Nakano, Toru; Features: Illustrated, Dust Jacket; Genre: Antiquarian & Collectible; Topic: Collectibles; Country/Region of Manufacture: China; Reference book. Ships ASAP! Thanks;

Lot: 367 - W Han dyn, Chinese Bronze TLV Mirror, 107mm

Genuine Cosmic TLV Chinese Bronze Mirror 107 mm, Western Han Dynasty, 206 BC - 220 AD. TLV design incorporates both scientific and mythological elements. These mirrors are also called "compass mirrors" by Chinese Scholars. Made in Han Dynasty: 206 BC - 220 AD; Diameter: 107 mm = 4.5 inches; Weight = 200 g = 7 oz. Mirror surface is slightly convex; Knob - 5 mm high, open Authenticity report:

Lot: 369 - E. Jin dynasty, Chinese bronze convex mirror - Phoenix, 87 mm

Genuine antique Chinese bronze convex mirror with Phoenix, Eastern Jin dynasty (265-420 AD); Decorated with a bird, bands of short lines, saw and wave pattern; Diameter: 87 mm = 3 ½ inches; Weight: 119 g; Condition: genuine patina with original reflective areas. Age: Eastern Jin dynasty (265-420 AD). Knob: 7 mm high, filled with oxidative materials Condition Genuine noble patina Low Estimate: 2000 High Estimate: 10000 Original: Yes

Lot: 370 - W Han Convex Chinese TLV Bronze mirror 8 flowers design

Convex Chinese TLV Bronze mirror with eight flowers design, Western Han dynasty (206 BC-220 AD); Outer circle: Saw tooth design; Inner circle: TLV mixing with flowers; Diameter: 92 mm = 3.55. Weight: 173.65 g; Condition: authentic patina; Age: Western Han Dynasty, 206 BC-9AD; Condition: authentic patina, no defects Low Estimate: 2000 High Estimate: 10000 Original: Yes

Lot: 374 - W Han dynasty Chinese inscriptions museum bronze mirror

Genuine Bronze Mirror, Western Han Dynasty, 8-inch, 206 BC - AD 9. Awesome antique authentic bronze Chinese mirror; Amazing thick patina; Museum quality, more than 2000 years old; Age: Early Western Han Dynasty 206 BC - AD 9; Most inner section depicts 12 disks surrounding the central knob, which may represent 12 planets around the Sun or 12 animal years of Chinese Astrology: the rat, the ox, the tiger, the cat, the dragon, the snake, the horse, the goat, the monkey, the rooster, the dog, and the pig; in that order. Next inner circle: 25 archaic Chinese characters. Middle circle: 4 flowers with knob-like centers and schematic pictures of pair of Phoenixes, Black Turtle, White Tiger and Dragon, which guard the four quarters of the world. The dragon and phoenix had been associated since ancient times, but the concept that these two animals, together with the White Tiger and Black turtle guard the 4 quarters of the world, owes much to the philosophy of the five elements (Wuxing), which originated and developed in the Han period. However on Han and later mirrors, the dragon and phoenix are often stressed, indicating that the old tradition had not died yet. (Donald Graham Jr. Collection, "Bronze Mirrors from Ancient China"); Outer circle: double saw tooth pattern around the flat rim; The mirror surface has several remnant islands of reflective surface. The size of the biggest island is 11 x 25 mm; Diameter = 8.25 inches = 207 mm = 20.7 cm; Weight = 2.3 lb = 1.05 kg = 1050g; Knob height: 7 mm; Thickness: 4 mm; Condition Natural ancient patina, small area of original cast imperfection, no other defects Low Estimate: 50000 High Estimate: 100000 Orignal: Yes

Lot: 375 - W Han dynasty, Cosmic TLV Chinese Bronze Mirror

Genuine Cosmic TLV Chinese Bronze Mirror Han Dynasty, 206 BC-220 AD. Stunning, absolutely incredible Cosmic TLV Chinese Bronze Mirror, 100% authentic. This mirror has a distinctive island of reflective surface 35 x 15 mm TLV design incorporates both scientific and mythological elements. The mirrors are also called "compass mirrors" by Chinese Scholars. Made in Han Dynasty: 206 BC-AD 220; Diameter:

Lot: 376 - E Han dynasty, Chinese Bronze mirror, 4 Phoenixes, 84mm

Authentic Bronze mirror with Four Phoenixes, Eastern Han Dynasty, 25 in. 220 AD; Weight: 146 g; Diameter: 3.25 in. = 84 mm Condition Genuine patina, remnants of original mirror polishing; Low Estimate: 5000 High Estimate: 20000 Original: Yes

Lot: 377 - Authentic E. Tang Bronze mirror with unusual flower decoration, 135mm,

Authentic E. Tang Bronze mirror with unusual flower décor on mirror, 135mm, Age: Eastern Han Dynasty, 25 220 AD Dragon, Phoenix, Tiger and __________design One knob in the middle with 4 small knobs around; Weight: 12 oz. = 340 g; Diameter: 5.25 = 135 mm; Mirror surface is nicely convex and has very unusual small flower decoration at the partial outer rim. Condition: nice genuine patina all the way around; Provenance: From the collection of Chinese Professor from New Jersey, USA;  

Lot: 381 - Antique Chinese bronze mirror- Monsters, Birds & Grapes, 123 mm, Tang Dynasty

Age: Tang Dynasty (618-906 AD); Condition: Worn by natural aging, beautiful patina; Weight: 14 oz. = 400 g; Diameter: 4.8” inches = 123 mm; Thickness of the rim: 7 mm; Knob: 6 mm, small hole all the way through; Mirror surface: slightly concave; Rim: 8 mm, inclined inward, saw tooth pattern; Side: slightly inclined inward; Provenance: Bought at Houston Antique Auction in Texas, USA;

Lot: 383 - Tang dynasty, unearthed, mysterious bronze mirror, 8 Horses, 32 cm, 618-907 AD

Unearthed, mysterious bronze mirror(?) Eight Horses; Tang dynasty (618-907 AD); Diameter: 12.75 inches = 31.87 cm; Weight: 4.5 lb. = 2.1 kg; There is no attraction to the magnet, so it is not an iron.This mirror is a Chinese historical puzzle and we are still doing research on it. It may not be a mirror, because of the way it was crafted, but it might have a big historical significance. The picture is of the eight royal horses that belonged to King Mu of Zhou dynasty, a legendary emperor. It was written in the Biography of King Mu of Zhou that he took a ride with his eight precious horses and traveled thousands of miles to the Kunlun Mountains. Provenance: This mirror was brought to UK from China, at the beginning of the 1900. We purchased it in UK in 2012. Shipping in USA by FedEx or UPS. International shipping is available, ask for the rates, please. Condition: A lot of rust and oxidation, which correspond to the old age.

Lot: 385 - Sui /Tang dyn, Chinese bronze 5 suani & grapes, 14 cm

Masterpiece antique Chinese bronze 5 suani and grapes, Sui Early Tang dynasties. Weight: 1 lb. = 450 g; Diameter: 5.5 inches = 14 cm; Thickness of the rim: 4 mm; Rim: steeply inclined (triangular profile), with one small 3 mm dent. Side: steeply inclined inward; Knob: 10 mm with a hole all the way through; Material: White bronze + gild; Outer section: Raised circle with double saw tooth pattern; Medial and inner section: 5 running suani with grape design; Mirror side: concave with preserved remnants of original polish; Age: presumably Sui (581-618) or Early Tang (618-906;) Condition Worn by natural aging, beautiful multicolored (bronze-greenish) patina, no defects Low Estimate: 5000 High Estimate: 20000 Orignal: Yes

Lot: 386 - Tang dynasty, Chinese bronze mirror- Suani, Birds, Grapes

Antique Chinese convex bronze mirror- Suani, Birds & Grapes, 131 mm, Tang Dynasty. Age: Tang Dynasty (618-906 AD); Weight: 1 lb. 4 oz. = 590 g; Diameter: 5 inches = 131 mm; Thickness of the rim: 10 mm; Knob: 7 mm, small hole all the way through. Mirror surface: slightly convex. Rim: 8 mm, inclined inward, saw tooth pattern. Side: slightly inclined inward. Provenance: From private collection in USA. Condition: Worn by natural aging, beautiful patina

Lot: 387 - Sui - Early Tang Dynasty, Chinese bronze mirror 4 suani, 605-705 AD

Masterpiece antique Chinese bronze 4 suani and grapes, Sui Early Tang dynasties; Weight: 14 oz. = 400 g; Diameter: 5 inches = 14 cm; Thickness of the rim: 9 mm; Rim: steeply inclined (convex profile), Side: steeply inclined inward with saw-tooth pattern; Knob: 7 mm with a hole all the way through; Material: antique bronze; Outer section: Raised circle with double saw tooth pattern; Medial section: 2 running animals and 5 birds; Inner section: 4 running suani with grape design; Mirror side: concave with preserved remnants of original polish; Age: presumably Sui (581-618) Early Tang (618-906) Condition: Worn by natural aging, beautiful patina. Mirror side: concave with preserved remnants of original polish

Lot: 388 - Sui/Early Tang (581-906 AD) Chinese bronze mirror with 6 running animals;

Sui/Early Tang (581-906 AD) Chinese bronze mirror with 6 running animals; Age: Sui (581-618)/Early Tang (618-906); Rim: inclined; raised band double saw tooth pattern; Side: inclined inward; Inner section: 3 pairs (3 x 2 = 6) of running animals with horns (suani or semurv?). Three of the animals have thin tails and three have thick tails. Material: White bronze; Diameter: 3.6 in. = 92 mm; Weight: 8 oz. = 220 g; Knob: 17 mm diameter at the base; Condition: Excellent for the age, thin layer of patina, mostly in the groove, the bulging details are shine because of a lot of handling. Mirror surface has several greenish spots of patina; Provenance: from the collection of Chinese professor in New Jersey, USA  

Lot: 398 - Ming dyn. Chinese Bronze mirror: 4 sons getting career

Ming dynasty Chinese Bronze mirror: "Having children with good prospect to pass examinations and get government degrees" Age: Ming dynasty (1368 1644). Diameter: 8 inches = 202 mm; Weight: 2 lb. 4 oz. = 1000 g; Rim: convex, with sharp edge; Side: slightly inclined inwards; Knob 7 mm high, the hole is open all the way through; Mirror surface: concave; Inner section: 4 characters + 8 diagrams of prosperity, happiness, fortunate business, etc. Condition Well preserved, no defects. Metal: white bronze, nice patina Low Estimate: 3000 High Estimate: 10000 Original: Yes

Lot: 400 - GuangXu Emperor property, Qing dy Chinese bronze mirror

Authentic Chinese bronze mirror, a property of Guang Xu Emperor, Qing Dynasty. Diameter: 3.5 in. = 93 mm. Weight: 70 g = 2 oz. Knob: 2-3 mm with a hole all the way through. Thickness - unusually thin: 1-2 mm. Mirror surface: nicely concave, with original polishing. The Guangxu Emperor (14 August 1871 14 November 1908), born Zaitian of the Manchu Aisin Gioro clan, was the eleventh emperor of the Qing Dynasty, and the ninth Qing emperor to rule over China. His reign lasted from 1875 to 1908, but in practice he ruled, under Empress Dowager Cixi's influence, only from 1889 to 1898. He initiated the Hundred Days' Reform, but was abruptly stopped when Cixi launched a coup in 1898, after which he was put under house arrest until his death. His regal name means "glorious succession". Condition Well preserved, natural patina. Mirror surface: nicely concave, with original polishing. Low Estimate: 5000 High Estimate: 15000 Orignal: Yes

Lot: 401 - Qing Dynasty Chinese bronze lacquer mirror "Two birds design", 1644-1911

Genuine Chinese bronze mirror with design of 2 birds sitting on the tree, on a lacquer base. Qing dynasty (AD 1644-AD 1911). Diameter from the back: 20 cm = 7 ¾ inches. Diameter from the front: 19.7 cm = 7 ¾ inches. Weight: 12 oz. = 790 g. Similar mirror was sold on China Guardian Auction in 2010, in Beijing, China for $68,000 = RMB 504,000 (last 4 photographs). Provenance: Purchased at the auction in USA. Only serious buyers, please!!! Shipping in USA: UPS only, with full insurance. International shipping: UPS only with full insurance. Please, contact about details (security, customs, insurance, etc.) before bidding. Condition: Well preserved. Lacquer is cracked in some places. Original patina.

Lot: 402 - Genuine Chinese bronze lacquered mirror – 2 Dragons design, Qing Dynasty (1644-1911 AD)

Genuine Chinese bronze lacquered mirror – 2 Dragons design, Qing Dynasty; Made in Qing dynasty (1644- 1911 AD); Using dark red-brown lacquer as primer, the mirror is painted in tri-color of red, yellow and gold with 2 large dragons’ design, which are accompanied with clouds. The rim is adorned with bands of strip and rope pattern in gold lacquer on black prim. Diameter from the back: 147 mm = 5 ¾ inches; Diameter from the front: 145 mm = 5 ¾ inches; Weight: 11 oz. = 320 g; Provenance: Purchased at the auction in USA. Only serious buyers, please!!! Shipping in USA: USPS, UPS, with full insurance International shipping: USPS, UPS. Please, contact about details (security, customs, insurance, etc.) before bidding. Auction results: Similar mirrors was sold on: 1) China Guardian Auction, Nov 17, 2011 in Beijing, China; Estimate 400,000-800,000 RMB = $64,432- $128,865 US.; Lot 167, Bronze Mirror with Dragon Phoenixes and flowers, Qing dynasty 1644-1911, Diameter – 263 mm, Weight - 2,660 g. 2) China Guardian Auction, 2010 spring, in Beijing, China; Sold for 504,000 RMB = $68,000 (last 3 photographs). Lot 7232, Mirror with one dragon design, Qing dynasty 1644-1911, Diameter - 19.7 cm 3) China Guardian Auction 2009, Beijing, China, Lot 5775, Dragon & Phoenix; Ming dynasty (1368-1644); Sold for 280,000 RMB =$45,103 US

Lot: 407 - Edo Japanese/Korean bronze mirror 2 cranes & 2 turtles

Authentic Japanese/Korean bronze mirror 2 cranes, 2 turtles, etc., Edo period (1600-1868); Lot of symbols of longevity (turtles), fidelity (cranes), happiness, good fortune, etc. Nice patina all over; Weight: 1 lb. 8 oz. = 700 g; Diameter: 7.5 in. = 183 mm; Total length with a handle: 11 = 28 cm; Rim: 5 mm, rectangular; Mirror surface: flat; Material: bronze; This is a Japanese (or remotely possible-a Korean) bronze mirror. It has elaborate decoration as seen in my photos. The large Chinese characters depict Long life and Happiness and there are many symbols of longevity, such as the Crane, Bundles of rice, etc. It appears that the makers name might have been removed from this mirror. It is in great condition other than the possible missing signature and has no dings, dents or repairs. It is approximately 11" high and 7 3/4" wide. It was made about the turn of the century or possibly earlier. Provenance: this mirror was purchased in Korea by Americans, when they lived in South Korea from 1966 until 1974 and again from 1976 until 1985. Condition Authentic patina and oxidation; Low Estimate: 1000; High Estimate: 3000; Original: Yes;

Lot: 410 - Edo Emp Japanese Wedding bronze mirror, 9.5 in., 2 lb.

Authentic Edo Emp Japanese Wedding bronze mirror, 9.5 in., 2 lb. Made in Edo Emperor period (1600-1868); The mirror has a hanging chain. Has very nice sound if you strike it, can be used as a gong or bell; Diameter: 9.5 in. = 24 cm; Length with a handle: 13.5 = 34 cm Weight: 2 lb. 3 oz. = 1000g; Condition: perfect for the age, notice several spots of bronze oxidation References: Japanese bronze mirrors; Bronze mirrors were introduced into Japan from China and Korea during the Yayoi period (about 300 BC - AD 300). At first they had a religious function and were regarded as symbols of authority. The Japanese soon learnt to make their own mirrors using the lost-wax technique, decorating them with Chinese or native Japanese designs. By the Nara period (AD 710 -794) mirrors were being made for everyday use, with the increasing use of Japanese designs, such as native plants and animals symbolizing good fortune. From the Kamakura period (1185-1333) a design showing Hôraizan (the Chinese 'Island of Immortality') became popular. Mirrors gradually became more robust. They mostly have a central boss, often in the shape of a tortoise, which was pierced and a cord passed through for holding. More new designs and the first handled mirrors appeared in the Muromachi period (1333-1568). During the Edo period (1600-1868), mirrors decorated with lucky symbols or Chinese characters were given at weddings. Mirrors became larger as hairstyles became more ornate; some mirrors in Kabuki theatre dressing-rooms were up to fifty centimeters across and were placed on stands. The faces of mirrors were highly polished or burnished, with itinerant tanners and polishers specializing in this work. Since the mirror, together with the sword and the jewel, were symbols of Imperial power, mirror-makers were deeply revered and often given honorary titles such as Tenka-Ichi ('First under Heaven'). However, this title was often misused and was officially prohibited in 1682. This Japanese hand mirror is probably 75-100 years old, and is made primarily of brass. The maker's mark at the left on the back is partially illegible, but appears to be an address that begins "Ooshita Ichigami-mura . . ." ("Ooshita, Ichigami Town . . ."), although it might also be something like a caption telling what the design depicts. As shown, there is a pretty fair amount of wear and tarnish, with several spots and patches of minor, green oxidation, but there is no significant structural damage. The reflective face is quite tarnished and stained, however, and so gives virtually no reflection at all. Condition perfect for the age, notice several spots of bronze oxidation; Low Estimate: 1000; High Estimate: 3000; Original: Yes;

Lot: 411 - Japanese bronze mirror, Blooming Sakura, 8.25n, Edo p

Authentic Japanese bronze mirror, Blooming Sakura, Edo period (1600-1868); Weight: 1 lb. 9 oz. = 730 g; Diameter: 8.25 in. = 21 cm = 210 mm; Total length with a handle: 12 in. = 30 cm; Rim: 4 mm, rectangular; Mirror surface: flat, polished, has some green patina; Material: bronze; Signed by the artist on the left side. Condition: Genuine patina all over, several green spots on mirror surface References: Japanese bronze mirrors: Bronze mirrors were introduced into Japan from China and Korea during the Yayoi period (about 300 BC - AD 300). At first they had a religious function and were regarded as symbols of authority. The Japanese soon learnt to make their own mirrors using the lost-wax technique, decorating them with Chinese or native Japanese designs. By the Nara period (AD 710 -794) mirrors were being made for everyday use, with the increasing use of Japanese designs, such as native plants and animals symbolizing good fortune. From the Kamakura period (1185-1333) a design showing Hôraizan (the Chinese 'Island of Immortality') became popular. Mirrors gradually became more robust. They mostly have a central boss, often in the shape of a tortoise, which was pierced and a cord passed through for holding. More new designs and the first handled mirrors appeared in the Muromachi period (1333-1568). During the Edo period (1600-1868), mirrors decorated with lucky symbols or Chinese characters were given at weddings. Mirrors became larger as hairstyles became more ornate; some mirrors in Kabuki theatre dressing-rooms were up to fifty centimeters across and were placed on stands. The faces of mirrors were highly polished or burnished, with itinerant tanners and polishers specializing in this work. Since the mirror, together with the sword and the jewel, were symbols of Imperial power, mirror-makers were deeply revered and often given honorary titles such as Tenka-Ichi ('First under Heaven'). However, this title was often misused and was officially prohibited in 1682. Condition Genuine patina all over, several green spots on mirror surface; Low Estimate: 1000; High Estimate: 2000; Original: Yes;

Lot: 414 - Japanese painting on silk, 1700-1850, Autumn Official

Japanese antique painting on silk, -Sweeping Lesson, 18th- 19th c. Evaluation is done by Dr. Qing Chang, PhD in Chinese arts: The two Chinese characters above the seal is , and the seal represents the same two characters. This should be the first name or nickname of the artist. Because the artist is a Japanese, I do not know the Japanese pronunciation. The Chinese pronunciation is Qiuqing. In China, this is an old official title. The meaning of the two characters is Autumn Official. Qing also is a respectful way to call a man or a woman, with a meaning similar to sir or lady.Measurements: Size of the frame: 57 in x 28.5 in. = 142 cm x 71 cm;Size of the silk painting: 40 x 15.5 in. = 100 cm x 39 cm;Weight of the painting with frame and glass: 20 lb. = 9 kg. Shipping could be simplified by un-framing the painting and making a scroll again.This would save a lot of money and would be much safer (no glass) Condition natural aging of silk, refer to insignificant folds and spots on the photos, well preserved under glass. Low Estimate: 10000; High Estimate: 30000; Original: Yes;

Lot: 414B - "Takasago" Japanese antique silk scroll painting, # E4947

"Takasago" Japanese antique silk scroll painting; Primary Material: Silk & Fabric; Technique: Hand-painted; Roller Ends: Plastic; Condition: Refer to all pictures: insignificant stains and wrinkles; Size: W 54 x H 187 (cm) = W 21.26 x H 73.62 (inch); Weight: 360 g; Waist (including roller ends): 59.5 cm; #E4947

Lot: 414H - "Two Beauties under Sakura" Japanese antique silk scroll painting #E4905

"Two Beauties under Sakura" Japanese antique silk scroll painting Primary Material: Silk & Fabric; Technique: Hand painted; Roller Ends: Bone; Condition : Refer to all pictures: insignificant stains, wrinkles, damage; Size: W 50.5 x H 187 (cm) = W 19.88 x H 73.62 (inch); Weight: 400 g; Waist (including roller ends): 56 cm; #E4905

Lot: 415 - Japanese Silk Painting, Kamijima Sosui, 1900-1940

Japanese Painting on Silk, singing bird, flower & spider, signed Japanese painting with flower and bird motif. The artist used boneless brush strokes to paint the tree, leafs and the bird, with a strong influenced from Chinese Qing dynasty artists. The seal on the lower right side read as . Kamijima Sosui active in the first half of the 20th century. Authenticated by Dr. Qing Chang, PhD. Signed: red artist seal in the lower right corner. Framed without glass and mounted on plywood, probably 50 years ago. Size of the painting: 39 inches x 15 inches = 99 cm x 39 cm; Size of the frame: 43 x 19 inches = 109 cm x 49 cm; Weight: 8 lb. = 3.6 kg; Condition: Very good, no damage, some natural darkening because of the dust (no glass); Authenticity report: Genuine; Provenance: private Chinese collector from New York, USA; Shipping in USA: FEDEX ground Condition Very good, no damage, some natural darkening because of the dust (no glass); Low Estimate: 5000; High Estimate: 12000; Orignal: Yes

Lot: 416 - Drawings of the masters. Japanese drawings from the 17th through the 19th century, rare book

Drawings of the masters. Japanese drawings from the 17th through the 19th century, rare book Not available on Amazon books.

Lot: 418A - JAPANESE hanging scroll painting, by OTEI "Pine Tree" (1900-1940)

JAPANESE hanging scroll painting, by OTEI "Pine Tree" (1900-1940) Date: 1900-1940 Primary Material = Silk. Technique = Hand-painted. Roller Ends = Wood; Condition = Refer to all pictures, damage, there are stains and wrinkles overall. Size of the scroll: 59.5cm x 213.5cm / 23.4" x 84" (inches);

Lot: 419F - River in the Mountains Painting Scenery, Japanese hanging scroll

Primary Material: Silk & Fabric; Technique: Hand-painted; Roller Ends: Wood; Condition: Refer to all pictures: insignificant stains and dirt; Size: W55.5 x H199 (cm) = W21.85 x H78.35 (inch); Weight: 500 g; Width (including roller ends): 61 cm;

Lot: 420A - Japanese antique Erotic Love, - 10 silk paintings- in one scroll

Japanese antique erotic love 10 silk paintings in one scroll. Length: 164 inches = 416.5 cm; Width: 11.5 inches = 29.2 cm; Size of each painting varies from 14.25” x 10” to 15.25” x 10” (inches) or 36.2 cm x 25.4 cm to 38.7 cm. Provenance: private collection in Florida, USA; bought in Japan in 1940's.

Lot: 421A - 七福神, Japanese antique hanging scroll

Primary Material: silk & fabric; Technique: hand-painted; Roller Ends: bone; Condition: refer to all pictures: insignificant stains; Size: W 62.5 x H 211 (cm) = W 24.61 x H 83.07 (inch); Weight: 530 g; Width (including roller ends): 68.5 cm;

Lot: 423A - JAPANESE hanging scroll "Li Tieguai", expiring his soul, by Kobayashi Kako, 1920

JAPANESE hanging scroll "Li Tieguai", expiring his soul, by Kobayashi Kako, 1920; Primary Material: Silk & Fabric; Technique: Hand-painted; Roller Ends: Bone; Condition: Refer to all pictures: insignificant stains, wrinkles, damage; W 55 x H 195 (cm) = W 21.65 x H 76.77 (inch); Weight: 440 g; Width (including roller ends): 60 cm; Artist name is 小林禾紅 Kobayashi Kako. I found the name in painter ranking in 1920.

Lot: 424A - JAPANESE HANGING scroll painting: by KOKO "Beautiful Woman" (1900-1940)

JAPANESE HANGING scroll painting: by KOKO "Beautiful Woman" (1900-1940); Date: 1900-1940; Primary Material = Silk. Technique = Hand-painted. Roller Ends = Wood; Condition = Refer to all pictures, there are some stains and wrinkles overall. Size: 72 cm x 202 cm / 28.3" x 79.5" inches

Lot: 425A - Antique Japanese Kutani plate, signed

Antique Japanese Kutani plate, signed Upper diameter: 7.6 inches = 19.3 cm; Base diameter: 4.6 inches = 11.8 cm; Weight: 7.9 oz. = 223 g; Condition: some wear at the base, no defects

Lot: 426 - Antique Chinese pewter teapot warmer with calligraphy and landscape, for high pillow

Antique Chinese pewter teapot warmer with calligraphy and landscape, China/Japan. 大吉羊宜用: For Celebration (Japanese); 大吉羊宜用 = Daji sheep is suitable for use (Chinese); 高枕状頭尚弐壺 = Shangbi pot with high pillow head (Chinese); 浄水 – Purified water (Japanese); 銘新 – MingXin (Chinese); 賀錫 – HeXi (Chinese); Height: 8 cm; Weight: 161.68 (outer vessel) + 110.86 g (inner teapot) = 272.50 g; Provenance: private collection in Florida, USA

Lot: 427 - 四分一 Japanese SHIBUICHI gold inlaid KORO (antique incense burner) with pierced lid, Japan, Edo period

Japanese SHIBUICHI gold inlaid KORO (antique incense burner) with pierced lid, Japan, Edo period; Shibuichi (四分一) is a historically Japanese copper alloy, a member of the irogane class, which is patinated into a range of subtle grays and muted shades of blue, green, and brown, through the use of niiro processes, involving the rokushō compound. Shibuichi means "one-fourth" in Japanese, and indicates the standard formulation of one part silver to three parts copper, though this may be varied considerably according to the desired effect. Several major variants of the alloy have specific names, as detailed below. In addition, the metal in general, and especially the paler shades, may be named rogin. As part of our Japanese art collection, we are delighted to offer this most unusual high quality mixed metal koro or incense burner with 3 genuine essence pyramids inside. This fine and heavy little item is made from a Japanese alloy known as Shibuichi , the technique was devised by mixing alloys with silver to produce a wonderful grey to brown bronze skin, the Shibuichi is then inlaid using gold and depicts symbolic mixture of oriental foliage, the koro is nicely finished off with the addition of a pierced lid . Condition: superb, it is far too heavy a gauge to be dented or damaged and only has minor wear commensurate with its age. Height: 8.5 cm; Width: 10.5 cm; Weight of the koro with lid: 652 g; Provenance: private collection in Florida, USA.

Lot: 428 - Antique Japanese red terracotta incense burner container, signed

Antique Japanese red terracotta incense burner container, signed; A peasant or scholar sitting near a huge basket. Length: 5.5 inches = 14 cm; Height: 3.5 inches = 8.6 cm; Weight: 1 lb. 1.6 oz. = 500 g; Provenance: private collection in Clearwater, Florida, USA; Condition: used, but perfect, no defects;

Lot: 431 - Masterpiece Japanese Kutani tea pot, by Wataya Heibei, Meiji (1868-1913) period

Amazing hand-painted tea pot, signed at the bottom. Mark: Kutani zo, Wataya Sei. Age: Meiji (1868-1913) period second half. Wataya was the shop/pen name of Wataya Heibei. He had also a shop in Yokohama for export to Europe and the US. It is a well-known producer. Height: 12.4 in. = 31.5 cm; Base diameter: 4.6 in. = 11.7 cm; Weight: 3 lb. 5 oz. = 1497g = 1 kg 497 g; Condition: almost perfect, small chip at the rim of the beak

Lot: 432 - Antique large Japanese Satsuma-yaki relief vase, Edo period (1868-1912)

Antique large Japanese Satsuma-yaki relief vase, Edo period (1868-1912) Beautiful antique vase, marked with artist name in red calligraphy on underside. Height: 15.5" = 40 cm; Width: 9.5" = 24 cm; Weight: 8 lb. 5 oz. = 3 kg 890 g = 3890 g; Condition: Excellent for the age, no defects; Provenance: bought on the auction in USA. Satsuma ware (薩摩焼, Satsuma-yaki) is a type of Japanese pottery originally from Satsuma Province, southern Kyūshū. Today, it can be divided into two distinct categories: the original plain dark clay early Satsuma (古薩摩, Ko-Satsuma) made in Satsuma from around 1600, and the elaborately decorated export Satsuma (京薩摩, Kyō-Satsuma) ivory-bodied pieces which began to be produced in the nineteenth century in various Japanese cities. By adapting their gilded polychromatic enamel overglaze designs to appeal to the tastes of western consumers, manufacturers of the latter made Satsuma ware one of the most recognized and profitable export products of the Meiji period.

Lot: 433 - Japanese antique Satsuma-yaki tall vase, Meiji period 1868-1912

Japanese antique Satsuma-yaki tall vase, Meiji period 1868-1912 Height: 31.5 cm Diameter at the middle of body: 16 cm; Weight: 2,068 g = 2 kg 68 g; Condition: perfect, no defects; Provenance: antique store in Clearwater, FL Satsuma ware (薩摩焼, Satsuma-yaki) is a type of Japanese pottery originally from Satsuma Province, southern Kyūshū. Today, it can be divided into two distinct categories: the original plain dark clay early Satsuma (古薩摩, Ko-Satsuma) made in Satsuma from around 1600, and the elaborately decorated export Satsuma (京薩摩, Kyō-Satsuma) ivory-bodied pieces which began to be produced in the nineteenth century in various Japanese cities. By adapting their gilded polychromatic enamel overglaze designs to appeal to the tastes of western consumers, manufacturers of the latter made Satsuma ware one of the most recognized and profitable export products of the Meiji period.

Lot: 434 - Chinese/Japanese tea caddy, antique delicate blue/white porcelain

Chinese/Japanese tea caddy, antique delicate blue/white porcelain. The walls of the vase are really thin and delicate and are transmissible for light. Height: 7” in. = 15.5 cm; Upper diameter: 4.5” in. = 10.5 cm; Upper opening: 2.5” in. = 6.5 cm; Base diameter: 2.5” in. = 6.5 cm; Weight: 1 lb. 6 oz. = 600 g; Condition report for the vase: Very good, minor wear, no chips, no cracks Condition for the lid: broken in several pieces and repaired

Lot: 438 - Japanese Art Deco Beautiful Musical Lighter, Tobacciana

Japanese Art Deco Beautiful Musical Lighter, Tobacciana Weight: 1 lb. 4 oz. = 570 g; Height: 17.5 cm = 6.75” in. Condition: Original lighter does not work, although there is a possibility to get a spare lighter or fix original for $40. Musical part works well as long as you hold it in your hand, there is a possibility to turn a key at the bottom and to hear dancing melody. As long as you put it on the table – music stops because of the stopper at the base. Several shining decorations are missing. Art Deco (/ˌɑrt ˈdɛkoʊ/), or Deco, is an influential visual arts design style that first appeared in France after World War I and began flourishing internationally in the 1920s, 1930s and 1940s before its popularity waned after World War II.[1] It is an eclectic style that combines traditional craft motifs with Machine Age imagery and materials. The style is often characterized by rich colours, bold geometric shapes and lavish ornamentation. Deco emerged from the interwar period when rapid industrialisation was transforming culture. One of its major attributes is an embrace of technology. This distinguishes Deco from the organic motifs favoured by its predecessor Art Nouveau. Historian Bevis Hillier defined Art Deco as "an assertively modern style [that] ran to symmetry rather than asymmetry, and to the rectilinear rather than the curvilinear; it responded to the demands of the machine and of new material [and] the requirements of mass production".[2] During its heyday, Art Deco represented luxury, glamour, exuberance and faith in social and technological progress.

Lot: 439 - Pair of beautiful vintage antique musical horses

Pair of beautiful vintage antique musical horses Musical mechanical winding mechanism works perfectly in both horses. Each horse has a different classical melody running for several minutes. Height of the large horse: 9 inches = 23 cm; Weight of the large horse: 2 lb. 2 oz. = 956 g; Height of the small horse: 9 inches = 22.5 cm Weight of the small horse: 1 lb. 4 oz. = 582g; Condition: Fine, large horse has a broken front leg and small chip at the head. Material: plastic; Made in China, by Sunkyo

Lot: 456 - Ammonite spiral shell, genuine fossil, 400-65 million years BC

Weight: 910 g = 2 lb. 0.1 oz. Size: 5 x 4 x 2.5 inches = 12.0 cm x 10 cm x 5 cm Ammonites[1] were marine cephalopod molluscs of the subclass Ammonoidea. Their widely-known fossils show a ribbed spiral-form shell, in the end compartment of which lived the tentacled animal. These creatures lived in the seas from at least 400 to 65 million years ago. They became extinct at the K/T extinction event.

Lot: 456A - Genuine Fossil Trilobite, 521-250 million years BC

Size: 9.5 x 6.5 x 1 inches = 24 cm x 16 cm x 2.5 cm; Weight: 3 lb. 1 oz. = 1387 g; Trilobites (pronunciation: /ˈtraɪləˌbaɪt, ˈtrɪ-, -loʊ-/;[2][3] meaning "three lobes") are a fossil group of extinct marine arthropods that form the class Trilobita. Trilobites form one of the earliest known groups of arthropods. The first appearance of trilobites in the fossil record defines the base of the Atdabanian stage of the Early Cambrian period (521 million years ago), and they flourished throughout the lower Paleozoic era before beginning a drawn-out decline to extinction when, during the Devonian, all trilobite orders except the Proetids died out. Trilobites finally disappeared in the mass extinction at the end of the Permian about 250 million years ago. The trilobites were among the most successful of all early animals, roaming the oceans for over 270 million years.[4] By the time trilobites first appeared in the fossil record, they were already highly diversified and geographically dispersed. Because trilobites had wide diversity and an easily fossilized exoskeleton, an extensive fossil record was left behind, with some 17,000 known species spanning Paleozoic time. The study of these fossils has facilitated important contributions to biostratigraphy, paleontology, evolutionary biology, and plate tectonics. Trilobites are often placed within the arthropod subphylum Schizoramia within the superclass Arachnomorpha (equivalent to the Arachnata),[5] although several alternative taxonomies are found in the literature. Trilobites had many lifestyles; some moved over the sea bed as predators, scavengers, or filter feeders, and some swam, feeding on plankton. Most lifestyles expected of modern marine arthropods are seen in trilobites, with the possible exception of parasitism (where scientific debates still exist).[6] Some trilobites (particularly the family Olenidae) are even thought to have evolved a symbiotic relationship with sulfur-eating bacteria from which they derived food.[7]

Lot: 459 - Fossil petrified mammoth molar tooth, 14.4 cm

Fossil petrified mammoth molar tooth. Height: 5.7 in. = 14.4 cm; Weight: 2 lb 15 oz.= 1330g; A mammoth is any species of the extinct genus Mammuthus, proboscideans commonly equipped with long, curved tusks and, in northern species, a covering of long hair. They lived from the Pliocene epoch (from around 5 million years ago) into the Holocene at about 4,500 years ago in Europe, Asia, and America as far south as Mexico. They were members of the family Elephantidae which contains, along with mammoths, the two genera of modern elephants and their ancestors. Like their modern relatives, mammoths were quite large. The largest known species reached heights in the region of 4 m (13 ft) at the shoulder and weights up to 8 tonnes (9 short tons), while exceptionally large males may have exceeded 12 tonnes (13 short tons). However, most species of mammoth were only about as large as a modern Asian elephant (which are about 2.5m to 3m high at the shoulder, and rarely exceeding 5.4 tonnes). Both sexes bore tusks. A first, small set appeared at about the age of six months and these were replaced at about 18 months by the permanent set. Growth of the permanent set was at a rate of about 1 to 6 inches (2.5 to 15 cm) per year.[9] Based on studies of their close relatives, the modern elephants, mammoths probably had a gestation period of 22 months, resulting in a single calf being born. Their social structure was probably the same as that of African and Asian elephants, with females living in herds headed by a matriarch, whilst bulls lived solitary lives or formed loose groups after sexual maturity. Condition very good for the age, no cracks; Low Estimate: 1000; High Estimate: 3000; Orignal: Yes;

Lot: 461 - Exceptionally preserved Stegodon fossil mo teeth, 590 g

Exceptionally preserved Stegodon fossil molar teeth, 590 g. Weight: 590 g = 1 lb. 5oz. Height: 8 cm = 3 in. Width: 9 cm = 3.5 in. Provenance: dig out in Borneo, Indonesia Age: 11.6 million years 4,100 years BC Condition: Perfect for the age, fossilized into rock all the ways around. Stegodon (meaning "roofed tooth" from the Greek words stegein 'to cover' and odous 'tooth'), is a genus of the extinct subfamily Stegodontinae of the order Proboscidea. It was assigned to the family Elephantidae (Abel, 1919), but has also been placed in Stegodontidae (R. L. Carroll, 1988).[1] Stegodonts were present from 11.6 mya to 4,100 years ago. They lived in large parts of Asia during the Pliocene and Pleistocene, and locally in Indonesia into the Holocene epoch Condition: Perfect for the age of millions years; Low Estimate: 2000; High Estimate: 4000; Original: Yes;

Lot: 463 - Florida Alligator back paw with 4 toes taxidermy #1

Professionally made taxidermy, no smell. Approximate length with a wooden stick 20-21 inches. Alligators have four short legs; the front legs have five toes while the back legs have only four toes. Alligators have a long, rounded snout that has upward facing nostrils at the end; this allows breathing to occur while the rest of the body is underwater. References: An average adult American alligator's weight and length is 360 kg (790 lb) and 4 m (13 ft), but they sometimes grow to 4.4 m (14 ft) long and weigh over 450 kg (990 lb). The largest ever recorded, found in Louisiana, measured 5.84 m (19.2 ft). The Chinese alligator is smaller, rarely exceeding 2.1 m (7 ft) in length. Additionally, it weighs considerably less, with males rarely over 45 kg (100 lb). Adult alligators are black or dark olive-brown with white undersides, while juveniles have strongly contrasting white or yellow marks which fade with age. No average lifespan for an alligator has been measured. In 1937, an adult specimen was brought to the Belgrade Zoo in Serbia from Germany. It is now at least 80 years old. Although no valid records exist about its date of birth, this alligator, officially named Muja, is considered the oldest alligator living in captivity.

Lot: 464 - Florida Alligator back paw with 4 toes taxidermy #2

Professionally made taxidermy, no smell. Approximate length with a wooden stick 20-21 inches. Alligators have four short legs; the front legs have five toes while the back legs have only four toes. Alligators have a long, rounded snout that has upward facing nostrils at the end; this allows breathing to occur while the rest of the body is underwater. References: An average adult American alligator's weight and length is 360 kg (790 lb) and 4 m (13 ft), but they sometimes grow to 4.4 m (14 ft) long and weigh over 450 kg (990 lb). The largest ever recorded, found in Louisiana, measured 5.84 m (19.2 ft). The Chinese alligator is smaller, rarely exceeding 2.1 m (7 ft) in length. Additionally, it weighs considerably less, with males rarely over 45 kg (100 lb). Adult alligators are black or dark olive-brown with white undersides, while juveniles have strongly contrasting white or yellow marks which fade with age. No average lifespan for an alligator has been measured. In 1937, an adult specimen was brought to the Belgrade Zoo in Serbia from Germany. It is now at least 80 years old. Although no valid records exist about its date of birth, this alligator, officially named Muja, is considered the oldest alligator living in captivity.

Lot: 465 - Florida Alligator back paw with 4 toes taxidermy #3

Florida Alligator back paw with 4 toes taxidermy #3 Professionally made taxidermy, no smell. Approximate length with a wooden stick 20-21 inches. Alligators have four short legs; the front legs have five toes while the back legs have only four toes. Alligators have a long, rounded snout that has upward facing nostrils at the end; this allows breathing to occur while the rest of the body is underwater. References: An average adult American alligator's weight and length is 360 kg (790 lb) and 4 m (13 ft), but they sometimes grow to 4.4 m (14 ft) long and weigh over 450 kg (990 lb). The largest ever recorded, found in Louisiana, measured 5.84 m (19.2 ft). The Chinese alligator is smaller, rarely exceeding 2.1 m (7 ft) in length. Additionally, it weighs considerably less, with males rarely over 45 kg (100 lb). Adult alligators are black or dark olive-brown with white undersides, while juveniles have strongly contrasting white or yellow marks which fade with age. No average lifespan for an alligator has been measured. In 1937, an adult specimen was brought to the Belgrade Zoo in Serbia from Germany. It is now at least 80 years old. Although no valid records exist about its date of birth, this alligator, officially named Muja, is considered the oldest alligator living in captivity.

Lot: 467 - Florida alligator white tooth #1, 15.42 g, 71 mm

Length: 2.75 inches = 71 mm = 7.1 cm; Weight: 15.42 g;

Lot: 467A - Florida alligator tooth #2, 18.43 g, 72 mm

Length: 2.75 inches = 72 mm = 7.1 cm; Weight: 18.43 g;

Lot: 468 - Chiragra Spider Conch shell - Lambis Truncata Sebae, Philippines, 8.25”= 21 cm

Chiragra Spider Conch shell - Lambis Truncata Sebae, Philippines, 8.25”= 21 cm ; Harpago chiragra, common name the Chiragra spider conch, is a species of very large sea snail, a marine gastropod mollusk in the family Strombidae, the true conchs. Length: 8.25 inches = 21 cm; Width: 9 inches = 23 cm; Weight: 8.3 oz. = 236 g; Auction results: Etsy - Giant Spider Conch Creamy White Young Shell - $198.99;

Lot: 468A - Chiragra Spider Conch shell, Philippines, 7.5”=19 cm

Chiragra Spider Conch shell, Philippines, 7.5”=19 cm Harpago chiragra, common name the Chiragra spider conch, is a species of very large sea snail, a marine gastropod mollusk in the family Strombidae, the true conchs. Length: 7.5 inches = 19 cm; Width: 5.5 inches = 14 cm; Weight: 10.1 oz. = 287 g; Auction results: Etsy - Giant Spider Conch Creamy White Young Shell - $198.99;

Lot: 468B - Chiragra Spider Conch shell - 8 inches, Philippines

Chiragra Spider Conch shell - 8 inches, Philippines Harpago chiragra, common name the Chiragra spider conch, is a species of very large sea snail, a marine gastropod mollusk in the family Strombidae, the true conchs. Length: 8 inches = 20 cm; Width: 5.25 inches = 13.5 cm; Weight: 8.0 oz. = 226 g; Auction results: Etsy - Giant Spider Conch Creamy White Young Shell - $198.99;

Lot: 468D - Tiger Cowrie sea shell, Madagascar, 7.5 cm, 72 g;

Tiger Cowrie sea shell, Madagascar, 7.5 cm, 72 g; Cypraea tigris, commonly known as the tiger cowrie, is a species of cowry, a large sea snail, a marine gastropod mollusk in the family Cypraeidae, the cowries. The tiger cowry was one of the many species originally described by Carl Linnaeus in his 1758 10th edition of Systema Naturae, and the species still bears its original name of Cypraea tigris.[1] Its specific epithet tigris relates to its common name "tiger" (the shell however is spotted, not striped). This species is the type species of the genus Cypraea. The tiger cowrie is found on the ocean floor in the Indo-Pacific region, from the eastern coast of Africa to the waters of Micronesia and Polynesia, the Coral Sea and around the Philippines. Along the Australian Coast it is found from northern New South Wales to northern Western Australia, as well as Lord Howe Island, and along the east coast of Africa including Madagascar.[9] Found between depths of 10 and 40 meters (35–130 ft), it is often associated with live coral colonies, such as the table-forming Acropora,[10] either found on the reefs themselves or the sandy sea bottom nearby.[9] Once common, it is now much less abundant due to shell collecting and the destruction of its habitat by such processes as dynamite fishing, especially in shallower areas.[9] Carnivorous, the adult tiger cowrie eats coral and various invertebrates, while juveniles eat algae. This species is endangered in Singapore.[10] Length: 3 inches = 7.5 cm; Weight: 72 g; Country: Madagascar; Common Family: Cowries; Common Name: Tiger Cowrie

Lot: 468E - Tiger Cowrie sea shell, Madagascar, 7.0 cm, 62 g;

Tiger Cowrie sea shell, Madagascar, 7.0 cm, 62 g; Cypraea tigris, commonly known as the tiger cowrie, is a species of cowry, a large sea snail, a marine gastropod mollusk in the family Cypraeidae, the cowries. The tiger cowry was one of the many species originally described by Carl Linnaeus in his 1758 10th edition of Systema Naturae, and the species still bears its original name of Cypraea tigris.[1] Its specific epithet tigris relates to its common name "tiger" (the shell however is spotted, not striped). This species is the type species of the genus Cypraea. The tiger cowrie is found on the ocean floor in the Indo-Pacific region, from the eastern coast of Africa to the waters of Micronesia and Polynesia, the Coral Sea and around the Philippines. Along the Australian Coast it is found from northern New South Wales to northern Western Australia, as well as Lord Howe Island, and along the east coast of Africa including Madagascar.[9] Found between depths of 10 and 40 meters (35–130 ft), it is often associated with live coral colonies, such as the table-forming Acropora,[10] either found on the reefs themselves or the sandy sea bottom nearby.[9] Once common, it is now much less abundant due to shell collecting and the destruction of its habitat by such processes as dynamite fishing, especially in shallower areas.[9] Carnivorous, the adult tiger cowrie eats coral and various invertebrates, while juveniles eat algae. This species is endangered in Singapore.[10] Length: 2.75 inches = 7.0 cm; Weight: 62 g; Country: Madagascar; Common Family: Cowries; Common Name: Tiger Cowrie

Lot: 468G - Lion’s paw scallop sea shell, 14x14 cm

Lion’s paw scallop sea shell. Size: 14 cm x 14 cm; Weight: 241 g; Nodipecten nodosus, or the lion's paw scallop, is a species of bivalve mollusc in the family Pectinidae. It can be found along the Atlantic coast of North America, ranging from Cape Hatteras to the West Indies, including Brazil and Bermuda.[1] The lion's paw scallop is a species that consists of large scallop shells with ridges and bumps that have a rough texture. The shell is known for its distinct knobs on the ridges. Ranging from red to orange and also purple, the lion's paw scallop ranges in color. The shell’s common name is derived from its appearance, the color, and the knobs giving it some visual similarities to the paw of a lion.[2] As the largest scallop of the Western-Atlantic Ocean, the lion's paw has been commercially fished for human consumption for decades. Indeed, the recent decline of abalone fisheries along with an increase in the shell’s value has led to aquaculture specific to the species. Their high growth rate makes them popular; however, not much is known about the requirements to improve farming. Due to their popularity in commercial fishing, the lion's paw scallops native to Brazil face the risk of extinction.[2][3][4] Lion's paw scallops are known to be hermaphroditic, so they have both male and female gonads. In external fertilization, an organism will release both eggs and sperm.[5] The lion's paw shell is valuable to collectors because of its size, vibrant colors, and extremely distinctive features. The lion's paw scallop is an epibenthic bivalve that usually lives on rocks inside of caves or in shaded areas. Spawning begins when sperm and egg are released into the water column. "D-shaped" veligers begin to form 22-24 hours after being fertilized.

Lot: 468H - Lion’s paw scallop sea shell, 14.5 cm, 202 g

Lion’s paw scallop sea shell, 14.5 cm, 202 g; Size: 14.5 cm x 13.5 cm; Weight: 202 g; Nodipecten nodosus, or the lion's paw scallop, is a species of bivalve mollusc in the family Pectinidae. It can be found along the Atlantic coast of North America, ranging from Cape Hatteras to the West Indies, including Brazil and Bermuda.[1] The lion's paw scallop is a species that consists of large scallop shells with ridges and bumps that have a rough texture. The shell is known for its distinct knobs on the ridges. Ranging from red to orange and also purple, the lion's paw scallop ranges in color. The shell’s common name is derived from its appearance, the color, and the knobs giving it some visual similarities to the paw of a lion.[2] As the largest scallop of the Western-Atlantic Ocean, the lion's paw has been commercially fished for human consumption for decades. Indeed, the recent decline of abalone fisheries along with an increase in the shell’s value has led to aquaculture specific to the species. Their high growth rate makes them popular; however, not much is known about the requirements to improve farming. Due to their popularity in commercial fishing, the lion's paw scallops native to Brazil face the risk of extinction.[2][3][4] Lion's paw scallops are known to be hermaphroditic, so they have both male and female gonads. In external fertilization, an organism will release both eggs and sperm.[5] The lion's paw shell is valuable to collectors because of its size, vibrant colors, and extremely distinctive features. The lion's paw scallop is an epibenthic bivalve that usually lives on rocks inside of caves or in shaded areas. Spawning begins when sperm and egg are released into the water column. "D-shaped" veligers begin to form 22-24 hours after being fertilized.

Lot: 468I - Sea shell from India, 9.5 cm, 42 g,

Sea shell from India, 9.5 cm, 42 g, Length; 9.5 cm x 8.5 cm; Weight: 42 g;

Lot: 470 - Huge 254 mm Tiger striped helmet conch seashell, Cassis tuberosa, 1706 g.

Huge 254 mm Tiger striped helmet conch seashell, Cassis tuberosa, 1706 g. Here is a huge lovely vintage display specimen of a genuine Queen Helmet conch shell (Cassis tuberosa). As would be expected, it shows some wear/age on the topside that is consistent with natural weathering & aging. Cassis tuberosa, the king helmet, is a species of very large sea snail with a solid, heavy shell, a marine gastropod mollusk in the family Cassidae, the helmet shells and their allies.[1] This species occurs in the Western Atlantic Ocean in: North Carolina, Florida, Mexico, Honduras, Colombia, Costa Rica, Panama, Venezuela, Bermuda, Bahamas, Turks & Caicos, Cuba, Hispaniola, Puerto Rico, Virgin Islands, Leeward Islands, Windward Islands, Brazil, and in the Eastern Atlantic Ocean at the Cape Verde Islands. [3] Base: 10” x 8.6” inches; Length: 10 inches = 25.4 cm = 254 mm; Weight: 1706 g = 3 lb. 12.2 oz. Condition: there is a small chip (look at the 1st and 4th photos)

Lot: 470A - Pink conch shell from Bahamas islands, 25 cm, 1220 g

Pink conch shell from Bahamas islands, 25 cm, 1220 g Size: 10 inches x 8 inches = 25 cm x 20 cm; Weight: 2 lb. 11 oz. = 1220 g = 1 kg 220 g; Interesting Facts: – Conchs are native to the coasts of the Caribbean, the Florida Keys, the Bahamas, and Bermuda. – The conch’s main predators include loggerhead turtles, nurse sharks, other snail species, blue crabs, eagle rays, spiny lobsters, and other crustaceans. – During the first year of life, conchs live under the sand during the day and come out to feed on the surface of the sand at night. – Conchs are herbivores—they eat algae and other tiny marine plants. – It may take a queen conch at least 5 years to reach maturity—growing up to a maximum of 12 inches long and 5 pounds. – The adult conch has a large, solid and heavy shell, with knob-like spines on the shoulder, a flared thick, outer lip and characteristic pink/orange colored opening. – The Queen conch is a long-living species, with an estimated lifespan up to 40 years. – Conchs produce natural pearls in hues of white, brown, orange, and pink. – Only grown conch should be caught. – When you listen through a conch shell it’s not the sound of the ocean you hear but the sound of blood rushing through the veins in your head. -Conch shells can be used as wind instruments. They are prepared by cutting a hole in the spire of the shell near the apex and then blowing into the shell as if it were a trumpet, as a blowing horn. Sometimes a mouthpiece is used, but some shell trumpets are blown without one. Pitch is adjusted by moving one's hand in and out of the aperture; the deeper the hand, the lower the note. Various species of large marine gastropod shells can be turned into blowing shells, but some of the best-known species used are the sacred chank or shankha Turbinella pyrum, the Triton's trumpet Charonia tritonis, and the queen conch Strombus gigas.

Lot: 470B - King Helmet seashell (Cassis tuberosa), 878 g, 18.5 cm

This is a beautiful King Helmet Seashell (Cassis tuberosa). Length: 18.5 cm = 7.5 inches long; Weight: 1 lb. 15 oz. = 878 g; Cassis tuberosa, the king helmet, is a species of very large sea snail with a solid, heavy shell, a marine gastropod mollusk in the family Cassidae, the helmet shells and their allies.[1] This species occurs in the Eastern Atlantic Ocean in: North Carolina, Florida, Mexico, Honduras, Colombia, Costa Rica, Panama, Venezuela, Bermuda, Bahamas, Cuba, Hispaniola, Puerto Rico, Virgin Islands, Leeward Islands, Windward Islands, Brazil, and in the eastern Atlantic Ocean at the Cape Verde Islands. [1]

Lot: 470E - Huge 8”=20 cm, Cymbiola imperialis, the imperial volute sea shell from Philippines.

Huge 8”=20 cm, Cymbiola imperialis, the imperial volute sea shell from Philippines. Length: 8 inches = 20 cm; Weight: 1 lb. 5.3 oz. = 603 g; Cymbiola imperialis, the imperial volute, is a species of sea snail, a marine gastropod mollusk of the genus Cymbiola in the family Volutidae, the volutes. Shells of Cymbiola imperialis can reach a size of 70–250 millimeters (2.8–9.8 in).[5] These large and glossy shells are elongate and fusiform, light to heavy in weight. The basic color is whitish. The spire is high, with canaliculate sutures, strong red-brown axial ribs and narrow red-brown spiral lines. The aperture is whitish, elongate-ovate, with the outer lip showing many black denticles. The operculum is dark brown, thick and small.[6] This species can be found in the Philippines, Sulu Sea.[2][5][7]

Lot: 470H - Tiger striped helmet conch seashell, Cassis tuberosa, 6 inches = 15 cm, 517 g

Tiger striped helmet conch seashell, Cassis tuberosa, 6 inches = 15 cm, 517 g. Here is a lovely vintage display specimen of a genuine Queen Helmet conch shell (Cassis tuberosa). As would be expected, it shows some wear/age on the topside that is consistent with natural weathering & aging. Cassis tuberosa, the king helmet, is a species of very large sea snail with a solid, heavy shell, a marine gastropod mollusk in the family Cassidae, the helmet shells and their allies.[1] This species occurs in the Western Atlantic Ocean in: North Carolina, Florida, Mexico, Honduras, Colombia, Costa Rica, Panama, Venezuela, Bermuda, Bahamas, Turks & Caicos, Cuba, Hispaniola, Puerto Rico, Virgin Islands, Leeward Islands, Windward Islands, Brazil, and in the Eastern Atlantic Ocean at the Cape Verde Islands. [3] Base: 5” x 5.5 inches Length: 6 inches = 15 cm; Weight: 517 g = 1 lb. 2.3 oz.

Lot: 470I - Tiger striped helmet conch seashell, Cassis tuberosa, 6 inches = 15 cm, 602 g

Tiger striped helmet conch seashell, Cassis tuberosa, 6 inches = 15 cm, 602 g; Here is a lovely vintage display specimen of a genuine Queen Helmet conch shell (Cassis tuberosa). As would be expected, it shows some wear/age on the topside that is consistent with natural weathering & aging. Cassis tuberosa, the king helmet, is a species of very large sea snail with a solid, heavy shell, a marine gastropod mollusk in the family Cassidae, the helmet shells and their allies.[1] This species occurs in the Western Atlantic Ocean in: North Carolina, Florida, Mexico, Honduras, Colombia, Costa Rica, Panama, Venezuela, Bermuda, Bahamas, Turks & Caicos, Cuba, Hispaniola, Puerto Rico, Virgin Islands, Leeward Islands, Windward Islands, Brazil, and in the Eastern Atlantic Ocean at the Cape Verde Islands. [3] Base: 5” x 5.5 inches; Length: 6 inches = 15 cm; Weight: 602 g = 1 lb. 5.2 oz.

Lot: 472A - Fossil horse tooth #2, 3 inches, 56 g;

Fossil horse tooth #2. Length: 3 inches = 73 mm; Weight: 55.82 g; The evolution of the horse, a mammal of the family Equidae, occurred over a geologic time scale of 50 million years, transforming the small, dog-sized,[1] forest-dwelling Eohippus into the modern horse. Paleozoologists have been able to piece together a more complete outline of the evolutionary lineage of the modern horse than of any other animal. Much of this evolution took place in North America, where horses originated but became extinct about 10,000 years ago.[2] The horse belongs to the order Perissodactyla (odd-toed ungulates), the members of which all share hooved feet and an odd number of toes on each foot, as well as mobile upper lips and a similar tooth structure. This means that horses share a common ancestry with tapirs and rhinoceroses. The perissodactyls arose in the late Paleocene, less than 10 million years after the Cretaceous–Paleogene extinction event. This group of animals appears to have been originally specialized for life in tropical forests, but whereas tapirs and, to some extent, rhinoceroses, retained their jungle specializations, modern horses are adapted to life on drier land, in the much harsher climatic conditions of the steppes. Other species of Equus are adapted to a variety of intermediate conditions. The early ancestors of the modern horse walked on several spread-out toes, an accommodation to life spent walking on the soft, moist grounds of primeval forests. As grass species began to appear and flourish,[citation needed] the equids' diets shifted from foliage to grasses, leading to larger and more durable teeth. At the same time, as the steppes began to appear, the horse's predecessors needed to be capable of greater speeds to outrun predators. This was attained through the lengthening of limbs and the lifting of some toes from the ground in such a way that the weight of the body was gradually placed on one of the longest toes, the third.

Lot: 472B - Fossil Horse tooth #3, 2.5 inches, 40 g

Length: 2.5 inches = 65 mm; Weight: 39.58 g; The evolution of the horse, a mammal of the family Equidae, occurred over a geologic time scale of 50 million years, transforming the small, dog-sized,[1] forest-dwelling Eohippus into the modern horse. Paleozoologists have been able to piece together a more complete outline of the evolutionary lineage of the modern horse than of any other animal. Much of this evolution took place in North America, where horses originated but became extinct about 10,000 years ago.[2] The horse belongs to the order Perissodactyla (odd-toed ungulates), the members of which all share hooved feet and an odd number of toes on each foot, as well as mobile upper lips and a similar tooth structure. This means that horses share a common ancestry with tapirs and rhinoceroses. The perissodactyls arose in the late Paleocene, less than 10 million years after the Cretaceous–Paleogene extinction event. This group of animals appears to have been originally specialized for life in tropical forests, but whereas tapirs and, to some extent, rhinoceroses, retained their jungle specializations, modern horses are adapted to life on drier land, in the much harsher climatic conditions of the steppes. Other species of Equus are adapted to a variety of intermediate conditions. The early ancestors of the modern horse walked on several spread-out toes, an accommodation to life spent walking on the soft, moist grounds of primeval forests. As grass species began to appear and flourish, the equids' diets shifted from foliage to grasses, leading to larger and more durable teeth. At the same time, as the steppes began to appear, the horse's predecessors needed to be capable of greater speeds to outrun predators. This was attained through the lengthening of limbs and the lifting of some toes from the ground in such a way that the weight of the body was gradually placed on one of the longest toes, the third.

Lot: 473B - Fossil shark tooth, naturally embedded into stone matrix

Fossil shark tooth, naturally embedded into stone matrix

Lot: 474 - Fossil tooth of Saw fish 1

Fossil Saw fish 1

Lot: 479 - Ancient coin collecting, by Wayne G. Sayles, signed by the author, 1996

Condition: Used-Like New, In about 200 pages with over 200 photos in 10 chapters and 6 appendixes, Wayne Sayles masterfully brings together in his own unique and engaging style a wonder ful introduction to the ancient coin collecting hobby. The writer is the former publisher of the most popular magazine dedicated to the hobby of collecting ancient coins is written from the vantage point of an

Lot: 479A - Ancient coin collecting II, by Wayne G. Sayles, signed by the author

In roughly 200 pages that are divided into 6 chapters and 4 appendixes with copious illustrations and brief bibliographies throughout - this book is beautifully jammed with coins and information. Following the example of the first volume, this book is in plain language and is easy on the eyes in its print, format, tables and charts. The bulk of this book deals with differing coin types from

Lot: 480 - Coin Clinic by Alan Herbert, 1001 frequently asked questions, book, 1995

Coin Clinic by Alan Herbert, 1001 frequently asked questions, book, 1995; Alan Herbet is an internationally renowned numismatist, a professional coin authenticator and photographer. He has put his substantial expertise to service in Coin Clinic wherein he answers 1001 questions asked of him by collectors, dealers, scholars, authors, columnists, and specialists through his "Coin Clinic" column published in "Numismatic News" and "Coins" magazine. From the routine to the exotic, answers are loaded with reliable information to enhance and reinforce the reader's numismatic knowledge. Whether you are a novice or an experienced collector, Coin Clinic will save you from making expensive mistakes when buying and selling coins and paper money. Coin Clinic provides firsthand information on altered coins, appraisals, auctions, denominations, mintages, non-legal tender coins, proofs and more than fifty other categories. Coin Clinic provides complete information honed from hundreds of sources and cross-checked for accuracy. From the routine to the unusual, every topic expands the reader's numismatic expertise. Coin Clinic is "must" reading for every coin collector and investor. -- Midwest Book Review. • Publisher ‏ : ‎ Krause Pubns Inc (January 1, 1995) • Language ‏ : ‎ English • Paperback ‏ : ‎ 221 pages • ISBN-10 ‏ : ‎ 0873413806 • ISBN-13 ‏ : ‎ 978-0873413800 • Item Weight ‏ : ‎ 10.9 ounces • Dimensions ‏ : ‎ 6 x 0.5 x 9 inches

Lot: 480A - One minute coin expert, by Scott Travers, 6th edition book, 2007

One minute coin expert, by Scott Travers, 6th edition book, 2007. Collecting rare coins has become a lucrative global game. Now the award-winning, top-selling One-Minute Coin Expert has been completely revised and updated to show you how to play. Scott Travers teaches readers everything from how to recognize valuable coins in pocket change to how to make a mint trading gold coins. A must for beginners and a valuable resource for experienced collectors, this book includes: ·New photos of valuable coins, such as State Quarters and Presidential dollars, that will help to convert that jar of change into a treasure chest ·Tips for identifying tiny differences that make small coins worth big money ·Secrets of how to grade, trade, and preserve coins like the experts • Publisher ‏ : ‎ House of Collectibles; 6th edition (December 11, 2007) • Language ‏ : ‎ English • Paperback ‏ : ‎ 320 pages • ISBN-10 ‏ : ‎ 0375720405 • ISBN-13 ‏ : ‎ 978-0375720406 • Item Weight ‏ : ‎ 13.6 ounces • Dimensions ‏ : ‎ 6.11 x 0.89 x 9.14 inches

Lot: 481 - 277-239 BC, Macedonian bronze coin, Kings of Macedonia, Antigonos Gonatas, Athena Pan Trophy

Weight: 5.23 g; Diameter: 17 mm; GRK1075.8; Antigonus II Gonatas was a Macedonian ruler who solidified the position of the Antigonid dynasty in Macedon after a long period defined by anarchy and chaos and acquired fame for his victory over the Gauls who had invaded the Balkans.

Lot: 482 - Ancient Greek coin; Lucania, Velia, Silver Stater/Didrachm, c.440-280 BC;

Ancient Greek coin; Lucania, Velia, Silver Stater/Didrachm, c.440-280 BC; Weight: 7.30 g; Diameter: 20 mm; A port city along the Tyrrhenian Sea, Velia issued a varied and artistic coinage. The earliest coins were struck on thick, narrow planchets, and later issues were struck on increasingly broad, round flans. A few unusual issues aside, most Velian staters show on their obverse the head of Athena wearing a helmet with a great variety of decorations, including a laurel wreath, a wing, a chariot, a dolphin, a griffin and the creature Scylla. The reverse usually shows a lion in a variety of poses; typically he is prowling, but other times he stands with his head more erect. Major varieties of the reverse design include a lion attacking a stag, gnawing on prey, or walking before a palm tree.

Lot: 482A - Miletos diobol - lion silver Greek coin, 600-550 BC, Minoan Period Obverse: lion, the emblem of Miletos city;

Miletos diobol - lion silver Greek coin, 600-550 BC, Minoan Period Obverse: lion, the emblem of Miletos city; Reverse: a star in the square; Diameter: 28 mm x 20 mm; Weight: 1.23 g; SM 8 #2481; Provenance: private collection in St Petersburg, FL, USA One of The World’s Oldest Coins! This beautiful Diobol coin from Miletos—one of the most important Greek city-states in Asia Minor—dates from the mid-6th century B.C., making it one of the world’s oldest coins in existence. It depicts a lion, the emblem of the city, on the obverse and a square with a star on the reverse. Rather than a realistic depiction, however, the Miletos Lion has an artistic flair. Additionally, unlike the very first coins made of electrum, (a silver alloy), this Diobol was struck between 550 and 500 B.C. from pure silver! The Tragic Fate of Miletos By the 6th century B.C., Miletos (also referred to as Miletus) had carved out a maritime empire that had established many colonies including the Greek colony of Naukratis in Egypt, and more than 60 settlements on the shores of the Black Sea. A major trading center of the ancient world, this city state was also home to philosopher Thales of Miletus (624–545 B.C.), who was known as one of the legendary Seven Wise Men of antiquity and remembered primarily for his cosmology based on water as the essence of all matter, with Earth a flat disk floating on a vast sea. Unfortunately for the people of Miletos, their empire brushed up against the Persian Empire and sat firmly in Darius the Great’s crosshairs. Following an unsuccessful uprising against Persian rule in 499 B.C., Darius exacted a terrible punishment on the city and its inhabitants: He had all the adult men killed, sold all of the city’s women and children into slavery, and made eunuchs of all the adolescent males thus assuring that no Miletian citizen would ever be born again.

Lot: 482B - Darius the Great to Xerxes II king, Achaemenid Empire Persian silver siglos coin, 485 BC-420 BC. King advancing with bow and spear, incuse punch, SM 8 # 2450

Darius the Great to Xerxes II king, Achaemenid Empire Persian silver siglos coin, 485 BC-420 BC. King advancing with bow and spear, incuse punch, SM 8 # 2450; Diameter: 14 mm; Weight: 5.44 g; Provenance: private collection in St Petersburg, FL. Darius I-Xerxes II. 485-420 BC. Achaemenid Empire Silver Siglos.NGC G. Darius I (Old Persian: 𐎭𐎠𐎼𐎹𐎺𐎢𐏁 Dārayavaʰuš; Greek: Δαρεῖος Dareios; c. 550 – 486 BCE), commonly known as Darius the Great, was a Persian ruler who served as the third King of Kings of the Achaemenid Empire, reigning from 522 BCE until his death in 486 BCE. He ruled the empire at its territorial peak, when it included much of Western Asia, parts of the Balkans (Thrace–Macedonia and Paeonia) and the Caucasus, most of the Black Sea's coastal regions, Central Asia, the Indus Valley in the far east, and portions of North Africa and Northeast Africa including Egypt (Mudrâya), eastern Libya, and coastal Sudan. Darius ascended the throne by overthrowing the legitimate Achaemenid monarch Bardiya, whom he later fabricated to be an imposter named Gaumata. The new king met with rebellions throughout his kingdom and quelled them each time; a major event in Darius' life was his expedition to subjugate Greece and punish Athens and Eretria for their participation in the Ionian Revolt. Although his campaign ultimately resulted in failure at the Battle of Marathon, he succeeded in the re-subjugation of Thrace and expanded the Achaemenid Empire through his conquests of Macedon, the Cyclades and the island of Naxos as well as the sacked Greek city of Eretria. Darius organized the empire by dividing it into administrative provinces that were governed by satraps. He organized Achaemenid coinage as a new uniform monetary system, and made Aramaic a co-official language of the empire alongside Persian. He also put the empire in better standing by building roads and introducing standard weighing and measuring systems. Through these changes, the Achaemenid Empire became centralized and unified. Darius worked on other construction projects throughout the empire, primarily focusing on Susa, Pasargadae, Persepolis, Babylon and Egypt. He had the cliff-face Behistun Inscription carved at Mount Behistun to record his conquests, which would later become an important testimony of the Old Persian language. Darius is mentioned in the books of Haggai, Zechariah and Ezra–Nehemiah of the Hebrew Bible.

Lot: 483A - SELEUKID KINGS of SYRIA. Antiochos VII. 138-129 BC. AR

Weight: 16.4 g. Diameter: 31 mm. Condition: VF; Tyre mint. Dated year 181 (132/1 BC). Diademed head right / Athena standing half-left, holding Nike, shield, and spear; club surmounted by monogram to left, date and ZB in exergue; all within wreath. SNG Spaer 2075 var. (same obverse die, monogram right of date); Newell, Tyre 135

Lot: 484 - Ancient Greek silver coin 189-133 B.C. Apamea, Phrygia Silver Cistaphoric Tetradrachm

Weight: 12.52 g; Diameter: 28 mm; These Cistaphoric Tetradrachms were hand selected for eye appeal and all are nicely struck in nearly pure silver. Each displays a Cista Mystica (mystic basket) with serpents emerging on the obverse. Apamea Cibotus, Apamea ad Maeandrum, Apamea or Apameia (Ἀπάμεια, κιβωτός) was an ancient city in Anatolia founded in the 3rd century BC by Antiochus I, who named it after his mother Apama. It was in Hellenistic Phrygia,[1] but became part of the Roman province of Pisidia.[2][3] It was near, but on lower ground than, Celaenae (Kelainai).

Lot: 485 - Greek silver coin tetradrachm Seleukid kings of Syria, Antiochos III 223-187 BC

Diameter: 29 mm; Weight: 17.3 g; Mint: Edessa; Diademed head right; Apollo Delphios seated left on omphalos; rose and monogram; Authenticity guaranteed.

Lot: 486 - Roman bronze coin sestertius Diva Faustina AD 146-161, wife of Marcus Aurelius, thick and heavy 26.45g, 30mm;

Roman bronze coin sestertius Diva Faustina Senior AD 146-161, thick and heavy 26.45g, 30mm; Weight: 26.45 g; Diameter: 30 mm; Thickness: 4 mm; Obverse: Draped bust right with inscription around: DIVA FAUSTINA; Reverse: Juno, standing, raising arm and holding scepter ; Struck under Antonius Pius, circa AD 146/7-161; Beautiful brown patina; Faustina the Elder: Annia Galeria Faustina, more familiarly

Lot: 486B - Otacilia Severa 244-249 AD(?), Roman bronze coin

This coin needs more research for precise identification. Diameter: 20 mm; Weight: 4.12 g;

Lot: 486D - Lot of three coins: ancient Biblical Christ time, bronze prutah, circa 37 AD.

Lot of three coins: ancient Biblical Christ time, bronze prutah, circa 37 AD. Lot of 3 Ancient Biblical Christ Time Bronze Prutah coin c.37 CE. Size: 18-16 mm. Ancient Judaea Christ time Bronze Prutah, Agrippa I. Provenance: Ex Secret Eyes Gallery New York 1970's-1980's Condition Report: Fine

Lot: 487 - Antonius Pius (138-161 AD) Roman bronze heavy- 20 g, Sestertius coin

Amazing large bronze Roman coin. Weight: 20.30 g; Diameter: 28 mm; Antoninus Pius; Titus Aelius Hadrianus Antoninus Augustus Pius; 19 September 86 – 7 March 161) was Roman emperor from 138 to 161. He was one of the Five Good Emperors in the Nerva–Antonine dynasty.[4] Born into a senatorial family, Antoninus held various offices during the reign of emperor Hadrian, who adopted him as his son and successor shortly before his death. Antoninus acquired the cognomen Pius after his accession to the throne, either because he compelled the Senate to deify his adoptive father,[5] or because he had saved senators sentenced to death by Hadrian in his later years.[6] His reign is notable for the peaceful state of the Empire, with no major revolts or military incursions during this time, and for his governing without ever leaving Italy. A successful military campaign in southern Scotland early in his reign resulted in the construction of the Antonine Wall. Antoninus was an effective administrator, leaving his successors a large surplus in the treasury, expanding free access to drinking water throughout the Empire, encouraging legal conformity, and facilitating the enfranchisement of freed slaves. He died of illness in 161 and was succeeded by his adopted sons Marcus Aurelius and Lucius Verus as co-emperors.

Lot: 487A - Silver Miliaresion, Basil II Bulgaroktonos, with Constantine VIII. 976-1025 AD.

Silver Miliaresion, Basil II Bulgaroktonos, with Constantine VIII. 976-1025 AD. Basil II Bulgaroktonos, with Constantine VIII. 976-1025 AD. Silver Miliaresion (24.5 mm, 2.20 g). Constantinople mint. Struck 977-989. Cross crosslet, with central saltire; set upon globe on four steps; to left and right respectively, crowned facing busts of Basil, wearing loros, and Constantine, wearing chlamys. Legend in five lines. DOC 17a; SB 1810. Toned, weakness, a few light scratches under tone. Repaired. Near VF. ЄҺ TOVTω ҺICAT' - baSILЄI C CωҺST• Cross crosslet, with X at center and pellet within crescent on shaft; beneath, globus on four steps; in field to left, facing bust of Basil, with short beard, wearing crown and loros; to right, facing bust of Constantine, beardless, wearing crown and chlamys. Rev. ✠ bASIL' / C CωnSTAn' / ΠORFVROς' / ΠISTOI bAS' / RωmAIω' in five lines; above and below, ornaments. DOC 17. SB 1810. Condition Report: Very Fine, Repaired

Lot: 487B - Byzantine bronze coin with Jesus Christ as a pendant

Diameter: 25 x 28 mm; Weight: 13.64 g;

Lot: 487C - Byzantine bronze coin follis with Jesus Christ IC -XC / NI - KA, period of Emperor Michal IV, 1034-1041 AD

Jeweled cross, with pellet at each extremity; in the angles, IC -XC / NI - KA. Diameter: 28 x 25 mm; Weight: 7.59 g; Michael IV the Paphlagonian (Greek: Μιχαὴλ (Δ´) ὁ Παφλαγών, Mikhaēl ho Paphlagōn; c. 1010 – 10 December 1041) was Byzantine Emperor from 11 April 1034 to his death on 10 December 1041. The son of a peasant, Michael worked as a money changer until he was found a job at court by his brother John the Orphanotrophos. He caught the eye of the empress Zoë Porphyrogenita and they began a tempestuous and flagrant affair. It is believed that they conspired to murder her husband, Emperor Romanos III Argyros, who died in 1034. Michael and Zoë were married the same day and Michael was crowned emperor the day after. Michael, handsome and energetic, suffered from poor health and entrusted most of the business of government to his brother. He distrusted Zoë and went to lengths to ensure that he did not suffer the same fate as his predecessor. The fortunes of the Empire under Michael's reign were mixed. His most triumphant moment came in 1041 when he led the imperial army against Bulgarian rebels. He returned from this victory, but died a few months later.

Lot: 487D - Byzantine bronze coin 30 numm (3/4 follis), obverse: standing Jesus Christ, reverse: Two emperors holding Christian cross, 800-1110 AD;

Byzantine bronze coin 30 numm (3/4 follis), obverse: standing Jesus Christ, reverse: Two emperors holding Christian cross, 800-1110 AD; Diameter: 28 mm x 20 mm; Weight: 6.80 g; Provenance: private collection in St Petersburg, FL, USA

Lot: 488A - Scythian silver tetradrachm bilingual XF coin, Azes I, 58-20 BC

Obverse: king on horse with spear R, one streamer hanging from his diadem, BASILEWS BASILEWN MEGALOU AZOY, TRA in exergue Reverse: Pallas standing L with raised shield, MAHARAJASA RAJARAJASA MAHATASA AYASA, monogram 116 on left, A on right Diameter: 23 mm; Weight: 7.63 g; S90.14T, XF According to Mitchiner the dates of Azes I were 57-c. 35 BC, the same dates he assigns to Azilises. Mitchiner’s dates for Azes II are c. 35 BC-5 AD. Senior points out that year 1 of the reign of Azes marks the start of the Vikrama Samvat era of dating, still in use in Nepal. Year 1 was 58 BC, Senior asserts that Azes died c. 20 BC. Mitchiner gives Azes I the horseman with spear types, and Azes II gets the horseman with whip types. Senior says there was a transition period when both were made. The whip coins started out slightly debased, and debasement continued through the posthumous issues. The Scythians were horse nomads famous for their cruelty and for riding around naked in the winter. They were active for about 500 years from Eastern Europe to India. We are using two catalogue references: Oriental Coins and Their Values, Ancient and Classical World, by Michael Mitchiner, and Indo-Scythian Coins and History, by R.C. Senior. The two authors have created two rather different histories of the Indo-Scythians. In most cases I use Senior before Mitchiner in my descriptions, except for mints. Mitchiner liked to assign mints to the various marks they used on their coins. Senior made suggestions rather than definitive statements. So any indication of mint in my descriptions is apt to be Mitchiner. The earliest ancient Indian coins were the “bent bar” punchmarked silvers of the Achaemenid Persians occupying Gandhara in northwest Pakistan. By the 3rd century BC coins were in general use in most of India and Ceylon, and in subsequent centuries struck round coins in gold, silver, and copper came into use throughout the subcontinent and beyond to Southeast Asia and Pacific islands to Java and beyond.

Lot: 488G - INDIA, KUSHAN: Kanishka copper tetradrachm with Athsho. Scarce.

Kanishka I (c. 127/8-152 AD), AE tetradrachm Diameter: 25 mm; Thickness: 3 mm; Weight: 15.82 g; Obverse: King standing, head left, wearing round crown, sacrificing over altar and holding spear; Bactrian legend around þAO KANηþKI (King Kanishka); Reverse: God of metals Athsho standing left, holding out diadem; Bactrian legend AΘþO at right; Ref: Gobl 772; MACW 3085;

Lot: 488K - Bronze coin kavanahu of Sahasa Malla (1200-1202), Singhalese Kingdom of southern Sri Lanka, sharp EF, 4.23 g

Obverse: Seated king, SRIMA SAHASA MALLA in Brahmi in two vertical lines in the left field; Reverse: King standing, small altar in the left field, various dots and decorations in fields. Diameter: 20 mm, Weight: 4.23 grams. Mitchiner NIS 837-839.

Lot: 489 - Huge antique bronze Swedish coin, 1 Or, Rose Avesta, 1683, Sweden

Weight: 31.14 g; Diameter: 45 mm

Lot: 490 - LARGE SILVER 8 REALES 1780, Mexico MINT SPAIN COLONIAL, Carolus III 1780

Diameter: 39 mm; Weight: 26.61 g; Charles III (Spanish: Carlos; Italian: Carlo; 20 January 1716 – 14 December 1788) was the King of Spain and the Spanish Indies from 1759 to 1788. He was the fifth son of Philip V of Spain, but eldest by his second wife, Elisabeth Farnese. In 1731, the 15-year-old Charles became the Duke of Parma and Piacenza, as Charles I, on the death of his childless granduncle Antonio Farnese. In 1734, as Duke of Parma, he conquered the kingdoms of Naples and of Sicily, and was crowned king on 3 July 1735, reigning as Charles VII of Naples and Charles V of Sicily. In 1738 he married Princess Maria Amalia of Saxony, an educated, cultured woman who gave birth to 13 children, eight of whom reached adulthood. Charles and Maria Amalia resided in Naples for 19 years; she died in 1760. Upon succeeding to the Spanish throne on 10 August 1759, Charles, a proponent of enlightened absolutism, on 6 October 1759 abdicated the Neapolitan and Sicilian thrones in favour of Ferdinand, his third surviving son, who became Ferdinand I of the Two Sicilies. As king of Spain Charles III tried to rescue his empire from decay through far-reaching reforms such as weakening the Church and its monasteries, promoting science and university research, facilitating trade and commerce, modernizing agriculture and avoiding wars. He never achieved satisfactory control over finances, and was obliged to borrow to meet expenses. His reforms proved short-lived and Spain relapsed after his death, but his legacy lives on to this day.[1] Historian Stanley Payne states Charles III: "was probably the most successful European ruler of his generation. He had provided firm, consistent, intelligent leadership. He had chosen capable ministers....[his] personal life had won the respect of the people."[2

Lot: 492 - Model of La Niña – Spanish caravela ship, used by Christopher Columbus in 1492

Model of La Niña – Spanish caravela ship used by Christopher Columbus in 1492 Length: 10.75 inches = 27.3 cm; Material: painted wood and cotton; La Niña (Spanish for The Girl) was one of the three Spanish ships used by Genoan explorer Christopher Columbus in his first voyage to the West Indies in 1492. As was tradition for Spanish ships of the day, she bore a female saint's name, Santa Clara. However, she was commonly referred to by her nickname, La Niña, which was probably a pun on the name of her owner, Juan Niño of Moguer.[1] She was a standard caravel-type vessel. The other ships of the Columbus expedition were the caravel-type Pinta and the carrack-type Santa María. Niña was by far Columbus's favorite. She was originally lateen sail rigged caravela latina, but she was re-rigged as caravela redonda at Las Palmas, in the Canary Islands, with square sails for better ocean performance.[2] There is no authentic documentation on the specifics of Niña's design, although Michele de Cuneo, who accompanied Columbus on his second voyage, mentioned that Niña was "about 60 toneladas" (60 tons), which may indicate a medium-sized caravel of around 50 feet (15 m) in length on deck.[3] Often said to have had three masts, there is some evidence she may have had four masts.[4] Niña, like Pinta and Santa María, was a smaller trade ship built to sail the Mediterranean sea, not the open ocean. It was greatly surpassed in size by ships like Peter von Danzig of the Hanseatic League, built in 1462, 51 m (167 ft) in length, and the English carrack Grace Dieu, built during the period 1420–1439, weighing between 1,400 and 2,750 tons, and 66.4 m (218 ft) long, in both weight and length.

Lot: 493 - Spanish silver coin 5 pesetas, Amadeo I, 1871

Reverse: Crowned shield flanked by pillars with banner; Obverse: Amadeo I, left; Edge: JUSTICIA ** Y ** LIBERTAD; Diameter: 37 mm; Weight: 25 g; Condition: EF; Composition: Silver; Fineness: 0.9000; Weight(g): 25.0000g; Weight(Oz): 0.80 Oz; Net Content of silver: 0.72 Oz (22.50g);

Lot: 493A - Alfonso XII, silver Spanish coin 5 pesetas, 1885, Spain

Diameter: 37 mm = 3.7 cm; Weight: 25.12 g; Provenance: old collection from Montreal, Canada. Alfonso XII[a] (Alfonso Francisco de Asís Fernando Pío Juan María de la Concepción Gregorio Pelayo; 28 November 1857 – 25 November 1885), also known as El Pacificador or the Peacemaker, was King of Spain, reigning from 1874 to 1885. After a revolution that deposed his mother Isabella II from the throne in 1868, Alfonso studied in Austria and France. His mother abdicated in his favour in 1870, and he returned to Spain as king in 1874 following a military coup against the First Republic. Alfonso died aged 27 in 1885, and was succeeded by his unborn son, who became Alfonso XIII on his birth the following year. To date, he is the last monarch of Spain to have died whilst on the throne.

Lot: 493B - Alfonso XIII as a 2 year-baby, silver Spanish coin 5 pesetas, 1888, Spain

Diameter: 37.5 mm = 3.75 cm; Weight: 24.58 g; Provenance: from old collection in Montreal, Canada Alfonso XIII[b] (17 May 1886 – 28 February 1941), also known as El Africano or the African, was King of Spain from 1886 until the proclamation of the Second Republic in 1931. He was a monarch from birth as his father, Alfonso XII, had died the previous year. Alfonso's mother, Maria Christina of Austria, served as regent until he assumed full powers on his sixteenth birthday in 1902. During Alfonso's reign of the Kingdom of Spain, the country experienced four major problems that contributed to the end of the liberal monarchy: the lack of real political representation of broad social groups; the poor situation of the popular classes, especially peasants; problems arising from the Rif War; and Catalan nationalism. The political and social turbulence that began with the Spanish–American War prevented the turnaround parties from establishing a true liberal democracy, which led to the establishment of the dictatorship of Miguel Primo de Rivera. With the political failure of the dictatorship, Alfonso impelled a return to the democratic normality with the intention of regenerating the regime. Nevertheless, it was abandoned by all political classes, as they felt betrayed by the king's support of the dictatorship of Primo de Rivera. He left Spain voluntarily after the municipal elections of April 1931, which were taken as a plebiscite on abolishing the monarchy.

Lot: 493C - Alfonso XIII as a 6-year baby, silver Spanish coin 5 pesetas, 1892, Spain

Diameter: 37 mm = 3.70 cm; Weight: 24.80 g; Provenance; from old collection in Montreal, Canada. Alfonso XIII[b] (17 May 1886 – 28 February 1941), also known as El Africano or the African, was King of Spain from 1886 until the proclamation of the Second Republic in 1931. He was a monarch from birth as his father, Alfonso XII, had died the previous year. Alfonso's mother, Maria Christina of Austria, served as regent until he assumed full powers on his sixteenth birthday in 1902. During Alfonso's reign of the Kingdom of Spain, the country experienced four major problems that contributed to the end of the liberal monarchy: the lack of real political representation of broad social groups; the poor situation of the popular classes, especially peasants; problems arising from the Rif War; and Catalan nationalism. The political and social turbulence that began with the Spanish–American War prevented the turnaround parties from establishing a true liberal democracy, which led to the establishment of the dictatorship of Miguel Primo de Rivera. With the political failure of the dictatorship, Alfonso impelled a return to the democratic normality with the intention of regenerating the regime.[citation needed] Nevertheless, it was abandoned by all political classes, as they felt betrayed by the king's support of the dictatorship of Primo de Rivera. He left Spain voluntarily after the municipal elections of April 1931, which were taken as a plebiscite on abolishing the monarchy.

Lot: 493D - Alfonso XIII as a 6 year-boy, silver Spanish coin 5 pesetas, 1892, Spain

Diameter: 37 mm; Weight: 24.53 g; Provenance: old collection from Montreal, Canada. Alfonso XIII[b] (17 May 1886 – 28 February 1941), also known as El Africano or the African, was King of Spain from 1886 until the proclamation of the Second Republic in 1931. He was a monarch from birth as his father, Alfonso XII, had died the previous year. Alfonso's mother, Maria Christina of Austria, served as regent until he assumed full powers on his sixteenth birthday in 1902. During Alfonso's reign of the Kingdom of Spain, the country experienced four major problems that contributed to the end of the liberal monarchy: the lack of real political representation of broad social groups; the poor situation of the popular classes, especially peasants; problems arising from the Rif War; and Catalan nationalism. The political and social turbulence that began with the Spanish–American War prevented the turnaround parties from establishing a true liberal democracy, which led to the establishment of the dictatorship of Miguel Primo de Rivera. With the political failure of the dictatorship, Alfonso impelled a return to the democratic normality with the intention of regenerating the regime.[citation needed] Nevertheless, it was abandoned by all political classes, as they felt betrayed by the king's support of the dictatorship of Primo de Rivera. He left Spain voluntarily after the municipal elections of April 1931, which were taken as a plebiscite on abolishing the monarchy.

Lot: 493E - Alfonso XIII as a 12 year-boy, silver Spanish coin 5 pesetas, 1898, Spain

Diameter: 37 mm; Weight: 25.21 g; Provenance: from old collection in Montreal, Canada Alfonso XIII (17 May 1886 – 28 February 1941), also known as El Africano or the African, was King of Spain from 1886 until the proclamation of the Second Republic in 1931. He was a monarch from birth as his father, Alfonso XII, had died the previous year. Alfonso's mother, Maria Christina of Austria, served as regent until he assumed full powers on his sixteenth birthday in 1902. During Alfonso's reign of the Kingdom of Spain, the country experienced four major problems that contributed to the end of the liberal monarchy: the lack of real political representation of broad social groups; the poor situation of the popular classes, especially peasants; problems arising from the Rif War; and Catalan nationalism. The political and social turbulence that began with the Spanish–American War prevented the turnaround parties from establishing a true liberal democracy, which led to the establishment of the dictatorship of Miguel Primo de Rivera. With the political failure of the dictatorship, Alfonso impelled a return to the democratic normality with the intention of regenerating the regime. Nevertheless, it was abandoned by all political classes, as they felt betrayed by the king's support of the dictatorship of Primo de Rivera. He left Spain voluntarily after the municipal elections of April 1931, which were taken as a plebiscite on abolishing the monarchy.

Lot: 494 - Germany Saxony, Albertine 1601 HB 1 Thaler/Taler Silver Coin EF, Three Brothers, Toned

Weight: 28.69 g; Diameter: 40 mm; Germany Saxony Albertine 1601-HB 1 Taler Silver Coin "3 Brothers"; Dav #9820; MB #314; EF Toned; Three brothers: Christian II, Johann Georg I and August

Lot: 495 - Silver AR Taller 1696 Ferdinand et Maria Anna, Austria, Schwarzenberg Ferdinand Wilhelm Eusebius with Maria Anna 1683-1703;

Diameter: 47 mm; Weight: 28.80 g; Wien (Vienna) mint; Dated: 1696; Jugate busts of Ferdinand and Maria right; Crowned and draped double coats-of-arms; Davenport 1696; Good FV, nice patina;

Lot: 496 - German States Coronation Silver medal, Prussia, 42 mm; 29.85 g, 1861

German States Coronation Silver medal, Prussia. Diameter: 42 mm; Weight: 29.85 g; Obverse: Wilhelm Koenig Augusta Koenigin V. Preussen; ZUR CROENUNG AM 18 OCT 1861; Reverse: SUUM CUIQUE with 7 heraldic emblems around; C PFEUFFER F.E.C.

Lot: 496A - One thaler/taler 1861 Prussia coronation Wilhelm Koenig & Augusta Koenigin V Preussen, silver (.900) proof.

One thaler/taler 1861 Prussia coronation Wilhelm Koenig & Augusta Koenigin V Preussen, silver (.900) proof. Commemorative issue: Coronation of Wilhelm and Augusta; Obverse: King Wilhelm I and Queen Augusta; Script: Latin; Lettering: WILHELM KOENIG AUGUSTA KOENIGIN V. PREUSSEN; Translation: Wilhelm King and Augusta Queen of Prussia; Reverse: Arms at the center of crowned monograms; Script: Latin; Lettering: SUUM CUIQUE; W R A R W R A R; KROENUNGS THALER 1861; Edge: Inscripted. Lettering: GOTT MIT UNS; Translation: God be with us; Issuer Kingdom of Prussia (German States) King William I (1861-1888); Type Circulating commemorative coin; Year 1861; Value 1 Thaler Currency Vereinsthaler (1821-1873) Composition Silver (.900) Weight 18.51 g; Diameter 33 mm; Thickness 2.5 mm; Shape Round; Technique Milled; Orientation Medal alignment ↑↑ Demonetized Yes; Number N# 16991 References KM# 488, AKS# 116, Olding FR# 403, Neum# 1, Schr# 59, Dav GT III# 778 https://en.numista.com/catalogue/pieces16991.html

Lot: 496B - One thaler/taler 1861 Prussia coronation Wilhelm Koenig & Augusta Koenigin V Preussen, silver (.900) AU

One thaler/taler 1861 Prussia coronation Wilhelm Koenig & Augusta Koenigin V Preussen, silver (.900) AU. Commemorative issue: Coronation of Wilhelm and Augusta; Obverse: King Wilhelm I and Queen Augusta; Script: Latin; Lettering: WILHELM KOENIG AUGUSTA KOENIGIN V. PREUSSEN; Translation: Wilhelm King and Augusta Queen of Prussia; Reverse: Arms at the center of crowned monograms; Script: Latin; Lettering: SUUM CUIQUE; W R A R W R A R; KROENUNGS THALER 1861; Edge: Inscripted. Lettering: GOTT MIT UNS; Translation: God be with us; Issuer Kingdom of Prussia (German States) King William I (1861-1888); Type Circulating commemorative coin; Year 1861; Value 1 Thaler Currency Vereinsthaler (1821-1873) Composition Silver (.900) Weight 18.47 g; Diameter 33 mm; Thickness 2.5 mm; Shape Round; Technique Milled; Orientation Medal alignment ↑↑ Demonetized Yes; Number N# 16991 References KM# 488, AKS# 116, Olding FR# 403, Neum# 1, Schr# 59, Dav GT III# 778

Lot: 498 - Pope Pius IX, bronze medal, Vatican, 35 mm, 18.6 g, 1872

Diameter: 35 mm; Weight: 18.61 g; Condition: EF or higher; References: Pope Pius IX (Latin: Pius IX; 13 May 1792 – 7 February 1878), born Giovanni Maria Mastai-Ferretti, reigned from 16 June 1846 to his death in 1878. He was the longest-reigning elected pope in the history of the Catholic Church — over 31 years. During his pontificate, he convened the First Vatican Council (1869-1870), which decreed papal infallibility, but the council was cut short due to the loss of the Papal States. Pius IX defined the dogma of the Immaculate Conception of the Blessed Virgin Mary, meaning that Mary was conceived without original sin. Pius IX also conferred the Marian title of Our Mother of Perpetual Help, to a famous Byzantine icon from Crete entrusted to the Redemptorists. He was also the last pope to rule as the Sovereign of the Papal States, which fell completely to Italian nationalist armies in 1870 and were incorporated into the Kingdom of Italy. After this, he was referred to - chiefly by himself - as the "Prisoner of the Vatican". After his death in 1878, his canonization process was opened on 11 February 1907 by Pope Pius X and it drew considerable controversy over the years. It was closed on several occasions during the pontificates of Pope Benedict XV and Pope Pius XI. On 7 December 1954, Pope Pius XII re-opened the cause and Pope John Paul II proclaimed him Venerable on 6 July 1985. Together with Pope John XXIII he was beatified on 3 September 2000 after the recognition of a miracle and was assigned the liturgical feast day of February 7 which is the date of his death.

Lot: 500 - French silver coin, Philippus Rex, AR Gros Tournoise, EF, 1300 AD, France

French silver coin, Philippus Rex, AR Gros Tournoise, EF, 1300 AD, France; Expert opinion: Coins with "PHILIPVS" (like your coin) are attributed to Philip III. Coins with "PHILIPPVS" to Philip IV or V. AR gros tournois, 25 mm, 3.97 g. Obv: + PHILIPPVS REX, central cross, inner circle. SIT NOMEN etc. outer circle, central cross. Rev: +TVRONVS CIVIS, central chattel tournois. Mint is Tours. Dy 190; C 181. Diameter: 25 mm; Weight: 3.97 g Condition: EF Provenance: bought in 1993 in Montreal Canada, from Numismatic shop.

Lot: 502 - British Bronze medal George, Order of Bath revived, 1725

British Bronze medal George, Order of Bath revived, 1725; Obverse: profile of King George; Inscription: GEORGIUS DE G MAG BR. FR. Et HIB. REX F. D. Reverse: SPES. ALTERA RD. EQUIT. DE. BALNREST. ET. INSIG. AVCT. MDCCXXV Weight: 57.11g Diameter: 46 mm Condition: bold EF?Excellent, noble patina Provenance: private collection, Montreal, Quebec, Canada Order of the Bath The Most Honourable Order of the Bath (formerly the Most Honourable Military Order of the Bath)[1] is a British order of chivalry founded by George I on 18 May 1725.[2] The name derives from the elaborate mediaeval ceremony for creating a knight, which involved bathing (as a symbol of purification) as one of its elements. The knights so created were known as "Knights of the Bath".[3] George I "erected the Knights of the Bath into a regular Military Order".[4] He did not (as is commonly believed) revive the Order of the Bath,[5] since it had never previously existed as an Order, in the sense of a body of knights who were governed by a set of statutes and whose numbers were replenished when vacancies occurred.[6][7] The Order consists of the Sovereign (currently Queen Elizabeth II), the Great Master (currently The Prince of Wales),[8] and three Classes of members:[9] • Knight Grand Cross (GCB) or Dame Grand Cross (GCB) • Knight Commander (KCB) or Dame Commander (DCB) • Companion (CB) Members belong to either the Civil or the Military Division.[10] Prior to 1815, the order had only a single class, Knight Companion (KB), which no longer exists.[11] Recipients of the Order are now usually senior military officers or senior civil servants.[12][13] Commonwealth citizens not subjects of the Queen and foreigners may be made Honorary Members.[14] The Order of the Bath is the fourth-most senior of the British Orders of Chivalry, after The Most Noble Order of the Garter, The Most Ancient and Most Noble Order of the Thistle, and The Most Illustrious Order of St Patrick (dormant).[15] The last of the aforementioned Orders, which relates to Ireland, still exists but has been in disuse since the formation, in December 1922, of the Irish Free State.[16]

Lot: 512 - French silver coin 5 franc, 1823 Louis XVIII, 37mm, France

French silver coin 5 franc, 1823 Louis XVIII, 37mm, France; Obverse: Louis XVIII Roi de France, M; Reverse: 5F 1823; Diameter: 37 mm; Weight: 24.76 g; Condition: EF; Provenance: from private collection from Quebec, Canada;

Lot: 514 - Napoleon III - Louis Napoleon Bonaparte, French copper medal, 1852

Napoleon III - Louis Napoleon Bonaparte, French copper medal, 1852 Diameter: 22 mm; Weight: 3.79 g; Napoleon III (Charles Louis Napoléon Bonaparte; 20 April 1808 – 9 January 1873) was the first President of France (as Louis-Napoléon Bonaparte) from 1848 to 1852 and Emperor of the French from 1852 to 1870. A nephew of Napoleon I, he was the last monarch to reign over France.

Lot: 518 - Huge bronze medal with a GIL EANES Portuguese ship, 1955

Huge bronze medal with a GIL EANES Portuguese ship, 1955 Gil Eanes - Navio de apoio a frota bacalhoeira, Viana do Castelo, 1955. Assistencia AOS Pescadores pela organizacao corporative das pescas. M Norte Gil Eanes - Support vessel for the cod fishing fleet, Viana do Castelo, 1955. Assistance to Fishermen by the corporate fisheries organization. Viana do Castelo is one of the most beautiful cities in the north of Portugal. Its involvement in the Portuguese Discoveries and, later on, cod fishing shows its traditional connection to the sea. Width: 129 mm; Height: 69 mm; Thickness: 6 mm; Weight: 459.70 g; Condition: excellent, about uncirculated.

Lot: 519 - Silver French medal -celebration of new type - deposit bank system in France, 1850

Silver French medal -celebration of new type - deposit bank system in France, 1850; Weight: 34 g; Diameter: 46 mm, Year- 1850, condition: about uncirculated with rainbow toning. HISTORY: Following the economic crisis of 1847, which saw 829 banking institutions fail between 1846 and 1848, and the revolutionary turmoil of February 1848, the money markets were paralyzed. Payments in cash replaced supplier credit and trade discounting. Faced with this situation, urgent measures were needed to revive trade. The provisional government, led by Louis-Antoine Garnier-Pagès, issued a decree to set up comptoirs d’escompte or local banks offering short-term credit to unblock bank lending and stem the recession of the years 1845-1848. The creation of the comptoirs d’escompte, established at French department level, brought together the State, the municipalities and the business community. 66 comptoirs were created, including Comptoir National d’Escompte de Paris (CNEP), created by decree on 10 March 1848. With a share capital of 20 million francs, CNEP was constituted in the amount of one third in cash by the subscribing partners, mainly those of the corporation of booksellers and publishers, in the amount of one third in bonds from the City of Paris, and in the amount of one third in Treasury bonds from the State. An antique French medal Comptoir National D Escompte de Paris, business and industry. Made of silver (Argent). The obverse of the coin depicts a relief of two women looking at each other. One woman holds a caduceus rod in her hand. The background around the women consists of an anchor, cargo, lighthouse, steam locomotive, and various blacksmithing objects. Both women are standing barefoot on the line that marks the ground. Under the line are highlighted signature J. CAVELIER F. - L. MERLEY. S. The coin on the reverse consists of an inscription and images of a ship, blacksmithing tools, a caduceus rod, and a lamp. Surrounded by an inscription: REPVBLIQVE FRANCAISE and COMPTOIR NATIONAL D ESCOMPTE DE PARIS. An inscription in the center: CREATION VII-VIII MARS MDCCCXLVIII, INSTITVTION IX-X MARS, CONSTITVTION XX-MARS, ORGANISATION XXVIII MARS, SOVS COMPTOIRS XXIV MARS, PROROGATION DV COMPTOIR, XX FEVRIER XXII MARS V AVRIL, MDCCCL.

Lot: 520 - French bronze medal Minister de l’Agriculture, 1896;

French bronze medal Minister de l’Agriculture, 1896; Obverse: Republique Francaise, H. Ponscarme; Reverse: Ministere de l’Agriculture, Paris 1896, H. Ponscarme; Rim: BRONZE; Size: 50 mm; Weight: 62.84 g; Condition: perfect, noble patina; Provenance: private collection, Montreal, Quebec, Canada

Lot: 521 - Graceful French bronze medal - Monnais de Paris, 1900

Graceful French bronze medal - Monnais de Paris, 1900 Diameter: 50 mm Weight: 60.16 g Condition: used, great original patina, but no defects

Lot: 522 - French silver medal Minister de l’'Agriculture, 1897;

French silver medal Minister de l’Agriculture, 1897; Obverse: Republique Francaise, H. Ponscarme; Reverse: Ministere de l’Agriculture, Vesoul 1897, Concours Regal Hippique; Membre du Jury; H. Ponscarme; Size: 42 mm; Rim: Argent; Weight with carton holder: 36.70g; Condition: perfect, noble patina; Provenance: private collection, Montreal, Quebec, Canada;

Lot: 522A - Adolphe Max - Burgmestre de Bruxelles, Bronze French medal, 1914

Adolphe Max - Burgmestre de Bruxelles, Bronze French medal, 1914 Reverse: Les vertus civique; Justice, Vigilance, Charite Diameter: 27.5 mm; Weight: 11.43 g; Provenance: private collection in Sarasota, Florida; Adolphe Eugène Jean Henri Max (30 December 1869 – 6 November 1939) was a Belgian liberal politician and Mayor of Brussels from 1909 until his death. He graduated in law at the Université Libre de Bruxelles, and entered the legal profession, besides doing journalistic work. When he was 25 years old, he was elected a province councilor for Brabant, and was elected a city councilor in 1903. After he had worked as a magistrate, he was appointed city mayor of Brussels on 6 December 1909. Under the German occupation of Brussels during the First World War, Max refused to cooperate with the occupying forces. As a result, he was arrested and held in captivity, first at Namur, and then at Glatz and Goslar, until he escaped on 13 November 1918. Charles Lemonnier was acting mayor during his captivity. On his return to Brussels, he was greeted as a hero. In 1919, he was elected to the Belgian Chamber of Representatives, where he campaigned for universal adult suffrage, a goal not achieved until after his death. Among the monuments from Max's time in office as mayor of Brussels are parts of the Royal Museums of Fine Arts of Belgium and the Heysel exhibition park built for the Expo of 1935, begun to mark the centenary of the Belgian Revolution of 1830. Adolphe Max was an irregular freemason, an honorary Minister of State and a member of the Institut de France. Boulevard Adolphe Max, a main boulevard of the City of Brussels, is named after him. Primary and secondary schools near Square Ambiorix are named after him. There is also a Place Adolphe Max in the 9th arrondissement of Paris which was named after him in January 1940, shortly after his death.

Lot: 523A - Egypt silver coin 50 piasters, low mintage 1907

Weight: 28.10 g; Diameter: 40 mm; Condition: EF; The Suez Canal, built in partnership with the French, was completed in 1869. Its construction led to enormous debt to European banks, and caused popular discontent because of the onerous taxation it required. In 1875 Ismail was forced to sell Egypt's share in the canal to the British Government. Within three years this led to the imposition of British and French controllers who sat in the Egyptian cabinet, and, "with the financial power of the bondholders behind them, were the real power in the Government."[41] British infantry near El Alamein, 17 July 1942 Local dissatisfaction with Ismail and with European intrusion led to the formation of the first nationalist groupings in 1879, with Ahmad Urabi a prominent figure. Fearing a reduction of their control, the UK and France intervened militarily, bombarding Alexandria and crushing the Egyptian army at the battle of Tel el-Kebir.[42] They reinstalled Ismail's son Tewfik as figurehead of a de facto British protectorate.[43] In 1906, the Dinshaway Incident prompted many neutral Egyptians to join the nationalist movement. In 1914, the Protectorate was made official, and the title of the head of state was changed to sultan, to repudiate the vestigial suzerainty of the Ottoman sultan, who was backing the Central powers in World War I. Abbas II was deposed as khedive and replaced by his uncle, Hussein Kamel, as sultan.[44] After the First World War, Saad Zaghlul and the Wafd Party led the Egyptian nationalist movement to a majority at the local Legislative Assembly. When the British exiled Zaghlul and his associates to Malta on 8 March 1919, the country arose in its first modern revolution. The revolt led the UK government to issue a unilateral declaration of Egypt's independence on 22 February 1922.[45]

Lot: 523B - Genuine WW II, four battle medals, Great Britain, 1939-1945

WW2 Territorial Medal Miniature Group 3 silver medals + 1939-1945 bronze star. Group mounted on bar with second bar on territorial Medal. Condition is "Used". 1. Territorial - For efficient Service silver/ George VI 2. 1939-1945 silver/George VI 3. The defense medal silver/ George VI 4. The 1939-1945 Star The 1939–1945 Star is a military campaign medal instituted by the United Kingdom on 8 July 1943 for award to British and Commonwealth forces for service in the Second World War. Two clasps were instituted to be worn on the medal ribbon, Battle of Britain and Bomber Command

Lot: 524 - US American bronze medal for Good Conduct, Efficiency, Honor, Fidelity; Niles W Borst

US American bronze medal for Good Conduct, Efficiency, Honor, Fidelity; Niles W Borst Weight: 24 g; Diameter: 32 mm;

Lot: 524A - United States Navy, Good conduct, Fidelity, Zeal, Obedience, Constitution USS frigate, bronze medal 1900-1945

United States Navy, Good conduct, Fidelity, Zeal, Obedience, Constitution USS frigate, bronze medal 1900-1945; Title: Medal, Good Conduct, Type III, Navy; Circa: 1905; Diameter: 32 mm; Weight: 21.91 g; Medium: burgundy fabric (silk or satin), bronze; One U.S. Navy Good Conduct Medal. Circular bronze medal with red suspension ribbon. The center of the obverse side of the medal is a depiction of the USS Constitution. The image has a circular rope border with an anchor underlay. The edge of the medal has a chain border. Between the rope and chain borders are the words “United States Navy.” The medal is bordered by the words "Fidelity / Zeal / Obedience" around the perimeter. A suspension ring attaches to a straight ribbon bar (missing) The Navy adopted a new style of Good Conduct Medal in 1885 that was used until minor changes were made in 1961. The Type III medal was a Good Conduct medallion suspended from an all red ribbon with a suspension ring attaching to a ribbon bar with an un-tapered ribbon. Enlistment bars, denoting each honorable enlistment completed, were pinned on the ribbon as attachments. The pins were later changed to slip on bars. In the 1950s, bronze and silver stars replaced the enlistment bars, with one silver star worn in lieu of five bronze stars. USS Constitution, also known as Old Ironsides, is a three-masted wooden-hulled heavy frigate of the United States Navy. She is the world's oldest commissioned naval warship still afloat.[9][Note 1] She was launched in 1797, one of six original frigates authorized for construction by the Naval Act of 1794 and the third constructed. The name "Constitution" was among ten names submitted to President George Washington by Secretary of War Timothy Pickering in March of 1795 for the frigates that were to be constructed.[11][12] Joshua Humphreys designed the frigates to be the young Navy's capital ships, and so Constitution and her sister ships were larger and more heavily armed and built than standard frigates of the period. She was built at Edmund Hartt's shipyard in the North End of Boston, Massachusetts. Her first duties were to provide protection for American merchant shipping during the Quasi-War with France and to defeat the Barbary pirates in the First Barbary War. The reverse side of the medal is engraved “C.S.C. / No. 9766 / John Murnane / U.S.S. / Wabash / May 31, 1905.” The ribbon has the devices "Constellation" and "Reserve Torpedo Division / Charleston. SC." Location: Headquarters Artifact Collection, Naval History and Heritage Command Accession #: NHHC 2006-59-1 Location: Headquarters Artifact Collection, Naval History and Heritage Command

Lot: 525 - Large set of medals and other awards of American officer, 1973

We intentionally keep all medals and rewards together. If you buy it, please, pay honor and respect to this brave officer! For serious collectors only!

Lot: 525A - Declaration of Independence of United States of America, 1776, full size framed vintage copy

Declaration of Independence of United States of America, 1776, full size, framed vintage copy. Size of the frame: 24” x 15.5” inches; Size of the document: 15.5” x 12.5” inches; Weight: 3 lb. 3 oz. Drafted by 33 year old Thomas Jefferson between June 11 and June 28, 1776, the Declaration of Independence is the nation's most cherished symbol of liberty. It was adopted by the Continental Congress on July 4, 1776, and announced that the 13 American colonies, then at war with Great Britain, regarded themselves as independent states and no longer a part of the British Empire. Instead, they formed a union that would become a new nation - the United States of America. This facsimile features an inscription on the back side of the document, the same as on the back of the original. The antiqued parchment paper on which it is printed has undergone an aging process exclusive to the National Archives, making each document unique. It was proudly made in Philadelphia by a family-owned company. The original Declaration is on permanent exhibit in the Rotunda at the National Archives Museum.

Lot: 526 - American flag antique 48 stars, 4 x 6 feet, United States, 1912-1959

American flag antique 48 stars, 4 x 6 feet, United States, 1912-1959; Original US flag made of cotton, durable quality, made by Reliance. Duration of the 48 star’ design: 47 years (July 4, 1912 – July 3, 1959) after adding New Mexico and Arizona. The flag of the United States of America, often referred to as the American flag or the U.S. flag, is the national flag of the United States. It consists of thirteen equal horizontal stripes of red (top and bottom) alternating with white, with a blue rectangle in the canton (referred to specifically as the "union") bearing fifty small, white, five-pointed stars arranged in nine offset horizontal rows, where rows of six stars (top and bottom) alternate with rows of five stars. The 50 stars on the flag represent the 50 states of the United States of America, and the 13 stripes represent the thirteen British colonies that declared independence from the Kingdom of Great Britain, and became the first states in the U.S.[2] Nicknames for the flag include the Stars and Stripes,[3][4] Old Glory,[5] and the Star-Spangled Banner.

Lot: 527 - Brand new, genuine five $2 USA banknotes

Brand new, genuine five $2 USA banknotes These banknotes are brand new, 100% genuine and were verified by the Bank of America.

Lot: 529 - Beatlemania, John Lennon 16 FOREVER postal stamps block, USPS, USA 2017

Beatlemania, John Lennon 16 FOREVER postal stamps block, USPS, USA 2017 Issued by United States Postal Services in 2017; Size: 18 x 18 cm = 7 x 7 inches; Condition: brand new;

Lot: 530 - 2007-2016 Presidential Dollar set 39 coins, uncirculated, in a special folder

2007-2016 Presidential Dollar set 39 coins, uncirculated, in a special folder; Size of 1 coin: 26 mm; Weight of 1 coin: 7.96 g Size of the folder: 21.1 cm x 15.8 cm = 8.35” x 6.25” inches Weight of folder with 39 coins: 1 lb. 0.5 oz. = 466 g;

Lot: 531 - Six gold coins 40 mm each, "Rare African Animals" Republique Togolaise, American Mint, 2022

Set of BIG FIVE (Rare African animals), Six 0.999 pure gold coins x 40 mm diameter each, certified, 2022: African Lion, Black Rhinoceros, African Buffalo, Leopard, African Bush Elephant. 2022 set BIG FIVE 1/200 oz. - Six gold coins. Material: 0.999 pure gold; Weight: 1/200th ounce x 6 coins; Issue year: 2022, Diameter: 40 mm; Quality: Proof, Republique Togolaise (Africa); Face value: 1500 franks CFA. Low mintage: 15,000 sets worldwide Obverse: image and inscription: Lion, Black Rhinoceros, African Buffalo, Leopard, African Bush Elephant, Big Five coin. Africa is a continent full of natural wonders. During the heyday of the big game hunter, there were five animals, considered the greatest trophies. The most dangerous of all big game, they became known as Big Five: African Lion, Black Rhinoceros, African Buffalo, Leopard, African Bush Elephant. Today the big Five are still the most sought after trophies, but mostly on tourist and photography safaris.

Lot: 533 - Our Heroes Our Flags, layered 24 k gold coin collection, American Mint, 2018

Our Heroes Our Flags, layered 24 k gold coin collection, American Mint, 2018; Material: CU, layered in 24k gold with pad print & Swarovski; Limitation: 9999; Diameter: 70 mm; Weight: 110 g; Quality: Proof; Obverse: Abraham Lincoln; Reverse: Our Heroes our Flags

Lot: 536 - Certified Morgan silver dollar, USA, 1881, AU-50

Certified Morgan silver dollar, USA, 1881, AU-50; Mint: no mint mark; Grade: AU-50; Weight: 26.65 g; Diameter: 37 mm; Provenance: bought from National Collector’s Mint processing center, 32 Railroad Ave, West Haven, CT, 06516 Weight variations: The weight of an uncirculated Morgan silver dollar is 26.73 grams. Most replica coins weigh substantially less. Authentic Morgan silver dollars may also weigh less than the standard specs if they have had wear and tear from being in circulation; although, any variation in weight will likely be less than a gram.

Lot: 537 - Certified Morgan-O silver dollar, USA, 1887, Fine

Certified Morgan-O silver dollar, USA, 1887, Fine Mint: O = New Orleans; Grade: Fine; Weight: 26.64 g; Diameter: 37 mm; Provenance: bought from National Collector’s Mint processing center, 32 Railroad Ave, West Haven, CT, 06516 Weight variations: The weight of an uncirculated Morgan silver dollar is 26.73 grams. Most replica coins weigh substantially less. Authentic Morgan silver dollars may also weigh less than the standard specs if they have had wear and tear from being in circulation; although, any variation in weight will likely be less than a gram.

Lot: 537A - Certified Morgan silver dollar, USA, 1887, Fine

Certified Morgan silver dollar, USA, 1887, Fine; Mint: O = New Orleans; Grade: Fine; Weight: 26.26 g; Diameter: 37.5 mm; Provenance: bought from National Collector’s Mint processing center, CT, 06516; Weight variations: The weight of an uncirculated Morgan silver dollar is 26.73 grams. Most replica coins weigh substantially less. Authentic Morgan silver dollars may also weigh less than the standard specs if they have had wear and tear from being in circulation; although, any variation in weight will likely be less than a gram.

Lot: 538 - Certified Morgan O silver dollar, USA, 1888, Very Fine

Mint: O = New Orleans; Grade: Very Fine; Weight: 26.45 g; Diameter: 37.5 mm; Provenance: bought from National Collector’s Mint processing center, 32 Railroad Ave, West Haven, CT, 06516 Weight variations: The weight of an uncirculated Morgan silver dollar is 26.73 grams. Most replica coins weigh substantially less. Authentic Morgan silver dollars may also weigh less than the standard specs if they have had wear and tear from being in circulation; although, any variation in weight will likely be less than a gram.

Lot: 539A - Certified Morgan O silver dollar, USA, 1921, Extra Fine

Mint: no mint; Grade: Extra Fine; Weight: 26.69 g; Diameter: 37.0 mm; Provenance: bought from National Collector’s Mint processing center, West Haven, CT, 06516 Weight variations: The weight of an uncirculated Morgan silver dollar is 26.73 grams. Most replica coins weigh substantially less. Authentic Morgan silver dollars may also weigh less than the standard specs if they have had wear and tear from being in circulation; although, any variation in weight will likely be less than a gram.

Lot: 539B - Certified Morgan S silver dollar, USA, 1921, Very Fine

Mint: S = San Francisco; Grade: Very Fine; Weight: 26.58 g; Diameter: 37.58 mm; Provenance: bought from National Collector’s Mint processing center, West Haven, CT, 06516 Weight variations: The weight of an uncirculated Morgan silver dollar is 26.73 grams. Most replica coins weigh substantially less. Authentic Morgan silver dollars may also weigh less than the standard specs if they have had wear and tear from being in circulation; although, any variation in weight will likely be less than a gram.

Lot: 540 - Canadian beautiful silver Goose Dollar, 1967

Canadian beautiful silver Goose Dollar, 1967 Diameter: 35 mm; Weight: 23.29 g

Lot: 541 - Weimar Republic 50 mark banknote, Germany. 1919

Weimar Republic 50 mark banknote, Germany. 1919, Size: 153 x 102 mm; Condition: VG; Catalog $15

Lot: 543D - Antique German banknote 100 marks 13302207, Weimar Republic, Berlin, Nov, 1920

Antique German banknote 100 marks 13302207, Weimar Republic, Berlin 1920 Size: 162 mm x 107.5 mm

Lot: 543E - Antique German banknote 100 marks 9014953, Weimar Republic, Berlin. Nov. 1920

Antique German banknote 100 marks 9014953, Weimar Republic, Berlin. Nov. 1920 Size: 162 mm x 107.5 mm

Lot: 544 - British Virgin Islands, proof set of 6 uncirculated coins, 1973 Featuring silver $1 coin with magnificent frigate bird.

British Virgin Islands, proof set of 6 uncirculated coins, 1973 Featuring silver $1 coin with magnificent frigate bird. The British Virgin Islands (abbreviated BVI),[3] officially the Virgin Islands,[4] are a British Overseas Territory in the Caribbean, to the east of Puerto Rico and the U.S. Virgin Islands and north-west of Anguilla. The islands are geographically part of the Virgin Islands archipelago and are located in the Leeward Islands of the Lesser Antilles and part of the West Indies. The British Virgin Islands consist of the main islands of Tortola, Virgin Gorda, Anegada, and Jost Van Dyke, along with more than 50 other smaller islands and cays.[5] About 16 of the islands are inhabited.[3] The capital, Road Town, is on Tortola, the largest island, which is about 20 km (12 mi) long and 5 km (3 mi) wide. The islands had a population of 28,054 at the 2010 Census, of whom 23,491 lived on Tortola;[1] current estimates put the population at 35,802 (July 2018).[3] British Virgin Islanders are British Overseas Territories citizens and since 2002 are British citizens as well.

Lot: 550 - Set of Maritime Memorial Plaque 1967-1976, Tide Tables Book 1967 and Photo.

Set of Maritime Memorial Plaque 1967-1976, Tide Tables Book 1967 and Photo. Memorial plaque: To Charles H. Redman, AP, In Appreciation for Services rendered, Staten Island Power Squadron, 1967-1976; Book: 1967 Tide Tables, New York Harbor and Vicinity, Published by Sandy Hook Pilots; Photo: This photo of young man was found together with the memorial plaque and Tide Tables books. So, we don’t know for sure is it the same person Charles Redman, AP or not.

Lot: 551 - 1992 Uncirculated Proof Solid Bronze United States Mint Bicentennial Medal Capsule USA

1992 Uncirculated Proof Solid Bronze United States Mint Bicentennial Medal Capsule USA Vintage Medal Year on item is 1992 made in USA, - solid bronze and very heavy. Size of an American Silver Dollar. Weight in the capsule: 33.44 g; Diameter: 37 mm;

Lot: 553 - Collectible Fine Bisque Porcelain Praying Angel Doll “Collectors Choice”

Collectible Fine Bisque Porcelain Praying Angel Doll “Collectors Choice” In original box, Height of the kneeling Doll: 9.5 inches = 25 cm; Height of the box: 10 inches = 25.5 cm; Weight of the box: 1 lb. 5.5 oz. Condition: excellent condition for porcelain Doll; Genuine fine bisque porcelain, authentic fabrics and trimming; Good condition - for the box (box has folds and tears, refer to the photos). Made in China

Lot: 555 - 1977 Press Photo 9”x 8” Denise Nicholas and Bill Cosby star in "A Piece of the Action"

1977 Press Photo 9”x 8” Denise Nicholas and Bill Cosby star in "A Piece of the Action"; This is an original press photo. Denise Nicholas and Bill Cosby find romance in a community center despite the hilarious antics of 30 incorrigible youngsters in the new Verdon-First Artists comedy "A Piece of the Action" released by Warner Bros. Sidney Poitier co-stars and directed. James Earl Jones, Hope Clarke and Tracy Reed also star. Screenplay by Charles Blackwell was produced by Mel Tucker. Photo measures 9.25 x 8 inches.

Lot: 557 - 1984 Press Photo 10”x 8” Ilan MItchell-Smith and Hart Bochner star in "The Wild Life"

1984 Press Photo Ilan MItchell-Smith and Hart Bochner star in "The Wild Life". This is an original press photo. Left: Ilan Mitchell-Smith stars as Jim Conrad, Bill Conrad's younger brother who is obsessed with everything about the '60s, especially the Vietnam War. Right: Hart Bochner stars as Officer David Curtis, Anita's new boyfriend. An Art Linson Production. "The Wild Life." Photo measures 10 x 8.25 inches. Photo is dated -1984.

Lot: 558 - 1985 Press Photo 8”x10” Michael Douglas and Kathleen Turner star in “Romancing the Stone”

1985 Press Photo Michael Douglas and Kathleen Turner star in “Romancing the Stone”; This is an original press photo. Love on the Run: Michael Douglas and Kathleen Turner find romance and adventure in the jungles of South America in the smash adventure “Romancing the Stone”, making its prime-time HBO debut Monday, April 1, at 8:00 p.m. (ET). The Oscar-nominated film makes its Cinemax debut Thursday, April 4, at 8:00 p.m. (ET). Photo measures 8 x 10 inches. Photo is dated 03-31-1985.

Lot: 559 - 1986 Press Photo 7”x 9” Actors Don Murray & Otis Young Star in "The Outcasts"

1986 Press Photo Actors Don Murray & Otis Young Star in "The Outcasts". This is an original press photo. Exclusive to You in Your City - Don Murray (right) and Otis Young star in ABC-TV's new hour-long adventure series, "The Outcasts," which premieres in the Fall and will be seen Mondays, 9-10 p.m., EDT. This new series presents the tale of a former slave and former slave owner teamed in an unlikely, uneasy partnership as bounty hunters in the post-Civil War West. The concept of an equal-to-equal relationship between a black man and a white man is alien to them and forms the basis for the existing series. Photo measures 7.25 x 9.25 inches. Photo is dated 08-06-1986.

Lot: 561 - 1992 Press Photo 7”x9.25” Emma Samms and Anthony Geary star in "General Hospital"

1992 Press Photo Emma Samms and Anthony Geary star in "General Hospital"; This is an original press photo. Emma Samms stars as the beautiful Holly Scorpio and Anthony Geary stars as the bigger than life Bill Eckert on General Hospital, which airs weekdays (3:00-4:00 PM ET) on the ABC Television Network. Photo measures: 7 x 9.25 inches. Photo is dated: 7-6-1992.

Lot: 563 - 1994 Press Photo Brad Pitt and Julia Ormond star in “Legends of the Fall”

1994 Press Photo Brad Pitt and Julia Ormond star in “Legends of the Fall”; This is an original press photo. Tristan (Brad Pitt) is a wild, untamable spirit who wins the love of Susannah (Julie Ormond), his brother's fiancée, in the epic drama Legends of the Fall, A TriStar Pictures release. Photo measures 10” x 8.25” inches. Photo is dated -1994.

Lot: 564 - 1994 Press Photo 8”x10” Harrison Ford stars in the action film Clear and Present Danger

1994 Press Photo Harrison Ford stars in the action film Clear and Present Danger; This is an original press photo. Harrison Ford stars as the CIA's Jack Ryan in Clear and Present Danger. Produced by Mace Neufeld and Robert Rehme, the Paramount action-thriller was directed by Phillip Noyce from a screenplay by Donald Stewart and Steven Zaillian and John Milius, based on the novel by Tom Clancy. Photo measures: 10.25 x 8.25 inches. Photo is dated -1994.

Lot: 565 - 1994 Press Photo 8”x10” Mel Gibson, James Garner and Jodie Foster star in "Maverick."

1994 Press Photo Mel Gibson, James Garner and Jodie Foster star in "Maverick." This is an original press photo. Bret Maverick (Mel Gibson), Zane Cooper (James Garner) and Annabelle Bransford (Jodie Foster) watch approaching Indians in Warner Bros.' romantic comedy adventure, "Maverick." Photo measures: 10 x 8 inches. Photo is dated --1994.

Lot: 566 - 1994 Press Photo 10”x8” Sharon Stone stars in the suspense thriller "The Specialist"

1994 Press Photo Sharon Stone stars in the suspense thriller "The Specialist"; This is an original press photo. Sharon Stone portrays sultry and beautiful May Munro in Warner Bros' sensual suspense thriller, "The Specialist," also starring Sylvester Stallone. Photo measures 10” x 8” inches. Photo is dated --1994.

Lot: 569 - 1997 Press Photo 8”x10” Brendan Fraser and others star in the film "George of the Jungle"

Press Photo Brendan Fraser and others star in the film "George of the Jungle", 1997; This is an original press photo. Top: While on safari in Africa, Ursula (Leslie Mann, right) finds love when she discovers George (Brendan Fraser, center) the fabled White Ape and his friend Tookie Tookie (left), in Walt Disney Pictures' live-action comedy/adventure "George of the Jungle." Below: (Left) The balance of nature in the jungle paradise is jeopardized when two opportunist thugs, Thor (Abraham Benrubi, center) and Max (Greg Cruttwell, right) try to kidnap Ape (left, voice of John Cleese). (Right) As King of the Jungle, George (Fraser, right) has a menagerie of playful animal friends, including his capuchin monley pal (Binks, left). Buena Vista Pictures distributes. Photo measures 8 x 10.25 inches.

Lot: 570 - Marilyn Monroe in fishnet stockings 10”x 8” sexy color photo

Marilyn Monroe in fishnet stockings 10”x 8” sexy color photo Marilyn Monroe (/ˈmærəlɪn mʌnˈroʊ/; born Norma Jeane Mortenson; June 1, 1926 – August 4, 1962) was an American actress, model and singer. Famous for playing comedic "blonde bombshell" characters, she became one of the most popular sex symbols of the 1950s and early 1960s and was emblematic of the era's sexual revolution. She was a top-billed actress for only a decade, but her films grossed $200 million (equivalent to $2 billion in 2020) by the time of her death in 1962.[3] Long after her death, she continues to be a major icon of pop culture.[4] In 1999, the American Film Institute ranked Monroe sixth on its list of the greatest female screen legends from the Golden Age of Hollywood. Born and raised in Los Angeles, Monroe spent most of her childhood in foster homes and an orphanage; she married at age 16. She was working in a factory during World War II when she met a photographer from the First Motion Picture Unit and began a successful pin-up modeling career, which led to short-lived film contracts with 20th Century Fox and Columbia Pictures. After a series of minor film roles, she signed a new contract with Fox in late 1950. Over the next two years, she became a popular actress with roles in several comedies, including As Young as You Feel and Monkey Business, and in the dramas Clash by Night and Don't Bother to Knock. She faced a scandal when it was revealed that she had posed for nude photos before she became a star, but the story did not damage her career and instead resulted in increased interest in her films. By 1953, Monroe was one of the most marketable Hollywood stars; she had leading roles in the film noir Niagara, which focused on her sex appeal, and the comedies Gentlemen Prefer Blondes and How to Marry a Millionaire, which established her star image as a "dumb blonde". The same year, her nude images were used as the centerfold and on the cover of the first issue of Playboy. She played a significant role in the creation and management of her public image throughout her career, but she was disappointed when she was typecast and underpaid by the studio. She was briefly suspended in early 1954 for refusing a film project but returned to star in The Seven Year Itch (1955), one of the biggest box office successes of her career.

Lot: 571 - Marilyn Monroe naked in swimming pool in 1962 (36 years old) color photo 8.25"x10.5"= 21 cm x 26.7 cm PHOTOGRAPHER LAWRENCE SCHILLER

Marilyn Monroe naked in swimming pool in 1962 (36 years old) color photo 8.25"x10.5"= 21 cm x 26.7 cm. PHOTOGRAPHER LAWRENCE SCHILLER. The last professional photos taken of actress Marilyn Monroe are on public display for the first time at New York City's Pop International Galleries. The pictures, taken on the set of the 1962 film "Something's Got to Give," reveal a nude Monroe just two months before her death. The portfolio of photographs have been published since in the 1960s, but the gallery prints mark their first public exhibition, as well as their first limited edition sale. Taken in both colour and black and white, the photographs show Monroe as a true sex symbol, posing for the camera while in and around a swimming pool. Photographer Lawrence Schiller was hired by Paris Match magazine to follow Monroe for 10 days. Schiller said he still remembers seeing Monroe naked in the swimming pool. "Marilyn came out of her dressing room in this wonderful blue bathrobe, terrycloth, one like you would have lying around your own house, jumped into the swimming pool, dog-paddled around, and then came up to the edge of the pool and didn't have a bra on. Well immediately, myself and everybody on the set knew this was the first time in like 10 or 12 years that Marilyn might be photographed nude," he said. The prints of Monroe range in price from 3,000 to 12,000 U.S. dollars. Schiller said that Monroe was a joy to work with, but was also a stern guardian of her image. "Marilyn was very, very fussy on who photographed her. She in fact had approval of every one of the pictures. She would sit there with a grease pencil and cross them out or pinking sheers and cut them. She knew who she wanted to photograph her and when she wanted to be photographed," he said. Monroe was eventually fired from the set of "Something's Got to Give," and died on August 5, 1962 of a drug overdose.

Lot: 573 - Nude Marilyn Monroe, stretching on the beach, very rare photo 5”x7” inches, fine art print

Nude Marilyn Monroe, stretching on the beach, very rare photo 5”x7” inches, fine art print Size: 5”x7” inches = 12.7 cm x 17.78 cm

Lot: 574 - Marilyn Monroe in a sexy red dress at night , photo. Size 4”x 6” inches = 10.16 cm x 15.24 cm

Marilyn Monroe in sexy red dress at night.Size 4”x 6” inches = 10.16 cm x 15.24 cm

Lot: 574A - Marilyn Monroe in blue dress at Niagara Falls: 8”x10” inches = 20.32 cm x 25.4 cm photo

Marilyn Monroe in blue dress at Niagara Falls: 8”x10” inches = 20.32 cm x 25.4 cm photo

Lot: 574B - Marilyn Monroe, 28 years old, b/w photo, 8"x10"=20.3 x25.4 cm

Marilyn Monroe in 1954 (28 years old) b/w photo 8"x10"= 20.32 x 25.4 cm. Biography: Marilyn Monroe (/ˈmærəlɪn mənˈroʊ/; born Norma Jeane Mortenson; June 1, 1926 – August 4, 1962) was an American actress, model, and singer. Famous for playing comic "blonde bombshell" characters, she became one of the most popular sex symbols of the 1950s and early 1960s, as well as an emblem of the era's sexual revolution. She was a top-billed actress for a decade, and her films grossed $200 million (equivalent to $2 billion in 2021) by the time of her death in 1962.[3] Long after her death, Monroe remains a major icon of pop culture.[4] In 1999, the American Film Institute ranked her sixth on their list of the greatest female screen legends from the Golden Age of Hollywood.

Lot: 574E - Marilyn Monroe – sitting on the stones in pajamas, b/w photo 4x6 inches = 6.31 x 9.47 cm

Marilyn Monroe – sitting on the stones in pajamas, b/w photo 4x6 inches = 6.31 x 9.47 cm. Marilyn Monroe (/ˈmærəlɪn mənˈroʊ/; born Norma Jeane Mortenson; June 1, 1926 – August 4, 1962) was an American actress, model, and singer. Known for playing comic "blonde bombshell" characters, she became one of the most popular sex symbols of the 1950s and early 1960s, as well as an emblem of the era's sexual revolution. She was a top-billed actress for a decade, and her films grossed $200 million (equivalent to $2 billion in 2022) by the time of her death in 1962.[3] Long after her death, Monroe remains a pop culture icon.[4] In 1999, the American Film Institute ranked her as the sixth-greatest female screen legend from the Golden Age of Hollywood.

Lot: 574F - Marilyn Monroe – smoking, b/w photo 4 x 6 inches = 6.3 x 9.47 cm

Marilyn Monroe – smoking, b/w photo 4 x 6 inches = 6.3 x 9.47 cm. Marilyn Monroe (/ˈmærəlɪn mənˈroʊ/; born Norma Jeane Mortenson; June 1, 1926 – August 4, 1962) was an American actress, model, and singer. Known for playing comic "blonde bombshell" characters, she became one of the most popular sex symbols of the 1950s and early 1960s, as well as an emblem of the era's sexual revolution. She was a top-billed actress for a decade, and her films grossed $200 million (equivalent to $2 billion in 2022) by the time of her death in 1962.[3] Long after her death, Monroe remains a pop culture icon.[4] In 1999, the American Film Institute ranked her as the sixth-greatest female screen legend from the Golden Age of Hollywood.

Lot: 574G - Marilyn Monroe – beautiful woman, color photo 4 x 6 inches = 6.31 x 9.47 cm

Marilyn Monroe – beautiful woman, color photo 4 x 6 inches = 6.31 x 9.47 cm. Marilyn Monroe (/ˈmærəlɪn mənˈroʊ/; born Norma Jeane Mortenson; June 1, 1926 – August 4, 1962) was an American actress, model, and singer. Known for playing comic "blonde bombshell" characters, she became one of the most popular sex symbols of the 1950s and early 1960s, as well as an emblem of the era's sexual revolution. She was a top-billed actress for a decade, and her films grossed $200 million (equivalent to $2 billion in 2022) by the time of her death in 1962.[3] Long after her death, Monroe remains a pop culture icon.[4] In 1999, the American Film Institute ranked her as the sixth-greatest female screen legend from the Golden Age of Hollywood.

Lot: 574H - Marilyn Monroe – in her early 20’s, color photo 4x6 inches = 6.31 cm x 9.47 cm

Marilyn Monroe – in her early 20’s, color photo 4x6 inches = 6.31 cm x 9.47 cm Marilyn Monroe (/ˈmærəlɪn mənˈroʊ/; born Norma Jeane Mortenson; June 1, 1926 – August 4, 1962) was an American actress, model, and singer. Known for playing comic "blonde bombshell" characters, she became one of the most popular sex symbols of the 1950s and early 1960s, as well as an emblem of the era's sexual revolution. She was a top-billed actress for a decade, and her films grossed $200 million (equivalent to $2 billion in 2022) by the time of her death in 1962.[3] Long after her death, Monroe remains a pop culture icon.[4] In 1999, the American Film Institute ranked her as the sixth-greatest female screen legend from the Golden Age of Hollywood.

Lot: 574I - Marilyn Monroe – sexy woman, color photo 4x6 inches = 6.31 cm x 9.47 cm

Marilyn Monroe – sexy woman, color photo 4x6 inches = 6.31 cm x 9.47 cm. Marilyn Monroe (/ˈmærəlɪn mənˈroʊ/; born Norma Jeane Mortenson; June 1, 1926 – August 4, 1962) was an American actress, model, and singer. Known for playing comic "blonde bombshell" characters, she became one of the most popular sex symbols of the 1950s and early 1960s, as well as an emblem of the era's sexual revolution. She was a top-billed actress for a decade, and her films grossed $200 million (equivalent to $2 billion in 2022) by the time of her death in 1962.[3] Long after her death, Monroe remains a pop culture icon.[4] In 1999, the American Film Institute ranked her as the sixth-greatest female screen legend from the Golden Age of Hollywood.

Lot: 574J - Marilyn Monroe – in a white dress, sitting in front the crowd, b/w photo 4x6 inches = 6.31 cm x 9.47 cm

Marilyn Monroe – in a white dress, sitting in front the crowd, b/w photo 4x6 inches = 6.31 cm x 9.47 cm. Marilyn Monroe (/ˈmærəlɪn mənˈroʊ/; born Norma Jeane Mortenson; June 1, 1926 – August 4, 1962) was an American actress, model, and singer. Known for playing comic "blonde bombshell" characters, she became one of the most popular sex symbols of the 1950s and early 1960s, as well as an emblem of the era's sexual revolution. She was a top-billed actress for a decade, and her films grossed $200 million (equivalent to $2 billion in 2022) by the time of her death in 1962.[3] Long after her death, Monroe remains a pop culture icon.[4] In 1999, the American Film Institute ranked her as the sixth-greatest female screen legend from the Golden Age of Hollywood.

Lot: 574K - Marilyn Monroe – in white dress, in front the crowd, color photo 4x6 inches = 6.31 cm x 9.47 cm

Marilyn Monroe – in white dress, in front the crowd, color photo 4x6 inches = 6.31 cm x 9.47 cm. Marilyn Monroe (/ˈmærəlɪn mənˈroʊ/; born Norma Jeane Mortenson; June 1, 1926 – August 4, 1962) was an American actress, model, and singer. Known for playing comic "blonde bombshell" characters, she became one of the most popular sex symbols of the 1950s and early 1960s, as well as an emblem of the era's sexual revolution. She was a top-billed actress for a decade, and her films grossed $200 million (equivalent to $2 billion in 2022) by the time of her death in 1962.[3] Long after her death, Monroe remains a pop culture icon.[4] In 1999, the American Film Institute ranked her as the sixth-greatest female screen legend from the Golden Age of Hollywood.

Lot: 574L - Marilyn Monroe – Oh my… What a smile, color photo 4x6 inches = 6.31 cm x 9.47 cm

Marilyn Monroe – Oh my… What a smile, color photo 4x6 inches = 6.31 cm x 9.47 cm. Marilyn Monroe (/ˈmærəlɪn mənˈroʊ/; born Norma Jeane Mortenson; June 1, 1926 – August 4, 1962) was an American actress, model, and singer. Known for playing comic "blonde bombshell" characters, she became one of the most popular sex symbols of the 1950s and early 1960s, as well as an emblem of the era's sexual revolution. She was a top-billed actress for a decade, and her films grossed $200 million (equivalent to $2 billion in 2022) by the time of her death in 1962.[3] Long after her death, Monroe remains a pop culture icon.[4] In 1999, the American Film Institute ranked her as the sixth-greatest female screen legend from the Golden Age of Hollywood.

Lot: 574M - Marilyn Monroe – sugar woman, color photo 4 x 6 inches = 6.31x 9.47 cm

Marilyn Monroe – sugar woman, color photo 4 x 6 inches = 6.31x 9.47 cm. Marilyn Monroe (/ˈmærəlɪn mənˈroʊ/; born Norma Jeane Mortenson; June 1, 1926 – August 4, 1962) was an American actress, model, and singer. Known for playing comic "blonde bombshell" characters, she became one of the most popular sex symbols of the 1950s and early 1960s, as well as an emblem of the era's sexual revolution. She was a top-billed actress for a decade, and her films grossed $200 million (equivalent to $2 billion in 2022) by the time of her death in 1962.[3] Long after her death, Monroe remains a pop culture icon.[4] In 1999, the American Film Institute ranked her as the sixth-greatest female screen legend from the Golden Age of Hollywood.

Lot: 574O - Marilyn Monroe – charming smile, color photo 4x6 inches = 6.31 x 9.47 cm

Marilyn Monroe – charming smile, color photo 4x6 inches = 6.31 x 9.47 cm Marilyn Monroe (/ˈmærəlɪn mənˈroʊ/; born Norma Jeane Mortenson; June 1, 1926 – August 4, 1962) was an American actress, model, and singer. Known for playing comic "blonde bombshell" characters, she became one of the most popular sex symbols of the 1950s and early 1960s, as well as an emblem of the era's sexual revolution. She was a top-billed actress for a decade, and her films grossed $200 million (equivalent to $2 billion in 2022) by the time of her death in 1962.[3] Long after her death, Monroe remains a pop culture icon.[4] In 1999, the American Film Institute ranked her as the sixth-greatest female screen legend from the Golden Age of Hollywood.

Lot: 574P - President JOHN F. KENNEDY with Steven Smith & MARILYN MONROE, 8”x10” inches photo

President JOHN F. KENNEDY with RFK & MARILYN MONROE, 8”x10” inches photo President John F. Kennedy (with his back to the camera), Steven Smith and actress Marilyn Monroe, on the occasion of President Kennedy's 45th birthday celebrations at Madison Square Garden in New York City on May 19, 1962.

Lot: 574Q - SENATOR JOHN F. KENNEDY & his wife JACQUELINE in November, 1960, 8x10” inches = 20.32 x 25.4 cm, photo

SENATOR JOHN F. KENNEDY & his wife JACQUELINE in November, 1960, 8" x 10” inches = 20.32 cm x 25.4 cm. Photo Senator John F. Kennedy with his wife Jacqueline in November, 1960.

Lot: 574R - JOHN F. KENNEDY with his wife JACQUELINE, at Hyannis Armory, November 9, 1960 – 8x10”= 20.32 x 25.4 cm, photo

JOHN F. KENNEDY with his wife JACQUELINE, at Hyannis Armory, November 9, 1960 – 8x10”= 20.32 x 25.4 cm, photo. President-elect John F. Kennedy gets a congratulatory handshake as he arrives at the Hyannis Armory, on November 9, 1960. Wife Jacqueline is at his side with father Joseph P. Kennedy behind him at the left of the image.

Lot: 574S - President JOHN F. KENNEDY with brothers ROBERT & EDWARD in 1962, 11”x14” photo

President JOHN F. KENNEDY with brothers ROBERT & EDWARD in 1962, 11”x14” photo

Lot: 574T - PRESIDENT JOHN F. KENNEDY with brothers Bobby & Ted – 8”x10” inches photo

PRESIDENT JOHN F. KENNEDY with brothers Bobby & Ted – 8”x10” inches photo. President John F. Kennedy with brothers Robert Kennedy (left) and Edward Kennedy (center).

Lot: 574U - Marilyn Monroe and Steven Smith, brother in law of JFK, 1962, 4x6 inches, black and white photo;

Marilyn Monroe and Steven Smith, 1962, 4x6 inches, black and white photo; The man in front is Steven Smith, JFK's brother in law married to one of his sisters!

Lot: 574V - Marilyn Monroe – with a cigarette, color photo 4 x 6 inches = 6.31 x 9.47 cm

Marilyn Monroe – with a cigarette, color photo 4 x 6 inches = 6.31 x 9.47 cm. Marilyn Monroe (/ˈmærəlɪn mənˈroʊ/; born Norma Jeane Mortenson; June 1, 1926 – August 4, 1962) was an American actress, model, and singer. Known for playing comic "blonde bombshell" characters, she became one of the most popular sex symbols of the 1950s and early 1960s, as well as an emblem of the era's sexual revolution. She was a top-billed actress for a decade, and her films grossed $200 million (equivalent to $2 billion in 2022) by the time of her death in 1962.[3] Long after her death, Monroe remains a pop culture icon.[4] In 1999, the American Film Institute ranked her as the sixth-greatest female screen legend from the Golden Age of Hollywood.

Lot: 574X - Marilyn Monroe poses in “River of no return”, 1954 old photo, 8x11 inches

Marilyn Monroe poses in “River of no return”, 1954 old photo, 8x11 inches Size: 8 x 11 inches = 20.3 cm x 28 cm; Condition: excellent photo, made on thick photo paper. River of No Return is a 1954 American Western film directed by Otto Preminger and starring Robert Mitchum and Marilyn Monroe. The screenplay by Frank Fenton is based on a story by Louis Lantz, who borrowed his premise from the 1948 Italian film Bicycle Thieves.[4] The picture was shot on location in the Canadian Rockies in Technicolor and CinemaScope and released by 20th Century Fox.

Lot: 574Y - Marilyn Monroe – lively look, color photo 4x6 inches = 6.31 cm x 9.47 cm

Marilyn Monroe – lively look, color photo 4x6 inches = 6.31 cm x 9.47 cm Marilyn Monroe (/ˈmærəlɪn mənˈroʊ/; born Norma Jeane Mortenson; June 1, 1926 – August 4, 1962) was an American actress, model, and singer. Known for playing comic "blonde bombshell" characters, she became one of the most popular sex symbols of the 1950s and early 1960s, as well as an emblem of the era's sexual revolution. She was a top-billed actress for a decade, and her films grossed $200 million (equivalent to $2 billion in 2022) by the time of her death in 1962.[3] Long after her death, Monroe remains a pop culture icon.[4] In 1999, the American Film Institute ranked her as the sixth-greatest female screen legend from the Golden Age of Hollywood.

Lot: 575 - Color Portrait of Jacqueline Kennedy, signed by her, - as a gift to William Casey, 1961-1963

Color Portrait of Jacqueline Kennedy, signed by her, - as a gift to William Casey, 1961-1963. Color portrait of the wife of President J.F. Kennedy, was framed in a luxurious leather frame and inscribed as: “With appreciation to Mr. and Mrs. William J Casey”. Below - signature of Jacqueline Kennedy Size of the frame: 10.5 inches x 12.75 inches; Size of the photo: 8 inches x 10 inches;

Lot: 577 - Sophia Loren in a red dress on the beach, 8"x10" inches=20.3 cm x 25.4 cm, publicity photo

SOPHIA LOREN – Italian actress, in red dress – 8”x10” inches PUBLICITY PHOTO Our photographs are high quality reproductions, in MINT condition, professionally printed on beautiful luster finish photographic paper. Each photograph is packed in a highly protective hard photographic mailer and shipped via United States Postal Service (U.S.P.S.) First Class Mail within one business day (usually the same day).

Lot: 580 - Elvis Presley dancing with Ann Margret, in "Viva Las Vegas", 1964, 8"x10"

Elvis Presley, dancing with Ann Margret, 8 x 10 inches, 1964. Viva Las Vegas is a 1964 American musical film directed by George Sidney and starring Elvis Presley and Ann-Margret. The film is regarded by fans and film critics as one of Presley's best films, and it is noted for the on-screen chemistry between Presley and Ann-Margret. It also presents a strong set of ten musical song-and-dance scenes choreographed by David Winters and features his dancers.[2] Viva Las Vegas was a hit at film theaters, as it was #14 on the Variety year end box office list of the top-grossing films of 1964.[3]

Lot: 581A - Russian dancer - Rudolf Nureev at a swimming pool, France, Historic photo 8”x11”, 1960

Russian dancer - Rudolf Nureev at a swimming pool, France, Historic photo 8”x11”, 1960 Rudolf Khametovich Nureyev[a] (17 March 1938 – 6 January 1993) was a Soviet-born ballet dancer and choreographer. Nureyev is regarded by some as the greatest male ballet dancer of his generation.[1][2][3][4] Nureyev was born on a Trans-Siberian train near Irkutsk, Siberia, Soviet Union, to a Tatar family. He began his early career with the company that in the Soviet era was called the Kirov Ballet (now called by its original name, the Mariinsky Ballet) in Leningrad. He defected from the Soviet Union to the West in 1961, despite KGB efforts to stop him.[5] This was the first defection of a Soviet artist during the Cold War, and it created an international sensation. He went on to dance with The Royal Ballet in London and from 1983 to 1989 served as director of the Paris Opera Ballet. Nureyev was also a choreographer serving as the chief choreographer of the Paris Opera Ballet. He produced his own interpretations of numerous classical works,[6] including Swan Lake, Giselle and La Bayadère.[7]

Lot: 581B - Russian dancer - Rudolf Nureev at a swimming pool, France, Historic photo 8”x11”, 1960

Russian dancer - Rudolf Nureev at a swimming pool, France, Historic photo 8”x11”, 1960 Rudolf Khametovich Nureyev[a] (17 March 1938 – 6 January 1993) was a Soviet-born ballet dancer and choreographer. Nureyev is regarded by some as the greatest male ballet dancer of his generation.[1][2][3][4] Nureyev was born on a Trans-Siberian train near Irkutsk, Siberia, Soviet Union, to a Tatar family. He began his early career with the company that in the Soviet era was called the Kirov Ballet (now called by its original name, the Mariinsky Ballet) in Leningrad. He defected from the Soviet Union to the West in 1961, despite KGB efforts to stop him.[5] This was the first defection of a Soviet artist during the Cold War, and it created an international sensation. He went on to dance with The Royal Ballet in London and from 1983 to 1989 served as director of the Paris Opera Ballet. Nureyev was also a choreographer serving as the chief choreographer of the Paris Opera Ballet. He produced his own interpretations of numerous classical works,[6] including Swan Lake, Giselle and La Bayadère.[7]

Lot: 581C - Russian dancer - Rudolf Nureev at a swimming pool, France, Historic photo 8”x11”, 1960

Russian dancer - Rudolf Nureev at a swimming pool, France, Historic photo 8”x11”, 1960 Rudolf Khametovich Nureyev[a] (17 March 1938 – 6 January 1993) was a Soviet-born ballet dancer and choreographer. Nureyev is regarded by some as the greatest male ballet dancer of his generation.[1][2][3][4] Nureyev was born on a Trans-Siberian train near Irkutsk, Siberia, Soviet Union, to a Tatar family. He began his early career with the company that in the Soviet era was called the Kirov Ballet (now called by its original name, the Mariinsky Ballet) in Leningrad. He defected from the Soviet Union to the West in 1961, despite KGB efforts to stop him.[5] This was the first defection of a Soviet artist during the Cold War, and it created an international sensation. He went on to dance with The Royal Ballet in London and from 1983 to 1989 served as director of the Paris Opera Ballet. Nureyev was also a choreographer serving as the chief choreographer of the Paris Opera Ballet. He produced his own interpretations of numerous classical works,[6] including Swan Lake, Giselle and La Bayadère.[7]

Lot: 581E - “Gone with wind” movie, Vivien Leigh, Hattie McDaniel, 14.25”x8.75” b/w historical photo framed, 1939;

“Gone with wind” movie, Vivien Leigh, Hattie McDaniel, 14.25”x8.75” b/w historical photo framed, 1939; Frame: 18.5 x 12.5” inches, framed under plastic (looks like plastic). Weight: 791 g = 1 lb. 12 oz. Gone with the Wind is a 1939 American epic historical romance film adapted from the 1936 novel by Margaret Mitchell. The film was produced by David O. Selznick of Selznick International Pictures and directed by Victor Fleming. Set in the American South against the backdrop of the Civil War and the Reconstruction era, the film tells the story of Scarlett O'Hara (Vivien Leigh), the strong-willed daughter of a Georgia plantation owner, following her romantic pursuit of Ashley Wilkes (Leslie Howard), who is married to his cousin, Melanie Hamilton (Olivia de Havilland), and her subsequent marriage to Rhett Butler (Clark Gable). The film had a troubled production. The start of filming was delayed for two years until January 1939 because Selznick was determined to secure Gable for the role of Rhett, and filming concluded in July. The role of Scarlett was challenging to cast, and 1,400 unknown women were interviewed for the part. Sidney Howard's original screenplay underwent many revisions by several writers to reduce it to a suitable length. The original director, George Cukor, was fired shortly after filming began and was replaced by Fleming, who in turn was briefly replaced by Sam Wood while taking some time off due to exhaustion. Post-production concluded in November 1939, just a month before its premiere. Vivien Leigh (/liː/ LEE; born Vivian Mary Hartley; 5 November 1913 – 8 July 1967), styled as Lady Olivier after 1947, was a British actress. She won the Academy Award for Best Actress twice, for her performances as Scarlett O'Hara in Gone with the Wind (1939) and Blanche DuBois in the film version of A Streetcar Named Desire (1951), a role she had also played on stage in London's West End in 1949. She also won a Tony Award for her work in the Broadway musical version of Tovarich (1963). Although her career had periods of inactivity, in 1999 the American Film Institute ranked Leigh as the 16th-greatest female movie star of classic Hollywood cinema. Hattie McDaniel (June 10, 1893 – October 26, 1952) was an American actress, singer-songwriter, and comedienne. For her role as Mammy in Gone with the Wind (1939), she won the Academy Award for Best Supporting Actress, becoming the first African American to win an Oscar. She has two stars on the Hollywood Walk of Fame, was inducted into the Black Filmmakers Hall of Fame in 1975, and in 2006 became the first black Oscar winner honored with a U.S. postage stamp.[3] In 2010, she was inducted into the Colorado Women's Hall of Fame.[4]

Lot: 581F - “Gone with wind” movie, Vivien Leigh, 10.5”x8.25” b/w historical photo framed, 1939

“Gone with wind” movie, Vivien Leigh, 10.5”x8.25” b/w historical photo framed, 1939 Frame: 12” x 10” inches, framed under plastic (looks like plastic). Weight: 587 g = 1 lb. 4.7 oz. Gone with the Wind is a 1939 American epic historical romance film adapted from the 1936 novel by Margaret Mitchell. The film was produced by David O. Selznick of Selznick International Pictures and directed by Victor Fleming. Set in the American South against the backdrop of the Civil War and the Reconstruction era, the film tells the story of Scarlett O'Hara (Vivien Leigh), the strong-willed daughter of a Georgia plantation owner, following her romantic pursuit of Ashley Wilkes (Leslie Howard), who is married to his cousin, Melanie Hamilton (Olivia de Havilland), and her subsequent marriage to Rhett Butler (Clark Gable). The film had a troubled production. The start of filming was delayed for two years until January 1939 because Selznick was determined to secure Gable for the role of Rhett, and filming concluded in July. The role of Scarlett was challenging to cast, and 1,400 unknown women were interviewed for the part. Sidney Howard's original screenplay underwent many revisions by several writers to reduce it to a suitable length. The original director, George Cukor, was fired shortly after filming began and was replaced by Fleming, who in turn was briefly replaced by Sam Wood while taking some time off due to exhaustion. Post-production concluded in November 1939, just a month before its premiere. Vivien Leigh (/liː/ LEE; born Vivian Mary Hartley; 5 November 1913 – 8 July 1967), styled as Lady Olivier after 1947, was a British actress. She won the Academy Award for Best Actress twice, for her performances as Scarlett O'Hara in Gone with the Wind (1939) and Blanche DuBois in the film version of A Streetcar Named Desire (1951), a role she had also played on stage in London's West End in 1949. She also won a Tony Award for her work in the Broadway musical version of Tovarich (1963). Although her career had periods of inactivity, in 1999 the American Film Institute ranked Leigh as the 16th-greatest female movie star of classic Hollywood cinema.

Lot: 582 - GIVENCHY Logo High-Rise Straight-Leg Jeans, size - US 27

GIVENCHY Logo High-Rise Straight-Leg Jeans Givenchy high-rise blue jeans designed for a straight-leg fit, features all over signature logo, four pockets, with a hook and concealed button and zip fastening at front. Composition 99% cotton, 1% elastane. Size small US 27. Good condition. Approximate measurements: Leg Opening: 13.5"; Waist: 25.5"; Hip: 34.75"; Inseam: 30"; Rise: 11.5"; Size: 26 US; Original price $1035 + tax. Estimate lot price $700 - $1000.

Lot: 583 - New w/ tags: Bottega Veneta Jeans

New w/ tags: Bottega Veneta Jeans Bottega Veneta mid-rise non-stretch denim jeans, boyfriend-style straight-leg fit, with fading and whiskering throughout. New with tags. · Belt loops · Five-pocket styling · Button-fly, with signature green button · Signature green leather logo patch at back waistband · Contrast stitching in orange Color: Medium blue Size: 36 (from designer, it is smaller than US size). Composition: 100% cotton. Made in Italy. Retail price $1000+ Receipt available upon request.

Lot: 584 - Bottega Veneta Point Leather-Trimmed Jacquard Pouch

Bottega Veneta Point Leather-Trimmed Jacquard Pouch. Featuring the signature 'V' silhouette, the Bottega Veneta “Point” small pouch bag is named for its triangular top handles made from leather and the nylon jacquard material is designed to mimic its iconic intrecciato weave. Compact silhouette is still spacious enough to hold the essentials (cell phone, cards and keys). Detach the shoulder strap to carry in-hand. Fastening at top. Composition: leather, nylon. Measurements: 9.75 x 3.25 x 6.75" Made in Italy. Retail price $2500+

Lot: 585 - Rare! BALMAIN Navy Military Jacket w/Metallic Chain Detail CELEBS LOVE

Rare! BALMAIN Navy Military Jacket w/Metallic Chain Detail CELEBS LOVE With bold structured shoulders and gold military decoration, Balmain's instantly recognizable navy trophy jacket is a sensational investment piece! Balmain's navy silk-blend bouclé tweed jacket features gold and silver crest-embossed button and hanging chain detail from extended front placket and sleeve cuffs, structured shoulders, concealed hook fastenings along front, cropped sleeves, seam detail along body, a high round neck and is lined in silk-satin. Loved by many celebrities! Details: Description • Balmain Silk Evening Jacket • Blue • Fringe & Chain-Link Accents • Collarless • Hook and Eye Closure • Includes Designer Shoulder Pads Shoulder: 18"; Length: 25.5"; Sleeve: 23.75"; Bust: 32"; Waist: 29"; Color: Blue; Clothing Size: S; Foreign Size: US-4, FR-36; Fabric: 95% Silk, 5% Cotton; Lining 100% Silk; Condition: Light wear through, minor pulls About Designer: Balmain has become a cult favorite for their tough lux look. This silk-blend jacket is designed with gold and silver crest-embossed button, hanging chain detailing, structured shoulders, a high round neckline and a moderately fitted waist. Fully lined with silk and closes with a concealed hook fastening at the front. Original Retail Price: 5,819 USD; “Dressmaking is the architecture of movement,” Pierre Balmain once said, an idea that would become fundamental to the design house’s DNA. Balmain was catapulted into the spotlight as a result of his post-war Jolie Madame look of statement shoulders, nipped waists and bouffant skirts. And a bevy of well-known designers from Oscar de la Renta to Christophe Decarnin carried on the tradition of strong silhouettes and richly-embroidered statement pieces through the years. But it was Olivier Rousteing, appointed Creative Director in 2011, who injected the house with youth, opulence and the high-octane glamour loved by supermodels and that defines Balmain today. Under Rousteing, Balmain became renowned for structured shoulders, embellished cocktail dresses, distressed jeans and a heavy Baroque sensibility, and became a beloved brand among fashionistas looking for signature looks on the secondhand market.

Lot: 586 - Versace Medusa-button single-breasted green blazer

Versace Medusa-button single-breasted green blazer Crafted from stretch virgin wool in a vibrant neon green hue, this single-breasted blazer from Versace is elegantly finished with iconic Medusa Heritage gold-tone buttons. Made in Italy Highlights • neon green; • stretch virgin wool; • Medusa Head motif; • notched lapels; • front button fastening; • long sleeves; • buttoned cuffs; • jetted chest pocket; • two front patch pockets; • central rear vent; Composition: Outer: Virgin Wool 98%, Spandex/Elastane 2%; Lining: Acetate 75%, Silk 25%; Approximate measurements: Shoulder: 19.5"; Bust: 42.5"; Length: 30.75"; Sleeve: 32.25"; Waist: 41.75"; Size: XL / US12 / IT48 (for an oversized look, we recommend buying a large size if you are a Small and want to achieve an oversized look currently in style). Condition: Very good, almost like new. Retail price: $3,000+; Note: Runway photo is for demonstrative purposes only as it features Naomi Campbell in the pink version of this blazer.

Lot: 587 - Sexy Juli Fama Sherbet dress

Sexy Juli Fama Sherbet dress; Color: Sherbet; Tarulata; Size: XS; Weight: 400 g = 14 oz. Bought in 2014 in Miami, FL; Condition: Brand new; Made in Colombia;

Lot: 588 - Luxury Sexy Juli Fama swimming suite

Luxury Sexy Juli Fama swimming suite Size of the bra: medium; Size of the underwear: XS; Bought in 2014 in Miami, FL ; Condition: Brand new; Made in Colombia; 80% nylon; 20% spandex;

Lot: 589 - Rallys Leopard Print Red Sole High Heel Shoes, size 38

Rallys Leopard Print Red Sole High Heel Shoes, size 38 Size: 38; Heel 4.75 inches; Weight: 9 oz. x 2 = 18 oz.; Condition: Worn once, slight dents on bottom of shoe. From a good family, no smoking or other bad habits; Origin: Made in Argentina, Buenos Aires; Description: Calf hair in leopard print, patent black leather trimming and also on the back and on the heel. Red bottom sole; Leather inside;

Lot: 590 - Authentic Coach Classic Signature Fabric Small Shoulder Bag

Authentic Coach Classic Signature Fabric Small Shoulder Bag Weight: 1 lb. = 450 g; Height: 7 inches = 17.5 cm; Width: 10 inches = 25 cm; Distance from handle to the top of the bag: 9 inches; Inside zip, cell phone and multifunction pockets; Two compartments inside; Condition: Lightly used, looks brand new, even smells brand new; Classic black signature fabric with graphic Coach Cs with deluxe leather trim, black leather strap, an assortment of useful pockets inside, and a separate compartment; Little wear on silver buckle, barely noticeable; Coach dust bag included.

Lot: 591 - Authentic Coach White Leather Shoulder Bag + Coach silk tie

Authentic Coach White Leather Shoulder Bag + Coach silk tie Size: Medium; Weight: 1 lb. 6 oz. = 600g; Condition: Lightly used, looks new, zipper works perfectly, from a good family (no smoking or other bad habits); White Leather (soft milled cowhide); Plumped Pebbled Leather, slouchy silhouette, worn as a shoulder bag; Tan brown leather strap with golden buckle and hardware and zipper; Coach tie (100% silk) was purchased separately (value of 50$) included – excellent condition. Coach dust-bag is included. Width: 13.2 in. = 33 cm; Height: 11 in. = 27.5 cm; Handle inch drop (from handle to the top of the bag): 6 inches; Inside zip, cell phone and multifunction pockets;

Lot: 592 - Yves Saint Laurent monogram small shoulder bag, made in 2015

Yves Saint Laurent monogram small shoulder bag, 2015. Dimensions: approximately L x H x W = 21 cm x 13 cm x 5 cm; Weight: approximately: 0.60 kg; YSL Monogramme. Chain Clutch Matelassso Nero; Inside: Lining made of black suede; One main compartment; A pocket; Logo plate made of leather; Outside: Quilted leather in black; Leather and gold colored link chain shoulder strap (circa 115 cm); Flap with magnetic closure; Gold colored logo monogram on the front; Pocket on the back; Price: $2,690 USD;

Lot: 593 - Bottega Veneta shearling tip clutch black lamb pouch/ bag/ purse. Lamb skin. Made in Italy.

Bottega Veneta shearling tip clutch black lamb pouch/ bag/ purse. Lamb skin. Made in Italy. Shearling clutch is black (brown). Tonal shearling and chain link carry handle with lobster clasp fastening at the top. Hinged opening with magnetic fastening. Embossed logo and patch pocket at interior. Tonal grained leather lining. Gold toned hardware. Size: 11” x 8” x 4” inches = 28 cm x 20 cm x 10 cm; Condition: practically brand new. Market price: $2400 and up.

Lot: 594 - Mugler High-Rise Straight Leg Spiral Jeans

Mugler High-Rise Straight Leg Spiral Jeans Description: • Mugler Straight Leg Jeans • Blue • Signature multi-seam spiral construction • Light Wash with High-Rise • 5 Pockets • Zip & Button Closure Fit: Jeans by Mugler typically fit true to size. Details: Hip: 33.25"; Waist: 26.75"; Inseam: 33.5"; Rise: 11.5"; Leg Opening: 14"; Color: Blue; Fabric: 72% Cotton, 28% Elastomultiester; Clothing Size: XS; Foreign Size: US2, FR34; Very Good. Includes tags; faint wear throughout. Original retail price: $1000 + tax

Lot: 595 - Ted Baker Floral Bomber Jacket, Black

Ted Baker Floral Bomber Jacket, Black This vintage Ted Baker bomber-style jacket is crafted with a lightweight fabric, features a baseball collar neckline, long sleeves and floral pattern in the back and front. Designer size 2.

Lot: 597 - Aquazzura Blue Snowflake Effect Ankle Boots. New with Tags.

New with Tags. Aquazzura Blue Snowflake Effect Ankle Boots. • Features a luxurious blue brocade fabric, interior side zip, with a comfortable 60 mm high heel. Size 38. • Brand new condition, comes with all original packaging, dust bag and box. • Purchased from Net-a-porter; receipt available upon request.

Lot: 602 - Medieval European Viking iron sword blade #2

Medieval European Viking iron sword blade #2 Length: 57 cm = 22.5 inches; Maximum width: 32 mm; Weight: 338 g = 12 oz. Strong attraction to the magnet. Condition: natural rust all over; Provenance: from a Central European (Germany) collection.

Lot: 603 - Medieval European Viking huge iron sword blade #3

Medieval European Viking huge iron sword blade #3 Length: 57 cm = 22.5 inches Maximum width: 46 mm; Weight: 358 g = 12.6 oz. Strong attraction to the magnet. Condition: natural rust all over; Provenance: from a Central European (Germany) collection.

Lot: 604 - Medieval European Viking huge iron sword blade #4

Medieval European Viking huge iron sword blade #4; Length: 48.5 cm = 19 inches; Maximum width: 44 mm; Weight: 344 g = 12.1 oz. Strong attraction to the magnet. Condition: natural rust all over; Provenance: from a Central European (Germany) collection.

Lot: 605 - 2013, June, TimeLine Auctions Catalogue “Antiquities”, London, UK

2013, June, TimeLine Auctions Catalogue “Antiquities”, London, UK; 20, June 2013; Number of pages: 110; Number of lots: 820; Each lot has a color photo, description in English and estimate in EURO and US dollars;

Lot: 606 - European medieval Viking long iron sword blade, 60 cm L

European medieval Viking long iron sword blade, 60 cm L Total sword length: 23.75 inches = 60 cm; Length of the blade: 16.5 inches = 42 cm; Weight of the sword: 370 g; Condition: authentic rust, stabilized with olive oil Provenance: private collection in Europe;

Lot: 611 - European Medieval German (?) black iron axe, 1279 g, #11

European Medieval German (?) black iron axe, 1279 g, #11; Length: 24.5 cm = 9.5 inches; Blade length: 12.5 cm = 5 inches; Diameter of the hole: 4 cm x 3.3 cm; Weight: 1279 g = 2 lb. 13.1 oz. Strong attraction to the magnet. Condition: black natural rust all over; Provenance: from a Central European (Germany) collection.

Lot: 612 - Amazing European Medieval German (?) huge iron cutting Axe #12

Amazing European Medieval German (?) huge iron cutting Axe #12 Anterior-posterior length: 21.5 cm = 8.5 inches; Superior- inferior blade length/height: 18 cm = 7 inches; Diameter of the hole for the handle: 2 cm x 3.5 cm; Weight: 950 g = 2 lb. 1.5 oz. Strong attraction to the magnet. Condition: natural stable shiny rust all over (fingers stay clean after touching iron) Provenance: from a Central European (Germany) collection.

Lot: 650 - Manilla 73 g, Western African commodity money, antique bronze, 1500 -1850 AD,

Manilla 73 g, Western African commodity money, antique bronze, 1500 -1850 AD, Decorated bronze (high content of zinc or tin) manilla. Weight: 73 g = 2.6 oz.; Outer diameter: 58 mm; Inner diameter: 48 mm; Provenance: private collection in Germany; Manillas are a form of commodity money, usually made of bronze or copper, which were used in West Africa.[1] They were produced in large numbers in a wide range of designs, sizes, and weights. Originating before the colonial period, perhaps as the result of trade with the Portuguese Empire, Manillas continued to serve as money and decorative objects until the late 1940s and are still sometimes used as decoration. In popular culture, they are particularly associated with the Atlantic slave trade.[2] Origins and etymology: The name manilla is said to derive from the Spanish[1] for a 'bracelet' manilla, the Portuguese for 'hand-ring' manilha,[3] or after the Latin manus (hand) or from monilia, plural of 'monile (necklace).[4] They are usually horseshoe-shaped, with terminations that face each other and are roughly lozenge-shaped. The earliest use of manillas was in West Africa. As a means of exchange they originated in Calabar. Calabar was the chief city of the ancient southeast Nigerian coastal kingdom of that name. It was here in 1505 that a slave could be bought for 8–10 manillas, and an elephant’s tooth for one copper manila.[5] Manillas bear some resemblance to torcs or torques in being rigid and circular and open-ended at the front.

Lot: 651 - Chameleon Manilla 91 g, Western African commodity money, antique bronze, 1500 -1850 AD.

Chameleon Manilla 91 g, Western African commodity money, antique bronze, 1500 -1850 AD. Outer diameter: 65 mm; Inner diameter: 49 mm; Weight: 91 g = 3.2 oz. ; Provenance: private collection in Germany; Manillas are a form of commodity money, usually made of bronze or copper, which were used in West Africa.[1] They were produced in large numbers in a wide range of designs, sizes, and weights. Originating before the colonial period, perhaps as the result of trade with the Portuguese Empire, Manillas continued to serve as money and decorative objects until the late 1940s and are still sometimes used as decoration. In popular culture, they are particularly associated with the Atlantic slave trade.[2] Origins and etymology[edit] The name manilla is said to derive from the Spanish[1] for a 'bracelet' manilla, the Portuguese for 'hand-ring' manilha,[3] or after the Latin manus (hand) or from monilia, plural of 'monile (necklace).[4] They are usually horseshoe-shaped, with terminations that face each other and are roughly lozenge-shaped. The earliest use of manillas was in West Africa. As a means of exchange they originated in Calabar. Calabar was the chief city of the ancient southeast Nigerian coastal kingdom of that name. It was here in 1505 that a slave could be bought for 8–10 manillas, and an elephant’s tooth for one copper manila.[5] Manillas bear some resemblance to torcs or torques in being rigid and circular and open-ended at the front.

Lot: 652 - Boat Manilla - 175 g, Western African commodity money, antique bronze, 1500 -1850 AD,

Boat Manilla - 175 g, Western African commodity money, antique bronze, 1500 -1850 AD, Weight: 175 g = 6.2 oz; Size: 14 cm x 6.4 cm; Provenance: private collection in Germany; Manillas are a form of commodity money, usually made of bronze or copper, which were used in West Africa.[1] They were produced in large numbers in a wide range of designs, sizes, and weights. Originating before the colonial period, perhaps as the result of trade with the Portuguese Empire, Manillas continued to serve as money and decorative objects until the late 1940s and are still sometimes used as decoration. In popular culture, they are particularly associated with the Atlantic slave trade.[2] Origins and etymology[edit] The name manilla is said to derive from the Spanish[1] for a 'bracelet' manilla, the Portuguese for 'hand-ring' manilha,[3] or after the Latin manus (hand) or from monilia, plural of 'monile (necklace).[4] They are usually horseshoe-shaped, with terminations that face each other and are roughly lozenge-shaped. The earliest use of manillas was in West Africa. As a means of exchange they originated in Calabar. Calabar was the chief city of the ancient southeast Nigerian coastal kingdom of that name. It was here in 1505 that a slave could be bought for 8–10 manillas, and an elephant’s tooth for one copper manila.[5] Manillas bear some resemblance to torcs or torques in being rigid and circular and open-ended at the front.

Lot: 653 - Sun symbol Manilla 231 g, Western African commodity money, antique bronze, 1500 -1850 AD,

Sun symbol Manilla 231 g, Western African commodity money, antique bronze, 1500 -1850 AD, Weight: 231 g = 8.1 oz. ; External diameter: 66 mm; Internal diameter: 48 mm; Provenance: private collection in Germany; Manillas are a form of commodity money, usually made of bronze or copper, which were used in West Africa.[1] They were produced in large numbers in a wide range of designs, sizes, and weights. Originating before the colonial period, perhaps as the result of trade with the Portuguese Empire, Manillas continued to serve as money and decorative objects until the late 1940s and are still sometimes used as decoration. In popular culture, they are particularly associated with the Atlantic slave trade.[2] Origins and etymology: The name manilla is said to derive from the Spanish[1] for a 'bracelet' manilla, the Portuguese for 'hand-ring' manilha,[3] or after the Latin manus (hand) or from monilia, plural of 'monile (necklace).[4] They are usually horseshoe-shaped, with terminations that face each other and are roughly lozenge-shaped. The earliest use of manillas was in West Africa. As a means of exchange they originated in Calabar. Calabar was the chief city of the ancient southeast Nigerian coastal kingdom of that name. It was here in 1505 that a slave could be bought for 8–10 manillas, and an elephant’s tooth for one copper manila.[5] Manillas bear some resemblance to torcs or torques in being rigid and circular and open-ended at the front.

Lot: 654 - Antelope horns Manilla 347 g, Western African commodity money, antique bronze, 1500 -1850 AD,

Antelope horns Manilla 347 g, Western African commodity money, antique bronze, 1500 -1850 AD, Heavy bronze bracelet with stylized antelope horns - 347 g = 12.2 oz.; Outer diameter: 74 mm; Inner diameter: 55 mm; Provenance: private collection in Germany; Manillas are a form of commodity money, usually made of bronze or copper, which were used in West Africa.[1] They were produced in large numbers in a wide range of designs, sizes, and weights. Originating before the colonial period, perhaps as the result of trade with the Portuguese Empire, Manillas continued to serve as money and decorative objects until the late 1940s and are still sometimes used as decoration. In popular culture, they are particularly associated with the Atlantic slave trade.[2] Origins and etymology[edit] The name manilla is said to derive from the Spanish[1] for a 'bracelet' manilla, the Portuguese for 'hand-ring' manilha,[3] or after the Latin manus (hand) or from monilia, plural of 'monile (necklace).[4] They are usually horseshoe-shaped, with terminations that face each other and are roughly lozenge-shaped. The earliest use of manillas was in West Africa. As a means of exchange they originated in Calabar. Calabar was the chief city of the ancient southeast Nigerian coastal kingdom of that name. It was here in 1505 that a slave could be bought for 8–10 manillas, and an elephant’s tooth for one copper manila.[5] Manillas bear some resemblance to torcs or torques in being rigid and circular and open-ended at the front.

Lot: 671 - X615003, 5 customs gold units, The Central Bank of China, 1930

X615003, 5 customs gold units, The Central Bank of China, 1930 Condition: Good Provenance: private collection in St Petersburg, Florida, USA; The customs gold unit (CGU) was a currency issued by the Central Bank of China between 1930 and 1948. In Chinese, the name of the currency was 關金圓 guānjīnyuán, literally "customs gold yuan" but the English name given on the back of the notes was "customs gold unit". It was divided into 100 cents (關金分). As the name suggests, this currency was initially used for customs payments, but in 1942 it was put into general circulation for use by the public at 20 times its face value in terms of the first Chinese yuan.

Lot: 672 - X985568, 5 customs gold units, The Central Bank of China, 1930

X985568, 5 customs gold units, The Central Bank of China, 1930 Condition: Good Provenance: private collection in St Petersburg, Florida, USA; The customs gold unit (CGU) was a currency issued by the Central Bank of China between 1930 and 1948. In Chinese, the name of the currency was 關金圓 guānjīnyuán, literally "customs gold yuan" but the English name given on the back of the notes was "customs gold unit". It was divided into 100 cents (關金分). As the name suggests, this currency was initially used for customs payments, but in 1942 it was put into general circulation for use by the public at 20 times its face value in terms of the first Chinese yuan.

Lot: 673 - XA164451, 5 customs gold units, The Central Bank of China, 1930

XA164451, 5 customs gold units, The Central Bank of China, 1930 Condition: Good Provenance: private collection in St Petersburg, Florida, USA; The customs gold unit (CGU) was a currency issued by the Central Bank of China between 1930 and 1948. In Chinese, the name of the currency was 關金圓 guānjīnyuán, literally "customs gold yuan" but the English name given on the back of the notes was "customs gold unit". It was divided into 100 cents (關金分). As the name suggests, this currency was initially used for customs payments, but in 1942 it was put into general circulation for use by the public at 20 times its face value in terms of the first Chinese yuan.

Lot: 674 - XB148693, 5 customs gold units, The Central Bank of China, 1930

XB148693, 5 customs gold units, The Central Bank of China, 1930 Condition: Good Provenance: private collection in St Petersburg, Florida, USA; The customs gold unit (CGU) was a currency issued by the Central Bank of China between 1930 and 1948. In Chinese, the name of the currency was 關金圓 guānjīnyuán, literally "customs gold yuan" but the English name given on the back of the notes was "customs gold unit". It was divided into 100 cents (關金分). As the name suggests, this currency was initially used for customs payments, but in 1942 it was put into general circulation for use by the public at 20 times its face value in terms of the first Chinese yuan.

Lot: 675 - XG979182, 5 customs gold units, The Central Bank of China, 1930 Condition: Good

XG979182, 5 customs gold units, The Central Bank of China, 1930 Condition: Good Provenance: private collection in St Petersburg, Florida, USA; The customs gold unit (CGU) was a currency issued by the Central Bank of China between 1930 and 1948. In Chinese, the name of the currency was 關金圓 guānjīnyuán, literally "customs gold yuan" but the English name given on the back of the notes was "customs gold unit". It was divided into 100 cents (關金分). As the name suggests, this currency was initially used for customs payments, but in 1942 it was put into general circulation for use by the public at 20 times its face value in terms of the first Chinese yuan.

Lot: 676 - ZA107822, 5 customs gold units, The Central Bank of China, 1930 Condition: Good

ZA107822, 5 customs gold units, The Central Bank of China, 1930 Condition: Good Provenance: private collection in St Petersburg, Florida, USA; The customs gold unit (CGU) was a currency issued by the Central Bank of China between 1930 and 1948. In Chinese, the name of the currency was 關金圓 guānjīnyuán, literally "customs gold yuan" but the English name given on the back of the notes was "customs gold unit". It was divided into 100 cents (關金分). As the name suggests, this currency was initially used for customs payments, but in 1942 it was put into general circulation for use by the public at 20 times its face value in terms of the first Chinese yuan.

Lot: 677 - W676816, 5 customs gold units, The Central Bank of China, 1930 Condition: Good

W676816, 5 customs gold units, The Central Bank of China, 1930 Condition: Good Provenance: private collection in St Petersburg, Florida, USA; The customs gold unit (CGU) was a currency issued by the Central Bank of China between 1930 and 1948. In Chinese, the name of the currency was 關金圓 guānjīnyuán, literally "customs gold yuan" but the English name given on the back of the notes was "customs gold unit". It was divided into 100 cents (關金分). As the name suggests, this currency was initially used for customs payments, but in 1942 it was put into general circulation for use by the public at 20 times its face value in terms of the first Chinese yuan.

Lot: 704 - Chinese Ant nose/Ghost face bronze coin, 400-220 BC, 3.15 g, Rare

Chinese Ant nose/Ghost face bronze coin, 400-220 BC, 3.15 g, Rare Early bronze coins, known as Yi Bi Qian (Ant nose money) or Gui Lian Qian (Ghost face money) were definitely used as money in 400-220BC. They have been found in areas to the south of Yellow River, corresponding to the state of Chou in the Warring States period. One hoard was of some 16,000 pieces. Their weigh is variable, and their alloy often contains a high proportion of lead. The name Ant Nose refers to the appearance of the inscriptions, and is nothing to do with keeping ants out of the noses of corpses. Hartill: 1.9 Weight: 3.15 g Condition: genuine patina

Lot: 708 - Genuine Chinese 4 bronze coins in clump salvaged from Song Dynasty 1200 AD shipwreck

Genuine Chinese 4 bronze coins in clump salvaged from Song Dynasty 1200 AD shipwreck; Weight: 29.96 g; Diameter: 3 coins 24 mm each (1 cash), 1 coin - 30 mm (2 cash). This clump of 4 Chinese bronze coins was salvaged from a Song Dynasty (1127-1279 AD) shipwreck. The shipwreck was discovered under the deep water of South China Sea. The latest coin found in this hoard is Shao Xing Yuan Bao (1131-1162 AD). This evidence suggested that the ship was sunk during early era of Southern Song Dynasty (1127 - 1279 AD). The coins are fused with limestone picked up from seabed. This is a good reference for those who study the ancient maritime archaeology of Chinese history. Imagine that these coins have been traveled for 3000 km and finally rest on the seabed for more than 800 years!

Lot: 709 - Chinese 5 bronze coins in clump, salvaged from Song Dynasty, 1200 AD shipwreck.

Chinese 5 bronze coins in clump, salvaged from Song Dynasty, 1200 AD shipwreck. Weight: 35.27 g; Diameter of 5 coins: 24 mm; This clump of 5 Chinese bronze coins was salvaged from a Song Dynasty (1127-1279 AD) shipwreck. The shipwreck was discovered under the deep water of South China Sea. The latest coin found in this hoard is Shao Xing Yuan Bao (1131-1162 AD). This evidence suggested that the ship was sunk during early era of Southern Song Dynasty (1127 - 1279 AD). Condition: 2 small coins and 1 large coin are broken. The coins are fused with limestone picked up from seabed. This is a good reference for those who study the ancient maritime archaeology of Chinese history. Imagine that these coins have been traveled for 3000 km and finally rest on the seabed for more than 800 years!

Lot: 711 - Warring States Period 350-250BC, acute angle square foot spade Chinese Gong bronze coin

Warring States Period 350 BC - 250 BC, acute angle square foot spade Chinese Gong bronze coin; Original brown-blue patina. Height: 45 mm; Hartill 3.175, p. 36; Rarity: 8 = $200

Lot: 719 - Han Interregnum Wang Mang, 7 AD, Genuine Chinese bronze coin

Da Quan Wu Shi Large coin 50; Diameter: 27.5 mm; Weight: 4.70 g, Condition: green-brownish genuine crusty patina, F/VG Hartill 9.1

Lot: 720 - Tang Dynasty, 621 AD, Kai Yuan Tong Bao, Genuine Chinese bronze coin

Kai Yuan Tong Bao; Diameter: 25 mm; Weight: 2.37 g, Condition: green-blue-brownish genuine crusty patina, F/VG Hartill 14.1

Lot: 721 - Tang Dynasty, 621 AD, Kai Yuan Tong Bao, Genuine Chinese bronze coin

Kai Yuan Tong Bao; Diameter: 23 mm; Weight: 2.17 g, Condition: green- blueish genuine crusty patina, F/VF; Hartill 14.114

Lot: 722A - N. Song Dynasty, 995 AD, Zhi Dao Yuan Bao, Genuine Chinese bronze coin

Zhi Dao Yuan Bao, regular script. Diameter: 25 mm; Weight: 3.17 g, Condition: green-blue-brownish genuine crusty patina, EF/F !!! Hartill 16.35

Lot: 722B - N. Song Dynasty, 998 AD, Xian Ping Yuan Bao, Genuine Chinese bronze coin

Xian Ping Yuan Bao. Diameter: 25 mm; Weight: 3.20 g, Condition: green-blue-brownish genuine crusty patina, EF/F !!! Hartill 16.43

Lot: 722C - N. Song Dynasty, 998 AD, Xian Fu Tong Bao, Genuine Chinese bronze coin

Xian Fu Tong Bao; Diameter: 25 mm; Weight: 3.20 g, Condition: green-blue-brownish genuine crusty patina, Fine; Hartill 16.59

Lot: 722G - N. Song Dynasty, 1078 AD, 2 cash Yuan Feng Tong Bao, Shipwreck Chinese bronze coin

Yuan Feng Tong Bao; Seal script; Diameter: 28.5 mm; Weight: 6.01 g, Condition: green-blueish genuine patina, there is a 1 mm-hole, coin was found at shipwreck, Fine. Hartill 16.229

Lot: 722H - N. Song Dynasty, 1086 AD, 2 cash Yuan You Tong Bao, Shipwreck Chinese bronze coin

Yuan Feng Tong Bao; Running script; Diameter: 29.5 mm; Weight: 9.00 g, Condition: black genuine patina, with sea life incrustations, coin was found at shipwreck, F/VG. Hartill 16.284

Lot: 725B - Qing Dynasty, 1680 AD, 1 cash Kang Xi Tong Bao, Chinese bronze coin

Kang Xi Tong Bao; private cast (?) Diameter: 22 mm; Weight: 1.25 g, Condition: Dark green genuine patina, VG. Hartill 22.87

Lot: 732 - China, Tang, KAI YUAN TONG BAO early issue, lovely EF

Cast in AD 621 of Tang Dynasty (AD 618 - 907), Kai Yuan Tong Bao early issue, The JING component of KAI is not touching the hole and 2 vertical strokes of BAI is not touching the sides. Hartill #14.1, lovely EF.

Lot: 732A - China, Tang, KAI YUAN TONG BAO reverse - short bar top, lovely EF

Cast in AD 732 to 907 of Tang Dynasty (AD 618 - 907), Kai Yuan Tong Bao late issue with short bar reverse. Hartill #14.6.a, lovely EF.

Lot: 732C - China, N Song Xi Ning Yuan Bao coin, Li script, "crab claw" XI, lovely EF, Rare

Cast in AD 1068 under rule of Emperor Shen Zong of Northern Song Dynasty (AD 960 - 1127). Xi Ning Yuan Bao bronze cash coin. Li script, wide characters, crab "claw" XI, Hartill: not listed variety, lovely EF;

Lot: 732D - China, Song Sheng Song Yuan Bao 1-cash coin Running script, VF

Cast during 1101 - 06 AD under rule of Emperor Hui Zong of Northern Song Dynasty (960 - 1127 AD). Sheng Song Yuan Bao 1-cash bronze coin in “Running script”. Rosette hole, pinhole at 11:00, VF

Lot: 732E - China, N Song, Yuan Fu Tong Bao 1-cash coin Seal script, lovely VF

China, N Song, Yuan Fu Tong Bao 1-cash coin Seal script, lovely VF Hartill: 16.328, Seal script

Lot: 732F - China, S Song, Shao Xi Yuan Bao 1-cash Rev ER (2), VF 紹熙元寶小平背二

Cast in AD 1191 under rule of Emperor Guang Zong of Southern Song Dynasty (AD 1127 - 1279) Obverse: Shao Xi Yuan Bao 1-cash bronze coin in regular script. Reverse: Er (2nd year of reign), VF. 紹熙元寶小平背二

Lot: 732G - China, Southern Song, Chun You Yuan Bao AE cash, rev SHI (10), VF

Cast in AD 1250 under rule of Emperor Li Zong of Southern Song Dynasty (AD 1127 - 1279) Chun You Yuan Bao 1-cash bronze coin in regular script, reverse SHI (10th year of reign Chun You), VF

Lot: 732H - China, Southern Song, Jia Ding Tong Bao AE cash, rev SHI-SAN (13), VF

Cast in AD 1220 under rule of Emperor Ning Zong of Southern Song Dynasty (AD 1127 - 1279). Obverse: Jia Ding Tong Bao 1-cash bronze coin in regular script. Reverse: SHI-SAN (13th year of reign Jia Ding), VF

Lot: 732I - China, S Song, Chun Xi Yuan Bao 1-cash Rev Shi-liu (16), EF 淳熙元寶小平背十六

Cast in AD 1188 under rule of Emperor Xiao Zong of Southern Song Dynasty (AD 1127 - 1279). Chun Xi Yuan Bao 1-cash bronze coin in regular script, reverse SHI-LIU (16th year of reign), EF. 淳熙元寶小平背十六

Lot: 732J - China, Southern Song, Huang Song Yuan Bao AE cash, rev SAN (3), EF

Cast in AD 1255 under rule of emperor Li Zong of Southern Song Dynasty (AD 1127 - 1279) Huang Song Yuan Bao 1-cash bronze coin in regular script, reverse SAN (3rd year of reign Bao You), H17.815, EF.

Lot: 732K - China, Rare S. Song, CHUN YOU YB AE cash year 11, key date, lovely EF

Cast in AD 1251 under rule of Emperor Li Zong of Southern Song Dynasty (AD 1127 - 1279) Chun You Yuan Bao 1-cash bronze coin in regular script, reverse SHI YI (11th year of reign Chun You), key date, Hartill # 17.788, lovely EF.

Lot: 732O - China, Qing Dynasty Tong Zhi Tong Bao Yunnan mint, large issue 同治通寶小平雲局大樣

Cast in AD 1862 under reign of emperor Mu Zong of Qing Dynasty (1644 - 1911 AD) Tong Zhi Tong Bao 1-cash brass coin, Yunnan mint, large heavy issue, 25.6 mm / 5.6 g, VF 同治通寶小平雲局大樣

Lot: 734 - Chinese bronze coin Tang dynasty “Hui Chang Kai Yuan", 2.51g, H 14.90

Chinese bronze coin Tang dynasty “Hui Chang Kai Yuan", 2.51g, H 14.90 Cast from Buddhist Satues 1-Cash　 Obv: Kai Yuan Tong Bao Tang, 845~ A.D. 　 Rev: Provincial mint " Yan " top, - Yan for Yan Prefecture (Shandong) Size: 23 mm; Weight: 2.51 grams; Material: Bronze from Buddhist Statues; Tang Dynasty (618-907), Emperor Wu Zong (841-847). Kai Yuan Tong Bao - "Hui Chang" Kai Yuan. Local mint names on reverse. Refer to FD #709 - #745. Provenance: from coin collector from Netherlands; 　 Huichang Kai Yuan 845 A.D. In 845, in the Huichang period, the Emperor Wu Zong, a fervent follower of Taoism, destroyed the Buddhist monasteries and used the copper bells, gongs, incense burners and statues to cast coins in various localities. These local mints were under the control of the provincial governors. The New Tang History states that Li Shen, governor of Huainan province, requested that the empire might cast coins bearing the name of the prefecture in which they were cast, and this was agreed. These coins with mint names on the reverses, known as Huichang Kai Yuans, are of poor workmanship and size compared with the early Kai Yuans. However, when Xuanzong ascended to the throne the next year, this policy was reversed, and the new coins were recast to make Buddhist statues.

Lot: 735 - Chinese bronze coin, Kai Yuan Tong Bao, Tang dynasty, Rare, dot between 2 strokes of Yuan

Chinese bronze coin, Kai Yuan Tong Bao, Tang dynasty, Rare, dot between 2 strokes of Yuan; Diameter: 24 mm Weight: 2.94 g; Condition: Extra Fine Authenticity guaranteed

Lot: 736 - Chinese carved bronze coin, 5-Dynasties 907-960AD, 10 Kingdoms, "Fei Long Jin Bao", 39 mm

Chinese carved bronze coin, 5-Dynasties 907-960AD, 10 Kingdoms, "Fei Long Jin Bao", 39 mm; Weight: 15.45 g; Diameter: 39 mm; Thickness: 2 mm; Provenance: Private collection, Xi’An, Shaanxi province, China;

Lot: 739 - Chinese Bronze Operator license of Liao Imperial Palace, Khitan text, 遼代契丹文字皇宮錢符

Chinese Bronze Operator license of Liao Imperial Palace, Khitan text, 遼代契丹文字皇宮錢符 translation: "Liao Dynasty Khitan inscription palace money talisman" Operator license of Imperial palace (Liao dynasty) the Khitan text 遼代契丹文字皇宮錢符牌. Translation: "Liao Dynasty Khitan character palace money talisman plaque". Size: 108 mm x 58 mm; Thickness: 4 mm; Weight: 180 g; Age: Liao Dynasty (A.D 907-1125) Liao Dynasty palace used by the royal family members or officials, is an original credentials

Lot: 743 - Chinese iron weight (16 tael) Northern Song Dynasty, 959–1126 AD

Chinese iron weight (16 tael) Northern Song Dynasty, 959–1126 AD; Weight: 591 g = 1 lb. 4 oz. Height: 101 mm = 4 inches; Width: 68 mm = 2.7 in; Thickness at the base: 28 mm Condition: natural patina, oxidation and rust all over 591g : 36.7g = 16.1 tael Tael Tael (/ˈteɪl/;[1] simplified Chinese: 两; traditional Chinese: 兩; pinyin: liǎng) or tahil can refer to any one of several weight measures of the Far East. Most commonly, it refers to the Chinese tael, a part of the Chinese system of weights and currency. Historical usage In China, there were many different weighting standards of tael depending on the region or type of trade. In general the silver tael weighed around 40 grams (1.3 ozt). The most common government measure was the Kuping (庫平; kùpíng; "treasury standard") tael, weighing 37.5 grams (1.21 ozt). A common commercial weight, the Caoping (漕平; cáopíng; "canal shipping standard") tael weighed 36.7 grams (1.18 ozt) of marginally less pure silver.

Lot: 746 - Chinese bronze coin, N. Song Dynasty, XI NING ZHONG BAO 2-cash, 1068-1077 AD

Emperor Shen Zong (1068-1085); Weight: 8.20 g; Diameter: 32 mm; Hartill: 16.202, p. 138; Provenance: bought in Cambodia, in 1993;

Lot: 768 - Western Asia, Silk Road, Bactrian(?) King statue bronze coin, 24 mm

Western Asia, Silk Road, Bactrian(?) King statue bronze coin, 24 mm Obverse: king statue; Reverse: rider on the donkey; Diameter: 24 mm; Weight: 11.50 g; Age: more than 1000 years old; Provenance: private collection Jiang Su, China;

Lot: 769 - Republican period banknote, Five dollar, Shanghai, China, 1930

Republican period banknote, Five dollar, Shanghai, China, 1930 Size: 166.5 mm x 77 mm; Condition: almost uncirculated; Provenance; private collection in Tampa, Florida, USA The customs gold unit (CGU) was a currency issued by the Central Bank of China between 1930 and 1948. In Chinese, the name of the currency was 關金圓 guānjīnyuán, literally "customs gold yuan"

Lot: 771 - Antique tin/bronze coin with crocodile, Malaysia or Thailand, 1600-1700AD

Antique tin/bronze coin with crocodile, Malaysia or Thailand, 1600-1700 AD. Very attractive, antique heavy coin depicting crocodile. Length: 60 mm; Weight: 50.00 g. Provenance: private collection in USA

Lot: 772 - Antique tin/bronze coin with scorpion, Malaysia or Thailand, 1600-1700 AD.

Antique tin/bronze coin with scorpion, Malaysia or Thailand, 1600-1700 AD. Very attractive, antique heavy coin depicting scorpion. Diameter – 73 mm, Weight - 129.14 g. Provenance: private collection in USA

Lot: 804 - Imperial Russian banknote 3 rubles, series ОП 794 898, EF/Fine, period Nicholas II

Imperial Russian banknote 3 rubles, series ОП 794 898, EF/Fine, period Nicholas II Size: 152 mm x 99 mm; 1 ruble = 17.424 доли (доля-старорусская мера веса = 0.044 грамма), значит в одном рубле содержалось 0.7666 грамм золота. 3 rubles contain 0.7666 g x 3 rubles = 2.30 gram of gold; Manager: Коншинъ; Cashier: Овчинниковъ ; Condition: Extra Fine to Fine,

Lot: 810A - Imperial Russian banknote 1000 rubles, series АЭ 026128, 1917, FV;

Imperial Russian banknote 1000 rubles, series АЭ 026128, 1917, FV; Size: 215 mm x 130 mm; Manager: Шиповъ; Cashier: Сафроновъ; Condition: fine; 1 ruble = 17.424 доли (доля-старорусская мера веса = 0.044 грамма), значит в одном рубле содержалось 0.7666 грамм золота. 1000 rubles contain 0.7666 g x 1000 rubles = 766 gram of gold; Condition: EF to Fine,

Lot: 818 - Imperial Russian Volgo-Bugulmin Railroad 4% Bonds, Russia 1910

Imperial Russian Volgo-Bugulmin Railroad 4% Bonds, Russia 1910 Guaranteed for the capital of 37,950,000 rubles, by Russian Imperial government. Size: 41.8 x 38.6 cm; Condition: Very good, see photos Provenance: from early Russia immigrants after 1917 revolution in Russia

Lot: 829 - Loan of the city Ekaterinoslav, 200 rub = 533.4 franks, #0821, Russia 1904-1954

Loan of the city Ekaterinoslav, 200 rub = 533.4 franks, #0821, Russia 1904-1954; Guaranteed for the capital of 2,500,000 rubles = 6,667.500 franks, by Russian Imperial government. Size: 41.8 x 38.6 cm; Obligation Number: 0821; Thirty three coupons attached. Potential income: 5% per year: 1954-1904=50 years; (533.4 francs x 0.05) x 50 years)+533.4 franks at maturity = 1,333 fr + 533.4 fr = 1,866.9 franks Condition: Very good, see photos. This obligation has historical and a potential financial value. Partial payments for Russian bonds has been done to investors, in 1990’s by Russian Government (President Boris Eltsin) (Financial Times, October 23-24, 1999) Provenance: from early Russia immigrants after 1917 revolution in Russia

Lot: 829A - Loan of the city Moscow, 945 rubles = 100 Great Britain pounds, #04189, Russia 1908-1957

Loan of the city Moscow, 945 rubles = 100 Great Britain pounds, #04189, Russia 1908-1957; Guaranteed for the capital of 17,256,342 rubles = 1,889,560 Great Britain pounds, by Russian Imperial government and city of Moscow. Size: 40 cm x 28 cm; Obligation Number: 04189; Two (2) coupons attached. Potential income: 5% per year: 1957-1908=50 years; ((100 GBP x 0.05) x 50 years) + 100 GBP (at maturity) = 250 GBP + 100 GBP = 350 GBP; Condition: Very good, see photos. This obligation has historical and a potential financial value. Partial payments for Russian bonds has been done to investors, in 1990’s by Russian Government (President Boris Eltsin) (Financial Times, October 23-24, 1999) Provenance: from early Russia immigrants after 1917 revolution in Russia

Lot: 829B - Loan of the city Moscow, 187.5 rubles = 20 Great Britain pounds, #090286, Russia 1909-1957

Loan of the city Moscow, 187.5 rubles = 20 Great Britain pounds, #090286, Russia 1909-1957 Guaranteed for the capital of 21,199,875 rubles = 2,243,417 Great Britain pounds = 500 franks, by Russian Imperial government and city of Moscow. Size: 40 cm x 28 cm; Obligation Number: 04189; Three (3) coupons attached. Potential income: 5% per year: 1957-1909=49 years; ((20 GBP x 0.05) x 49 years) + 20 GBP (at maturity) = 49 GBP + 20 GBP = 69 GBP; Condition: Very good, see photos. This obligation has historical and a potential financial value. Partial payments for Russian bonds has been done to investors, in 1990’s by Russian Government (President Boris Eltsin) (Financial Times, October 23-24, 1999) Provenance: from early Russia immigrants after 1917 revolution in Russia

Lot: 829C - Loan of the city Saratov, 937.5 rubles = 99 Great Britain pounds = 2,500 franks, #1514, Russia 1909-1957

Loan of the city Saratov, 937.5 rubles = 99 Great Britain pounds = 2,500 franks, #1514, Russia 1909-1957 Guaranteed for the capital of 3,853,875 rubles = 407,825 Great Britain pounds, by Russian Imperial government and city of Saratov. Size: 38 cm x 28.5 cm; Obligation Number: 1514; Three (3) coupons attached. Potential income: 5% per year: 1956-1909=45 years; ((99 GBP x 0.05) x 45 years) + 20 GBP (at maturity) = 222.75 GBP + 99 GBP = 321.75 GBP; Condition: Very good, see photos. This obligation has historical and a potential financial value. Partial payments for Russian bonds has been done to investors, in 1990’s by Russian Government (President Boris Eltsin) (Financial Times, October 23-24, 1999) Provenance: from early Russia immigrants after 1917 revolution in Russia

Lot: 829D - 5% Loan (bond/obligation) of the city of Sevas pol, Imperial Russian, very rare, #4054, 1910-1946

5% Loan (bond/obligation) of the city of Sevastopol, Imperial Russian, very rare, #4054, 1910-1946; Purchased for: 187.50 rubles = 500 francs= 404 German marks, in 1910. Terms: Guaranteed for the capital of 1,500,000 rubles = 4,000,000 francs, by the Government of Sevastopol. Maturation: starting from the year 1946. Income: 5% per year; Size: 36.5cm x 28.5 cm; Obligation Number: 4054; Ten coupons attached: 11-20 Income at maturity and later: ((500 fr x 0.05) x 36 years) + 500 franks = 900 fr+ 500 fr = 1400 franks; Condition: Very good, see photos. This obligation has historical and a potential financial value. Partial payments for Russian bonds has been done to investors, in 1990’s by Russian Government (President Boris Eltsin) (Financial Times, October 23-24, 1999) Provenance: from early Russia immigrants after 1917 revolution in Russia

Lot: 829E - 5% Loan (obligation) of the city of Sevas pol, Imperial Russian, very rare, #2212, 1910

5% Loan (obligation) of the city of Sevastopol, Imperial Russian, very rare, #2212, 1910 Purchased for: 187.50 rubles = 500 francs in 1910. Terms: Guaranteed for the capital of 1,500,000 rubles = 4,000,000 francs, by the Government of Sevastopol. Maturation: starting from the year 1946. Income: 5% per year + original loan = (500 fr x 0.05) x 36 years) + 500 fr = 900 fr + 500 fr = $1400 fr Size: 36.5cm x 28.5 cm; Obligation Number: 2212; Condition: Very good, see photos. This obligation has historical and a potential financial value. Partial payments for Russian bonds has been done to investors, in 1990’s by Russian Government (President Boris Eltsin) (Financial Times, October 23-24, 1999) Provenance: from early Russia immigrants after 1917 revolution in Russia

Lot: 829F - Loan of the city Moscow, 1000 rubles = 2666 franks, 105 Great Britain pounds, #090286, Russia 1911-1959

Loan of the city Moscow, 1000 rubles = 2666 franks, 105 Great Britain pounds, #090286, Russia 1911-1959 Guaranteed for the capital of rubles - 2,243,417, Great Britain pounds -105, French franks - 2666 franks, + 4.5% income per year, by Russian Imperial government and city of Moscow Size: 40 cm x 28 cm; Obligation Number: 01600; Potential income: 5% per year: 1959-1911=48 years; ((105 GBP x 0.045) x 48 years) + 20 GBP (at maturity) = 226.8 GBP. Condition: Very good, see photos. This obligation has historical and a potential financial value. Partial payments for Russian bonds has been done to investors, in 1990’s by Russian Government (President Boris Eltsin) (Financial Times, October 23-24, 1999) Provenance: from early Russia immigrants after 1917 revolution in Russia

Lot: 830 - 5% Loan (bond/obligation) of the city of Tiflis, 1910 #06674

5% Loan (bond/obligation) of the city of Tiflis, 1910 #06674 Purchased for: 187.50 gold rubles = 500 French Francs, in 1910. Terms: Guaranteed for the total capital of 3,000,000 rubles = 6.464,000 German marks = 8,000,000 French francs, by the City Government of Tiflis, by 1935 (maturation year). Potential Income: 5% per year of 500 francs for 25 years + 500 franks at maturity, which were paid originally = 625+500 = 1125 franks Size: 37 cm x 28 cm; Obligation Number: 06674; Five coupons attached. Condition: Very good, see photos. This obligation has historical and a potential financial value. Partial payments for Russian bonds has been done to investors, in 1990’s by Yeltzin's Government (Financial Times, October 23-24, 1999). Provenance: from early Russia immigrants after 1917 revolution in Russia

Lot: 830B - 5% Loan (bond/obligation) of the city of Kharkov, year 1911-1954, #16587

5% Loan (bond/obligation) of the city of Kharkov, year 1911-1954, #16587; Purchased for: 937.50 rubles = 2,500 franks, in 1911. Terms: Guaranteed for the capital of 6,199,875 rubles = 13,358,664 German marks = 16,533,000 French francs = 7,902,774 Holland guldens, by the Government of Kharkov. Maturation: starting from the year 1954 (year of maturation of the bonds). Income: 5% per year + Loan = (0.05 x 2,500 fr) x 43 years + 2500 franks = 5,375 + 2,500 = 7,875 franks. Size: 33.7 cm x 23.5 cm; Obligation Number: 16587; Condition: Very good, see photos. This obligation has historical and a potential financial value. Partial payments for Russian bonds has been done to investors, in 1990’s by Yeltzin's Government (Financial Times, October 23-24, 1999). Provenance: from early Russia immigrants after 1917 revolution in Russia

Lot: 830D - 5% Loan (bond/obligation) of the city of Kiev, #0821, 1914-1964

5% Loan (bond/obligation) of the city of Kiev, #0821, 1914 Purchased for: 189 gold rubles = 504 francs = 20 British pounds in 1914. Terms: Guaranteed for the capital of 6,195,987 rubles = 655,600 British pounds = 16,522,632 French francs, by the City Government of Kiev, starting from the year 1964 (year of maturation of the bonds). Potential income: 5% per year: 1964-1914=50 years; (504 francs x 0.05) x 50 years)+504 franks at maturity = 1260 fr+ 504 fr = 1764 franks; Size: 41 cm x 30 cm; Obligation Number: 0821; Thirty three coupons attached. Condition: Very good, see photos. This obligation has historical and a potential financial value. Partial payments for Russian bonds has been done to investors, in 1990’s by Russian Government (President Boris Eltsin) (Financial Times, October 23-24, 1999) Provenance: from early Russia immigrants after 1917 revolution in Russia

Lot: 834 - Anna Ioannovna 1732, Russian Silver One Rouble, NGC certified

Plain cross of orb. Tail divides "РУ БЛЬ" between the letters "У" and "Б". Silver. Edge patterned. Weight: 25.85 g; Diameter: 40 mm; Anna Ioannovna (Russian: Анна Иоанновна; 7 February [O.S. 28 January] 1693 – 28 October [O.S. 17 October] 1740), also spelled Anna Ivanovna[1] and sometimes anglicized as Anne, was regent of the duchy of Courland from 1711 until 1730 and then ruled as Empress of Russia from 1730 to 1740. Much of her administration was defined or heavily influenced by actions set in motion by her uncle, Peter the Great, such as the lavish building projects in St. Petersburg, funding the Russian Academy of Science, and measures which generally favored the nobility, such as the repeal of a primogeniture law in 1730. In the West, Anna's reign was traditionally viewed as a continuation of the transition from the old Muscovy ways to the European court envisioned by Peter the Great.[1] Within Russia, Anna's reign is often referred to as a "dark era".[2]

Lot: 835A - Moneta One Ruble Imperial Russian silver coin, 1829

Moneta One Ruble Imperial Russian silver coin, 1829 Size: 36 mm; Weight: 20.12 g;

Lot: 838 - Imperial Russian uniform button with Eagle, 1812-1917

Imperial Russian uniform button with Eagle, 1812-1917. царская пуговица Чикин Condition: genuine patina, the loop on the back of button is in good condition.

Lot: 838C - ”For the liberation of Bulgaria” 1878, Russian Imperial bronze medal Catalogue value: $400.

”For the liberation of Bulgaria” 1878, Russian Imperial bronze medal Catalogue value: $400. Diameter: 28 mm; Height: 32 mm; Weight: 8.42 g; 1878 Russian medal of Liberation of Bulgaria. В память освобождения Болгарских братьев. Сияющие со слезами будете поживать съ радостию. Medal for the Liberation of Bulgaria was instituted on April 17, 1878. This bronze medal was awarded to enlisted men and non-commissioned officers of the Imperial Army, who participated in the liberation of Bulgaria from the Turks. The obverse has the bust of Emperor Alexander II facing right surrounded by the inscription, EMPEROR ALEXANDER II AUTOCRAT OF ALL THE RUSSIAS. Below the bust is the Inscription, EMPEROR'S LIBERATION, and below this the date, February 19, 1878. The reverse has a Russian Cross above a Turkish Crescent. At the top is the inscription: "THOSE WHO SOW WITH TEARS WILL WEEP WITH JOY" and at the bottom, "IN MEMORY OF THE LIBERATION OF OUR BULGARIAN BROTHERS."

Lot: 838D - Russian-Japanese War (1904-1905) antique Imperial Russian military bronze medal

Genuine antique Imperial Russian military bronze medal, Russian-Japanese War (1904-1905) Russian-Japanese War Medal was instituted on January 1, 1906. ДА ВОЗНЕСЕТЪ ВАСЪ ГОСПОДЬ ВЪ СВОЕ ВРЕМЯ. Dark Bronze Medal was awarded to all individuals, not participating in the battle, but attached to the regular Army & its various bureaus, also those individuals, military or civilian, who were located during the war in the Far East, along Siberian and Samaro-Zlatoust Railroad. Obverse has in the center the all seeing eye surrounded by rays. Below the eye are the dates 1904-1905. Reverse has the inscription, "MAY GOD RESURRECT YOU WHEN THE TIME COMES". Diameter: 28 mm. Weight: 14.34 g; Ribbon: No ribbon Condition: Heavy worn old, in good condition, 100% ORIGINAL! 115 ЛЕТ, СТАРЕНЬКАЯ ПОТРЁПАНАЯ МЕДАЛЬ НО ЗАТО НАСТОЯЩАЯ, А НЕ СОВРЕМЕННАЯ ПОДДЕЛКА.

Lot: 839 - 1809 “За переход на Шведский Берег” Russian Imperial Medal, Alexander II

1809 “За переход на Шведский Берег” Russian Imperial Medal, Alexander II Alexander II; Diameter: 29 mm; Weight: 11.32 g;

Lot: 840 - Alexander III, 1881-1894, -Russian Imperial bronze medal, ЗА ХРАБРОСТЬ

Russian Imperial bronze medal, ЗА ХРАБРОСТЬ, Alexander III, 1881-1894; Diameter: 28.5 mm; Weight: 11.32 g; Alexander III (Russian: Александр III Александрович, tr. Aleksandr III Aleksandrovich; 10 March 1845 – 1 November 1894)[1] was Emperor of Russia, King of Poland and Grand Duke of Finland from 13 March 1881 until his death in 1894.[2] He was highly reactionary and reversed some of the liberal reforms of his father, Alexander II. Under the influence of Konstantin Pobedonostsev (1827–1907), he opposed any reform that limited his autocratic rule. During his reign, Russia fought no major wars; he was therefore styled "The Peacemaker" (Russian: Миротворец, tr. Mirotvorets, IPA: [mʲɪrɐˈtvorʲɪt͡s]).

Lot: 840A - За покорение ханства Коканского 1875-1876, Russian Imperial silver Medal

За покорение ханства Коканского 1875-1876, Russian Imperial silver Medal; Diameter: 29 mm; Weight: 10.96 g;

Lot: 840C - Antique Russian bronze medal 1, Seva____1853-56

Defense/Siege of Sevastopol (Crimean War), Russian bronze medal, 1853, 1854, 1855, 1856; Diameter: 1.14 inches = 27.5 mm; Weight: 0.38 ounces = 11.38 g; Provenance: private collection in Ukraine; The shining All-Seeing Eye of God above the years of Crimean War: 1853-1854-1855-1856 The medal "In memory of the war of 1853-1856" is a mass highly approved award of the Russian Empire. It was

Lot: 840D - Antique Russian bronze medal 2, Seva_____ EF/AU, 1853-56

Defense/Siege of Sevastopol (Crimean War), Russian bronze medal, EF/AU, 1853, 1854, 1855, 1856, 11.78 g Diameter: 1.14 inches = 27.5 mm; Weight: 0.38 ounces = 11.78 g; Provenance: private collection in Ukraine; The shining All-Seeing Eye of God above the years of Crimean War: 1853-1854-1855-1856 The medal "In memory of the war of 1853-1856" is a mass highly approved award of the Russian Empire. It

Lot: 841 - Nicholas II, 1894-1917 - Russian Imperial bronze medal, ЗА ХРАБРОСТЬ

Russian Imperial bronze medal, ЗА ХРАБРОСТЬ, Nicholas II, 1894-1917; Diameter: 28.5 mm; Weight: 10.33 g; Nicholas II or Nikolai II Alexandrovich Romanov[d] (18 May [O.S. 6 May] 1868 – 17 July 1918), known in the Russian Orthodox Church as Saint Nicholas the Passion-Bearer,[e] was the last Emperor of All Russia, ruling from 1 November 1894 until his abdication on 15 March 1917. During his reign, Nicholas gave support to the economic and political reforms promoted by his prime ministers, Sergei Witte and Pyotr Stolypin. He advocated modernization based on foreign loans and close ties with France, but resisted giving the new parliament (the Duma) major roles.[1][2] Ultimately, progress was undermined by Nicholas's commitment to autocratic rule,[3][4] strong aristocratic opposition and defeats sustained by the Russian military in the Russo-Japanese War and World War I.[5][6][7] By March 1917, public support for Nicholas had collapsed and he was forced to abdicate the throne, thereby ending the Romanov dynasty's 300-year rule of Russia.

Lot: 841A - “For bravery” #436512 - Imperial Russian silver medal, Czar NICHOLAS II, 1905

“For bravery” #436512 - Imperial Russian silver medal, Czar NICHOLAS II, 1905 Weight: 14.04 g; Diameter: 30 mm; Height: 35 mm; RARE ORIGINAL imperial Russian silver medal. An attractive Russian Imperial WWI medal for bravery that shows a lot of wear. Number 436512 is engraved on the back of the medal. The medal is looped at the top. Medal for Bravery was first established during the reign of Tsar Alexander II. In the first years of the reign of Emperor Nicholas II, the Medal for Bravery was thoroughly redesigned and its statute changed. Obverse of the silver Medal for Bravery shows the truncated bust of Tsar Nicholas II, facing left encircled by an inscription meaning: "By the Grace of God Nicholas II Emperor and Autocrat of All Russia". Reverse of the Medal: bears an inscription meaning: "For Bravery, Fourth Class, #436512". No ribbon. Heavy worn, rare, in good condition, 100% ORIGINAL! РЕДКОСТЬ: Оригинальная Медаль "За Храбрость 4 Класс", серебро, диаметр 30 мм, была учреждена указом Императора Александра-II, в хорошем состоянии для своего возраста. СТАРЕНЬКАЯ ПОТРЁПАНАЯ МЕДАЛЬ, НО ЗАТО НАСТОЯЩАЯ, А НЕ СОВРЕМЕННАЯ ПОДДЕЛКА.

Lot: 841B - За взятие Парижа, 19 Марта 1814, Russian Imperial medal

За взятие Парижа, 19 Марта 1814, Russian Imperial medal Diameter: 23 mm; Weight: 10.44g;

Lot: 842 - АЛЕКСАНДР 1 БЛАГОСЛОВЕННЫЙ - НАШ АНГЕЛ В НЕБЕСАХ 1812, Russian bronze antique medal Alexander I, 1777-1825

АЛЕКСАНДР 1 БЛАГОСЛОВЕННЫЙ - НАШ АНГЕЛ В НЕБЕСАХ 1812, Russian bronze antique medal Alexander I, 1777-1825

Lot: 843 - ЗА УСЕРДИЕ, АЛЕКСАНДРЪ II, silver medal Russian Empire, "FOR ZEAL" the Russian Tsar Alexander II portrait to the left, 1856

ЗА УСЕРДИЕ, АЛЕКСАНДРЪ II, silver medal Russian Empire, "FOR ZEAL" the Russian Tsar Alexander II portrait to the left, 1856 ЗА УСЕРДИЕ, АЛЕКСАНДРЪ II, silver medal 39 mm.

Lot: 844 - Finance Minister Kniazhevich 1861, Imperial Russian bronze medal, 58.5 mm

Finance Minister Kniazhevich 1861, Imperial Russian bronze medal Министръ Финансовъ Александръ Максимовичъ Княжевичъ В память пятидесятилетия службы Медаль в честь 50-летия службы Министра финансов А. М. Княжевича, 19 января 1861 г. СПб монетный двор, 1861 г. Медальер К.-Г. Лоренц. Бронза, 103,93 г. Диаметр 58,5 мм. Сохранность отличная. Иверсен# CCLXXVII. Смирнов# 636. Дьяков# 700.1 (R0).

Lot: 845 - Russian Imperial silver medal, ЗА ХРАБРОСТЬ, 4-й степени, # 934168, Nicholas II, 1894-1917;

Russian Imperial silver medal, ЗА ХРАБРОСТЬ, 4-й степени, # 934168, Nicholas II, 1894-1917; Diameter: 28.5 mm; Weight of medal + ribbon and suspension: 19.32 g; Nicholas II or Nikolai II Alexandrovich Romanov[d] (18 May [O.S. 6 May] 1868 – 17 July 1918), known in the Russian Orthodox Church as Saint Nicholas the Passion-Bearer,[e] was the last Emperor of All Russia, ruling from 1 November 1894 until his abdication on 15 March 1917. During his reign, Nicholas gave support to the economic and political reforms promoted by his prime ministers, Sergei Witte and Pyotr Stolypin. He advocated modernization based on foreign loans and close ties with France, but resisted giving the new parliament (the Duma) major roles.[1][2] Ultimately, progress was undermined by Nicholas's commitment to autocratic rule,[3][4] strong aristocratic opposition and defeats sustained by the Russian military in the Russo-Japanese War and World War I.[5][6][7] By March 1917, public support for Nicholas had collapsed and he was forced to abdicate the throne, thereby ending the Romanov dynasty's 300-year rule of Russia.

Lot: 846 - Rigascher gartenbauverbein 1894, Russian Imperial silver medal, Riga horticultural Association

Rigascher gartenbauverbein 1894, Russian Imperial silver medal, Riga horticultural Association Diameter: 55 mm; Weight: 54.14 g; Riga horticultural association MEDAL "RIGASCHER GARTENBAUVEREIN" Наградная: 1894 г. Страна: Российская Империя; Серебро / 55,00 мм / Медальеры: л.ст. - подпись медальера под портретом «С.В.» (Сергей Важенин). Об.ст. - подпись медальера под гербом Риги справа «А.Г. Г.» (Авенир Григорьевич Грилихес). Diakov# 1108.1(R4) Очень редкая. https://www.osta.ee/riia-aednike-uhing-medal-rizhskogo-obshhestva-sadovodstva-103494681.html

Lot: 847 - Франц Иосиф. Russian Imperial silver medal, 1848-1898

Франц Иосиф. Russian Imperial silver medal, 1848-1898 "Франц Иосиф. Кексгольмскому Императора

Lot: 854 - Georgian (Caucasus region) High School Honor Silver Medal, circa 1930-1950

Diameter: 32 mm; Weight: 16 g;

Lot: 903 - #3 Necklace Baroque White Pearls

This necklace of fresh water baroque pearls in natural colors white, highly iridescent, made with silver-look wire, with a chain on a back of the neck and matching clasp. Unique hand-made necklace will enhance your beauty and charm. Wonderful real fresh water pearls with great luster shimmering with unevenness of the baroque pearls. One of a kind piece will make you feel special for any occasion. This kind of pearls look great on almost any skin. Reference: Baroque pearls are pearls with an irregular non-spherical shape. Shapes can range from minor aberrations to distinctly ovoid, curved, pinch, or lumpy shapes. Length (from clasp down to the last pearl): 11 inches = 27.5 cm; Length of the pearls of each side: 9 inches = 22.5 cm; Length of the chain: 3 inches = 7.5 cm; Number of pearls: 35 baroque pearls; Low estimate: $250 US; High Estimate: $350 US; Shell on one photo is not for sale.

Lot: 907 - #16 Necklace Baroque Pearl Peach

This necklace of fresh water baroque pearls in natural colors from white to peach, to light pink and champagne, highly iridescent, twisted with golden-look wire, with a chain on a back of the neck and matching clasp. Unique hand-made necklace will enhance your beauty and charm. Wonderful real fresh water pearls with great luster shimmering with unevenness of the baroque pearls. One of a kind piece will make you feel special for any occasion. This kind of pearls look great on almost any skin. Reference: Baroque pearls are pearls with an irregular non-spherical shape. Shapes can range from minor aberrations to distinctly ovoid, curved, pinch, or lumpy shapes. Length (from clasp down to the last pearl): 11 inches = 28 cm; Length of the pearls of each side: 6.0 inches = 15 cm; Length of the chain on each side: 5 inches = 12.5 cm; Number of pearls: 28 baroque pearls; Low estimate: $300 US; High Estimate: $450 US;

Lot: 917 - Long Earrings white pearls, silver, unique design, customs made

Long Earrings white pearls, silver, unique design, customs made The shells on the photos are not for sale

Lot: 918 - White pearls and silver earrings, custom made and unique

White pearls and silver earrings, custom made and unique Shells on the photos are not for sale

Lot: 920 - Hair Pin - made of glass bids and wire, custom made and unique

Hair Pin - made of glass bids and wire, custom made and unique Shells on the photos are not for sale

Lot: 921 - Hair pin made with glass bids & wire, customs design

Hair pin made with glass bids & wire, customs design The shells on the photo are not for sale

Lot: 922 - 1 large pearl + 1 small pearl, Natural Pearl earrings, handmade

1 large pearl + 1 small pearl, Natural Pearl earrings, handmade

Lot: 923 - Natural 6 pearls Earrings, unique handmade

Natural 6 pearls Earrings, unique handmade

Lot: 924 - Natural eight bronze pearls handmade earrings

Natural eight bronze pearls handmade earrings

Lot: 925 - Natural bronze pearl earrings, spiral design, handmade

Natural bronze pearl earrings, spiral design

Lot: 926 - Natural 11 pearls’ earrings, handmade

Natural 11 pearls’ earrings, handmade

Lot: 927 - Natural pearl earring, solar system, 12 planets

Natural pearl earring, solar system, 12 planets

Lot: 928 - Natural pearl earrings, bronze star handmade design

Natural pearl earrings, bronze star handmade design

Lot: 929 - Natural 11 pearls' earring, handmade design

Natural 11 pearls' earring, handmade design

Lot: 930 - Baroque peach Pearls necklace

Baroque peach Pearls necklace This necklace of fresh water baroque pearls in natural color peach, highly iridescent, made with pink gold-look wire and matching clasp. Unique hand-made necklace will enhance your beauty and charm. Wonderful real fresh water pearls with great luster shimmering with unevenness of the baroque pearls. One of a kind piece will make you feel special for any occasion. This kind of pearls look great on almost any skin. Reference: Baroque pearls are pearls with an irregular non-spherical shape. Shapes can range from minor aberrations to distinctly ovoid, curved, pinch, or lumpy shapes. Length (from clasp down to the last pearl): 10.5 inches = 27 cm; Number of pearls: 71 baroque pearls; Low estimate: $250 US; High Estimate: $350 US; Note from the consignor: considering the cost of pearls and amount of hours spent for creating of necklace the minimum reserve price is $150.00.

Lot: 933 - Golden 30 baroque and 28 seed berries pearl necklace

This necklace of fresh water baroque pearls in golden color, highly iridescent, made with gold-look wire, with a chain on a back of the neck and matching clasp. Unique hand-made necklace will enhance your beauty and charm. Wonderful real fresh water pearls with great luster shimmering with unevenness of the baroque pearls. One of a kind piece will make you feel special for any occasion. This kind of pearls look great on almost any skin. Reference: Baroque pearls are pearls with an irregular non-spherical shape. Shapes can range from minor aberrations to distinctly ovoid, curved, pinch, or lumpy shapes. Length (from clasp down to the last pearl): 10 inches = 25 cm; Length of the pearls of each side: 8.5 inches = 21.5 cm; Number of seed pearls: 28 pearls; Number of baroque pearls: 30 pearls; Low estimate: $250 US; High Estimate: $350 US; Note from the consignor: considering the cost of pearls and amount of hours spent for creating of necklace the minimum reserve price is $150.00.

Lot: 934 - Baroque white 36 pearls double necklace

This necklace of fresh water baroque pearls in natural colors white, highly iridescent, made with silver-look wire, with a chain on a back of the neck and matching clasp. Unique hand-made necklace will enhance your beauty and charm. Wonderful real fresh water pearls with great luster shimmering with unevenness of the baroque pearls. One of a kind piece will make you feel special for any occasion. This kind of pearls look great on almost any skin. Reference: Baroque pearls are pearls with an irregular non-spherical shape. Shapes can range from minor aberrations to distinctly ovoid, curved, pinch, or lumpy shapes. Length (from clasp down to the last pearl): 10.5 inches = 27 cm; Length of the pearls of each side: 5.5 inches = 14 cm; Length of the chain: 10 inches = 25 cm; Number of pearls: 36 baroque pearls; Low estimate: $200 US; High Estimate: $300 US; Note from the consignor: considering the cost of pearls and amount of hours spent for creating of necklace the minimum reserve price is $150.00.

Lot: 936 - Baroque olive color 26 pearls necklace

This necklace of fresh water baroque pearls in olive color, highly iridescent, made with golden-look wire, with a chain on a back of the neck and matching clasp. Unique hand-made necklace will enhance your beauty and charm. Wonderful real fresh water pearls with great luster shimmering with unevenness of the baroque pearls. One of a kind piece will make you feel special for any occasion. This kind of pearls look great on almost any skin. Reference: Baroque pearls are pearls with an irregular non-spherical shape. Shapes can range from minor aberrations to distinctly ovoid, curved, pinch, or lumpy shapes. Length (from clasp down to the central pearl): 10.5 inches = 27 cm; Length of the pearls of each side: 5 inches = 12.5 cm; Length of the chain: 11 inches = 14 cm; Number of pearls: 26 baroque pearls; Low estimate: $200 US; High Estimate: $300 US; Note from the consignor: considering the cost of pearls and amount of hours spent for creating of necklace the minimum reserve price is $150.00.

Lot: 937 - Seed silver color tripled 81 pearls necklace

This necklace of fresh water seed pearls in natural color silver, highly iridescent, made with silver-look wire, with a chain on a back of the neck and matching clasp. Unique hand-made necklace will enhance your beauty and charm. Wonderful real fresh water pearls with great luster shimmering with unevenness of the seed pearls. One of a kind piece will make you feel special for any occasion. This kind of pearls look great on almost any skin. Reference: Seed pearls are pearls with an irregular non-spherical shape. Shapes can range from minor aberrations to distinctly ovoid, curved, pinch, or lumpy shapes. Length (from clasp down to the last pearl): 9.5 inches = 24.5 cm; Length of the pearls of each side: 7.5 inches = 19 cm; Length of the chain: 6 inches = 15 cm; Number of pearls: 81 seed pearls; Low estimate: $200 US; High Estimate: $300 US; Note from the consignor: considering the cost of pearls and amount of hours spent for creating of necklace the minimum reserve price is $150.00.

Lot: 938 - Baroque brown 52 pearls necklace

This necklace of fresh water baroque pearls in colors bronze brown, highly iridescent, made with golden-look wire, with a chain on a back of the neck and matching clasp. Unique hand-made necklace will enhance your beauty and charm. Wonderful real fresh water pearls with great luster shimmering with unevenness of the baroque pearls. One of a kind piece will make you feel special for any occasion. This kind of pearls look great on almost any skin. Reference: Baroque pearls are pearls with an irregular non-spherical shape. Shapes can range from minor aberrations to distinctly ovoid, curved, pinch, or lumpy shapes. Length (from clasp down to the last pearl): 10.5 inches = 27 cm; Length of the pearls of each side: 6 inches = 15 cm; Length of the chain: 10 inches = 13 cm; Number of pearls: 52 baroque pearls; Low estimate: $250 US; High Estimate: $350 US; Note from the consignor: considering the cost of pearls and amount of hours spent for creating of necklace the minimum reserve price is $150.00.

Lot: 939 - Very long necklace with Tiger’s Eye Stones and multiple Pearls

This necklace of fresh water pearls in natural colors creamy and light brown highly iridescent, made with golden-look wire, with a chain on a back of the neck and matching clasp. Unique hand-made necklace will enhance your beauty and charm. Wonderful real fresh water pearls with great luster shimmering with unevenness of the natural pearls. One of a kind piece will make you feel special for any occasion. This kind of pearls look great on almost any skin. Reference: Baroque pearls are pearls with an irregular non-spherical shape. Shapes can range from minor aberrations to distinctly ovoid, curved, pinch, or lumpy shapes. Length (from clasp down to the last pearl): 42 inches + 2.5 inches attachment; Number of pearls: 12 peach baroque pearls; Number of golden brown pearls: 22; Small peach pearls: 12 Number of small Tiger’s eye stones: 88; Low estimate: $300 US; High Estimate: $450 US; Note from the consignor: considering the cost of pearls and amount of hours spent for creating of necklace the minimum reserve price is $200.00. Nicknamed The Shapeshifter, the earthly rich and curious gemstone of Tiger’s Eye invites the wearer to embrace their inner-strength, personal willpower, and to call on the powers of protection. Colored with golden bands, flecks of sand, and smudges of inky black and brown – there’s no disputing the wild force and energy that can be found in this stone. Traditionally the Tiger Eye Gemstone was carried as a protective amulet against the forces of evil. It was said to ward off curses and to keep the wearer safe from ill-wishes. But beyond the powers of protection, the Tiger Eye comes with a whole host of healing properties. From the big cat lands of South Africa, the Spice Islands and tumbling tea plantations of India, and the arid endless outback of Western Australia, Tiger’s Eye is mined in places where heat, dry air and a sense of wilderness runs rampant. It is formed by altering crocidolite, maintains its mineral rich moods, and takes its golden orb color scheme from iron oxide. In the 16th century, Tigers Eye was so rare it was considered to be an element so precious, it’s worth was so much higher than gold. The stories behind Tiger’s Eye says that the Egyptians fell hard for the iridescent rays of the Tiger Eye Stone, they believed that it expressed divine vision and would even use it as a stone to represent the eyes when creating great deities.

Lot: 940 - Long necklace with Tiger’s Eye Stones and multiple Pearls

This necklace of fresh water pearls in natural colors creamy and light brown highly iridescent, made with golden-look wire, with a chain on a back of the neck and matching clasp. Unique hand-made necklace will enhance your beauty and charm. Wonderful real fresh water pearls with great luster shimmering with unevenness of the natural pearls. One of a kind piece will make you feel special for any occasion. This kind of pearls look great on almost any skin. Reference: Baroque pearls are pearls with an irregular non-spherical shape. Shapes can range from minor aberrations to distinctly ovoid, curved, pinch, or lumpy shapes. Length (from clasp down to the last pearl): 47 inches + 5 inches attachment; Number of pearls: 17 peach pearls; Number of golden brown pearls: 11; Number of small Tiger’s eye stones: 72; Low estimate: $250 US; High Estimate: $450 US; Note from the consignor: considering the cost of pearls and amount of hours spent for creating of necklace the minimum reserve price is $200.00. Nicknamed The Shapeshifter, the earthly rich and curious gemstone of Tiger’s Eye invites the wearer to embrace their inner-strength, personal willpower, and to call on the powers of protection. Colored with golden bands, flecks of sand, and smudges of inky black and brown – there’s no disputing the wild force and energy that can be found in this stone. Traditionally the Tiger Eye Gemstone was carried as a protective amulet against the forces of evil. It was said to ward off curses and to keep the wearer safe from ill-wishes. But beyond the powers of protection, the Tiger Eye comes with a whole host of healing properties. From the big cat lands of South Africa, the Spice Islands and tumbling tea plantations of India, and the arid endless outback of Western Australia, Tiger’s Eye is mined in places where heat, dry air and a sense of wilderness runs rampant. It is formed by altering crocidolite, maintains its mineral rich moods, and takes its golden orb color scheme from iron oxide. In the 16th century, Tigers Eye was so rare it was considered to be an element so precious, it’s worth was so much higher than gold. The stories behind Tiger’s Eye says that the Egyptians fell hard for the iridescent rays of the Tiger Eye Stone, they believed that it expressed divine vision and would even use it as a stone to represent the eyes when creating great deities.

Lot: 941 - Tripled line purple berries pearl necklace

This necklace of fresh water baroque pearls in natural colors white, highly iridescent, made with silver-look wire, with a chain on a back of the neck and matching clasp. Unique hand-made necklace will enhance your beauty and charm. Wonderful real fresh water pearls with great luster shimmering with unevenness of the baroque pearls. One of a kind piece will make you feel special for any occasion. This kind of pearls look great on almost any skin. Reference: Baroque pearls are pearls with an irregular non-spherical shape. Shapes can range from minor aberrations to distinctly ovoid, curved, pinch, or lumpy shapes. Length (from clasp down to the last pearl): 11 inches = 27.5 cm; Length of the pearls of each side: 9 inches = 22.5 cm; Length of the chain: 3 inches = 7.5 cm; Number of pearls: 35 baroque pearls; Low estimate: $250 US; High Estimate: $350 US; Note from the consignor: considering the cost of pearls and amount of hours spent for creating of necklace the minimum reserve price is $150.00.

Lot: 942 - Double line 50 silver color seed pearl necklace

This necklace of fresh water seed pearls in silver color, highly iridescent, made with silver-look wire, with a chain on a back of the neck and matching clasp. Unique hand-made necklace will enhance your beauty and charm. Wonderful real fresh water pearls with great luster shimmering with unevenness of the seed pearls. One of a kind piece will make you feel special for any occasion. This kind of pearls look great on almost any skin. Reference: seed pearls are pearls with an irregular non-spherical shape. Shapes can range from minor aberrations to distinctly ovoid, curved, pinch, or lumpy shapes. Length (from clasp down to the last pearl): 9.5 inches = 24 cm; Length of the pearls of each side: 7 inches = 18 cm; Length of the chain: 6 inches = 15 cm; Number of pearls: 50 seed pearls; Low estimate: $200 US; High Estimate: $300 US; Note from the consignor: considering the cost of pearls and amount of hours spent for creating of necklace the minimum reserve price is $150.00.

Lot: 943 - 38 Baroque bronze brown pearls necklace

This necklace of fresh water baroque pearls in bronze brown color, highly iridescent, made with golden-look wire, with a chain on a back of the neck and matching clasp. Unique hand-made necklace will enhance your beauty and charm. Wonderful real fresh water pearls with great luster shimmering with unevenness of the baroque pearls. One of a kind piece will make you feel special for any occasion. This kind of pearls look great on almost any skin. Reference: Baroque pearls are pearls with an irregular non-spherical shape. Shapes can range from minor aberrations to distinctly ovoid, curved, pinch, or lumpy shapes. Length (from clasp down to the last pearl): 10 inches = 25 cm; Length of the pearls of each side: 6 inches = 15 cm; Length of the chain: 9 inches = 22.5 cm; Number of pearls: 38 baroque pearls; Low estimate: $200 US; High Estimate: $300 US; Note from the consignor: considering the cost of pearls and amount of hours spent for creating of necklace the minimum reserve price is $150.00.

Lot: 944 - Triple line of beautiful baroque classic pearl (41+36+32) necklace

This necklace of fresh water baroque pearls in natural peach color, highly iridescent, made with golden-look clasp. The necklace contains bronze color beads between the pearls. Unique hand-made necklace will enhance your beauty and charm. Wonderful real fresh water pearls with great luster shimmering with unevenness of the baroque pearls. One of a kind piece will make you feel special for any occasion. This kind of pearls look great on almost any skin. Reference: Baroque pearls are pearls with an irregular non-spherical shape. Shapes can range from minor aberrations to distinctly ovoid, curved, pinch, or lumpy shapes. Length of the first necklace with a clasp: 20.5 inches = 51 cm; number of pearls: 41; Length of the second necklace with a clasp: 18 inches = 45.5 cm; number of pearls: 36; Length of the third necklace with a clasp: 16.25 inches = 41 cm; number of pearls: 32; Low estimate: $300 US; High Estimate: $600 US; Note from the consignor: considering the cost of pearls and amount of hours spent for creating of necklace the minimum reserve price is $200.00.

Lot: 945 - Elegant natural pearl earring, handmade, brand new

Elegant natural pearl earring, handmade Simple, but elegant earring with a drop pearl. Very light weight.

Lot: 946 - 14 karat rose gold plated earring with a peachy pearl #2

14 karat rose gold plated earring with a peachy pearl #2 Elegant peach pearl earring. Simple, but elegant earring with a drop pearl. Very light weight.

Lot: 947 - 14 karat rose gold plated earring with a peachy drop pearl #3

14 karat rose gold plated earring with a peachy drop pearl #3 Elegant peach pearl earring. Simple, but elegant earring with a drop pearl. Very light weight.

Lot: 948 - 14 karat rose gold plated earring coin white pearl with drop peach pearl #4

14 karat rose gold plated earring coin white pearl with drop peach pearl #4 Elegant two pearls earring. Very light weight.

Lot: 961 - Natural pearl earrings, branch design

Natural pearl earrings, branch design

Lot: 962 - Natural 2 pearl earrings, flower design, handmade

Natural 2 pearl earrings, flower design, handmade

Lot: 1000 - Multilayer cashew white pearls necklace

This necklace of fresh water cashew white pearls, highly iridescent, made with silver-look wire, with a chain on a back of the neck and matching clasp. Unique hand-made necklace will enhance your beauty and charm. Wonderful real fresh water pearls with great luster shimmering with unevenness of the seed pearls. One of a kind piece will make you feel special for any occasion. This kind of pearls look great on almost any skin. Reference: seed pearls are pearls with an irregular non-spherical shape. Shapes can range from minor aberrations to distinctly ovoid, curved, pinch, or lumpy shapes. Whole length: 21 inches = 54 cm; Low estimate: $200 US; High Estimate: $300 US; Note from the consignor: considering the cost of pearls and amount of hours spent for creating of necklace the minimum reserve price is $150.00.

Lot: 1001 - Huge baroque off-white pearls necklace

This necklace of fresh water off white baroque pearls, highly iridescent, made with gold-look wire, with pearls in the back of the neck and matching clasp. Unique hand-made necklace will enhance your beauty and charm. Wonderful real fresh water pearls with great luster shimmering with unevenness of the seed pearls. One of a kind piece will make you feel special for any occasion. This kind of pearls look great on almost any skin. Shapes can range from minor aberrations to distinctly ovoid, curved, pinch, or lumpy shapes. Whole length: 22 inches = 60 cm; Number of pearls: 25 large + 12 medium; Low estimate: $200 US; High Estimate: $400 US; Note from the consignor: considering the cost of pearls and amount of hours spent for creating of necklace the minimum reserve price is $150.00.

Lot: 1002 - Multiple layers, burgundy color fresh water pearls necklace

This necklace of fresh water burgundy color pearls, highly iridescent, made with bronze-look wire, with pearls in the back of the neck and matching clasp. Unique hand-made necklace will enhance your beauty and charm. Wonderful real fresh water pearls with great luster shimmering with unevenness of the seed pearls. One of a kind piece will make you feel special for any occasion. This kind of pearls look great on almost any skin. Shapes can range from minor aberrations to distinctly ovoid, curved, pinch, or lumpy shapes. Whole length: 22 inches = 56 cm; Low estimate: $200 US; High Estimate: $400 US; Note from the consignor: considering the cost of pearls and amount of hours spent for creating of necklace the minimum reserve price is $150.00.

Lot: 1003 - Large peach color drop shape pearls necklace

This necklace of fresh water peach drop shape pearls, highly iridescent, made with gold-look wire, with chain in the back of the neck and matching clasp and extension. Unique hand-made necklace will enhance your beauty and charm. Wonderful real fresh water pearls with great luster shimmering with unevenness of the seed pearls. One of a kind piece will make you feel special for any occasion. This kind of pearls look great on almost any skin. Whole length: 19 inches = 48.5 cm; + 2 inches extension Number of pearls: circa 45 Low estimate: $200 US; High Estimate: $400 US; Note from the consignor: considering the cost of pearls and amount of hours spent for creating of necklace the minimum reserve price is $150.00.

Lot: 1006 - Sautoir tiger eye stones and pearls + mother of pearls necklace

This necklace of tiger eye natural stone, creamy fresh water pearls, mother of pearl beads, highly iridescent, made with gold-look wire, Unique hand-made necklace will enhance your beauty and charm. Wonderful real fresh water pearls with great luster shimmering with unevenness of the seed pearls. One of a kind piece will make you feel special for any occasion. This kind of pearls look great on almost any skin. Whole length (one side) 24 inches = 63 cm; Low estimate: $400 US; High Estimate: $800 US; Note from the consignor: considering the cost of pearls and amount of hours spent for creating of necklace the minimum reserve price is $300.00.

Lot: 1007 - Coco Chanel style Tiger eye & peach Pearl double string necklace

This necklace of tiger eye natural stone, creamy fresh water pearls, mother of pearl beads, highly iridescent, made with gold-look wire. Unique hand-made necklace will enhance your beauty and charm. Wonderful real fresh water pearls with great luster shimmering with unevenness of the seed pearls. One of a kind piece will make you feel special for any occasion. This kind of pearls look great on almost any skin. Whole length (one side) 24 inches = 63 cm; Low estimate: $400 US; High Estimate: $800 US; Note from the consignor: considering the cost of pearls and amount of hours spent for creating of necklace the minimum reserve price is $300.00.

Lot: 1008 - Sautoire necklace in the style Coco Chanel pearls & tiger eyes stones

Sautoire in style Coco Chanel pearls. Hand-made of fresh water pearls and tiger eye stones. Made by an artist in USA, 2 years ago, in 2018. This necklace of tiger eye natural stone, creamy fresh water pearls, mother of pearl beads, highly iridescent, made with gold-look wire. Unique hand-made necklace will enhance your beauty and charm. Wonderful real fresh water pearls with great luster shimmering with unevenness of the seed pearls. One of a kind piece will make you feel special for any occasion. This kind of pearls look great on almost any skin. Low estimate: $400 US; High Estimate: $800 US; Note from the consignor: considering the cost of pearls and amount of hours spent for creating of necklace the minimum reserve price is $300.00.

Lot: 1009 - Coco Chanel style Sautoire necklace peach Pearls with Tiger Eye bids

Sautoire necklace peach pearls with tiger eye bids in the style of Coco Chanel. Hand-made of fresh water pearls and tiger eye stones. Made by an artist in USA, 2 years ago, in 2018. This necklace of tiger eye natural stone, creamy fresh water pearls, mother of pearl beads, highly iridescent, made with gold-look wire. Unique hand-made necklace will enhance your beauty and charm. Wonderful real fresh water pearls with great luster shimmering with unevenness of the seed pearls. One of a kind piece will make you feel special for any occasion. This kind of pearls look great on almost any skin. Low estimate: $400 US; High Estimate: $800 US; Note from the consignor: considering the cost of pearls and amount of hours spent for creating of necklace the minimum reserve price is $300.00.

Lot: 1150 - Great World Atlas, Readers Digest, Hardcover, 1977

Great World Atlas, Readers Digest, Hardcover, 1977 Topic: World Atlas; Publication Year: 1997; Map View: World; Language: English; Type: Atlas; Author: Readers Digest; Country/Region of Manufacture: United States; Publisher: Reader's Digest; Region: World; Special Attributes: Illustrated; Subject: Books on Collecting; ISBN: 9780895779885

Lot: 1154 - Book Miracle: A Celebration of New Life [French], by Anne Dion, Celine Geddes

Book Miracle: A Celebration of New Life [French], by Anne Dion, Celine Geddes Never before have had two top artists created such a multimedia work to honor the unique and steadfast bond between mother and child. Vocalist Celine Dion and photographer Anne Geddes conceived Miracle as a way to express something deep within their own hearts, and now both the experience and the outcome will delight music and visual art fans throughout the world. Miracle features more than 100 stunning new Geddes images. Each frame reflects the beauty, grace, and magic of both the photographer and her subject. Babies enfolded in blooms, mothers embracing the life flowering within: Anne's artistic eye captures it all. The exquisite images are wedded with the lyrics to all-new songs by Dion, created and performed on the book-accompanying CD in Celine's unmistakable international superstar style. It's easy to hear how her clear and melodious voice has captivated millions throughout her career. A DVD rounds out this artistic package, exploring the genesis of the Miracle project and taking its audience behind the scenes to witness the making of this memorable production. Celine's title track music video highlights the DVD.As a complement to this many-faceted experience, Sony Music will release its stand-alone Dion CD concurrent with the book's debut. AMP is delighted to play a role in bringing this important collaboration to readers and listeners, providing a crossover experience rivaled by few others. Mothers, grown children, grandmothers, friends, and gift givers everywhere will want to join this celebration of wonder. Weight: 66.7 oz. Size: 13” x 11.2” x 0.9” inches; Compact disk, hardcover ISBN-10 074074690

Lot: 1156 - Gray’s Anatomy a facsimile, Henri Gray, F.R.S., Drawings by H.V. Carter

Gray’s Anatomy a facsimile, Henri Gray, F.R.S., Drawings by H.V. Carter, 11” X 14” inches. Gray's Anatomy is an English written textbook of human anatomy originally written by Henry Gray and illustrated by Henry Vandyke Carter. Earlier editions were called Anatomy: Descriptive and Surgical, Anatomy of the Human Body and Gray's Anatomy: Descriptive and Applied, but the book's name is commonly shortened to, and later editions are titled, Gray's Anatomy. The book is widely regarded as an extremely influential work on the subject, and continued to be revised and republished from its initial publication in 1858 to the present day. Due to its inclusion of also histology, physiology, and pathology subjects, and also its commercial success, it has been term as the "doctors' bible".[1] The latest edition of the book, the 42nd, was published in October 2020.

Lot: 1159 - Gods, graves and scholars. The story of archaeology, by C.W Ceram, Germany, 1967

Gods, graves and scholars. The story of archaeology, by C.W Ceram, Germany, 1967; Translated from German, Hardcover. • ASIN : B000SOW6DC; • Publisher : Alfred A. Knopf; Second Edition (January 1, 1967); • Hardcover : 441 pages; • Item Weight : 1.7 pounds;

Lot: 1160 - Rare book. The Life of Benvenuto Cellini, written by himself, translated into English by Anne Macdonell, 1926

Rare book. The Life of Benvenuto Cellini, written by himself, translated into English by Anne Macdonell, 1926 Author: Symonds, John Addington Format/Binding: Hardcover Book Condition: Used - Very good + Binding: Hardcover Published in London and Toronto by J.M. Dent and Sons limited Published in New York by E.P. Dutton and Co Place of Publication: London Date of first publication: 1888

Lot: 1161 - Building a Medical vocabulary with Spanish Translations, Peggy C. Leonard, 6th edition, 2006

Building a Medical vocabulary with Spanish Translations, Peggy C. Leonard, 6th edition, 2006 Instructor’s Curriculum Resource to accompany; ISBN 0-7216-0465-X; Sixth edition; Evolve, Elsevier, Saunders; Condition: brand new;

Lot: 1172 - Netter Atlas of Human Anatomy, 5th edition, 2010, brand new

Netter Atlas of Human Anatomy, 5th edition, 2010, brand new Atlas of Human Anatomy uses Frank H. Netter, MD's detailed illustrations to demystify this often intimidating subject, providing a coherent, lasting visual vocabulary for understanding anatomy and how it applies to medicine. This fifth edition features a stronger clinical focus-with new diagnostic imaging examples--making it easier to correlate anatomy with practice. Student Consult online access includes supplementary learning resources, from additional illustrations to an anatomy dissection guide and more. Netter. It's how you know. • See anatomy from a clinical perspective with hundreds of exquisite, hand-painted illustrations created by, and in the tradition of, pre-eminent medical illustrator Frank H. Netter, MD. • Join the global community of healthcare professionals who've mastered anatomy the Netter way! • Expand your study at Student Consult online, where you'll find a suite of learning aids including selected Netter illustrations, additional clinically focused illustrations and radiologic images, videos from Netter's 3D Interactive Anatomy, dissection modules, an anatomy dissection guide, multiple-choice review questions, "drag-and-drop" exercises, clinical pearls, clinical cases, survival guides, surgical procedures, and more. • Correlate anatomy with practice through an increased clinical focus, many new diagnostic imaging examples, and bonus clinical illustrations and guides online. • ASIN : 1416059512; • Publisher : Saunders; 5th edition (May 17, 2010); • Language : English; • Paperback : 624 pages; • ISBN-10 : 9781416059516; • ISBN-13 : 978-1416059516; • Item Weight : 1 pounds; • Dimensions : 8.5 x 1.5 x 11 inches; ISBN 978-1-4160-5951-6

Lot: 1173 - Pocket Guide to the operating room, by Maxine Goldman, 2nd edition, brand new

Pocket Guide to the operating room, by Maxine Goldman, 2nd edition, brand new. 5.0 out of 5 stars Great guide, simple to understand Reviewed in the United States on February 18, 2012: "I bought this edition of the book while I was a surgical technologist student. It was a great resource to have while I did my clinicals. (Clinicals = working in an operating room for free with a teacher/preceptor helping and watching). I was able to lookup the surgeries I would assist in very easily and it does help pass instruments when you can anticipate what the surgeon will need. The book has a broad range of surgeries that cover many of the ones done most often. I would recommend this book to any student that will be in the O.R., nurses, medical students, PA students, and even sales reps." Published by F.A. Davis, Philadelphia, brand new • ASIN : B004O9OCAC • Item Weight : 1.1 pounds

Lot: 1174 - Mosby's Comprehensive Review for General Sonography Examinations, 1st Edition, 2008

Mosby's Comprehensive Review for General Sonography Examinations, 1st Edition, 2008 Be confident that you can answer any and all questions on your registry exams correctly when you prepare with this complete review. Mosby's Comprehensive Review for General Sonography Examinations provides study resources for all three main exams required for general ultrasound practice: physics, abdomen, and ob/gyn. Each chapter is arranged in table and outline format with 50 review questions at the end of the chapter and a mock exam at the end of each section. Access additional mock exams for each subject area on the companion CD or Evolve site. These exams give you experience with timed test taking in an electronic environment that simulates the actual registry exam experience. With this realistic preview of the exam environment and solid review of the material, you'll be prepared to ace the exams!Complete preparation for the three general ARDMS exams (physics, abdomen, and ob/gyn)Content review in outline and tabular format provides a quick review of all the materi By Susanna Ovel, RDMS, RVT, RT(R)(R) Susanna Ovel RDMS RVT RT(R) (Author) • Publisher : Mosby; 1st edition (December 22, 2008) • Language : English • Paperback : 552 pages • ISBN-10 : 0323052827 • ISBN-13 : 978-0323052825 • Item Weight : 2.9 pounds • Dimensions : 8.5 x 1 x 10.75 inches ISBN 978-0-323-05282-5

Lot: 1175 - Study Guide for Ingraham and Ingraham's Introduction to Microbiology: A Case-Study Approach, 3rd Edition, brand new, by Jay M Templin (Author), Catherine A. Ingraham (Author)

Study Guide for Ingraham and Ingraham's Introduction to Microbiology: A Case-Study Approach, 3rd Edition, brand new, by Jay M Templin (Author), Catherine A. Ingraham (Author) 0-534-39466-3 • Publisher : Brooks Cole; 3rd edition (September 10, 2003) • Language : English • Paperback : 217 pages • ISBN-10 : 0534394663 • ISBN-13 : 978-0534394660 • Item Weight : 1.15 pounds • Dimensions : 8.5 x 0.5 x 11 inches John Ingraham was a professor of microbiology at UC Davis. He has taught microbiology at all levels, and says that the introductory course was always his favorite. He hopes to create the same fascination with the microbial world in his students that he discovered in the introductory course. John has co-authored several microbiology texts and a CD, and was elected president of the American Society for Microbiology in 1993. Catherine Ingraham is a board-certified pediatrician with the Permanente Medical Group, Inc. in Rancho Cordova, CA. She received a great many honors during her studies and medical training, including being named the Outstanding Student in Obstetrics and Gynecology during her final year at the University of California-Davis. The compelling case studies which appear throughout the text are drawn from actual cases in Catherine's medical practice.

Lot: 1200 - 2010, January, Christie’s Catalogue “The Collection of Benjamin F Edwards III”, New York

2010, January, Christie’s Catalogue “The Collection of Benjamin F Edwards III”, New York Tuesday 26, January 2010; Number of pages: 279; Number of lots: 407; Each lot has a color photo, description in English and estimate in US dollars;

Lot: 1201 - 2013, June 19, TimeLine Catalogue “Coins”, London

2013, June 19, TimeLine Catalogue “Coins”, London June 19, 2013; Number of pages: 28; Number of lots: 285; Each lot has a color photo, description in English and estimate in EURO and US dollars;

Lot: 1243 - L'art de vivre dans l'ancienne Égypte (Passion de l'Égypte), French Edition book, 2002, France

L'art de vivre dans l'ancienne Égypte (Passion de l'Égypte), French Edition book, 2002, France • Language ‏ : ‎ French • ISBN-10 ‏ : ‎ 2731226358 • ISBN-13 ‏ : ‎ 978-2731226355; • Number of pages: 125;

Lot: 1244 - Les momies et leurs fascinants secrets (Passion de l'Égypte) Hardcover – January 1, 2002, French Edition by Editions Atlas (Author), French book

Les momies et leurs fascinants secrets (Passion de l'Égypte) Hardcover – January 1, 2002, French Edition by Editions Atlas (Author), French book. Product details: • Publisher: ‎ Éd. Atlas (January 1, 2002); • Language: ‎ French; • ISBN-10: ‎ 2731226153; • ISBN-13: ‎ 978-2731226157; • Item Weight: ‎ 1.98 pounds; • Number of pages: 125;

Lot: 1245 - Rites funéraires et voyage vers l'au-delà (Passion de l'Égypte) Hardcover, French Edition book, France;

Rites funéraires et voyage vers l'au-delà (Passion de l'Égypte) Hardcover, French Edition book, France; • Language ‏ : ‎ French • ISBN-10 ‏ : ‎ 2731226951 • ISBN-13 ‏ : ‎ 978-2731226959 • Number of pages: 125

Lot: 1246 - À la recherche du trésor de Toutankhamon Hardcover, French Edition book;

À la recherche du trésor de Toutankhamon Hardcover, French Edition book; Product details: Language: ‎ French; ISBN-10: ‎ 2731225726; ISBN-13: ‎ 978-2731225723; Item Weight: ‎ 1.98 pounds; Number of pages: 125;

Lot: 1247 - Les sublimes trésors des temples égyptiens (Passion de l'Égypte), French book

Les sublimes trésors des temples égyptiens (Passion de l'Égypte), French book; Author: Editions Atlas; Format/Binding: Hardcover; Book Condition: Used – Good; Binding: Hardcover; ISBN 10 2731227060; ISBN 13 9782731227062; Publisher: Éd. Atlas; Date Published: 2003; Number of pages: 125;

Lot: 1250 - Memoires la Vie du Prince de Conde, Paris, France, M.DC.XCIII =1693, Antique French book

Memoires la Vie du Prince de Conde, Paris, France, M.DC.XCIII = 1693, Antique French book Louis de Bourbon Prince de Conde Height: 15 cm = 150 mm; Width: 8.5 cm = 85 mm; Thickness: 3.0 cm = 30 mm; Number of pages: 362; Condition: Very Good inside; Good/Fair outside. All pages present. Provenance: private collection in Missouri, USA

Lot: 1251 - Dictionnaire raisonne universelle d’histoire Naturelle, v. 2, Geneve, Switzerland, 1776, Antique French book

Dictionnaire raisonne universelle d’histoire Naturelle, v. 2, Geneve, Switzerland, 1776, Antique French book; Universal Reasonable Dictionary of Natural History, in French language. Basically, it is an antique Encyclopedia of Nature, in French Height: 17.7 cm = 177 mm; Width: 11.3 cm = 113 mm; Thickness: 3.8 cm = 38 mm; Number of pages: 654; Condition: Very Good inside and outside; All pages present Provenance: private collection in Missouri, USA

Lot: 1252 - Dictionnaire raisonne universelle d’histoire Naturelle, v. 4, Geneve, Switzerland, 1776, Antique French book

Dictionnaire raisonne universelle d’histoire Naturelle, v. 4, Geneve, Switzerland, 1776, Antique French book; Universal Reasonable Dictionary of Natural History, in French language. Basically, it is an antique Encyclopedia of Nature, in French. Height: 17.7 cm = 177 mm; Width: 11.3 cm = 113 mm; Thickness: 3.8 cm = 38 mm; Number of pages: 617; Condition: Very Good inside and outside; All pages present Provenance: private collection in Missouri, USA

Lot: 1253 - Dictionnaire raisonne universelle d’histoire Naturelle, v. 8, Geneve, France, 1776, Antique French book

Dictionnaire raisonne universelle d’histoire Naturelle, v. 8, Geneve, France, 1776, Antique French book Universal Reasonable Dictionary of Natural History, in French language. Basically, it is an antique Encyclopedia of Nature, in French Height: 17.7 cm = 177 mm; Width: 11.3 cm = 113 mm; Thickness: 3.8 cm = 38 mm; Number of pages: 613; Condition: Very Good inside and outside; All pages present Provenance: private collection in Missouri, USA

Lot: 1254 - Troisieme voyage de Cook a l’ocean Pacifique, Paris, France, 1785, Antique French book

Troisieme voyage de Cook a l’ocean Pacifique, Paris, France, 1785, Antique French book; Height: 23 cm = 230 mm; Width: 13.4 cm = 134 mm; Thickness: 2.7 cm = 27 mm; Number of pages: 357; Contents with short description of each chapter – at the end of the book. Condition: Very Good inside, Good – outside; All pages present Provenance: private collection in Missouri, USA

Lot: 1255 - Biography of Napoleon & Louis XIV in “Plutarque Francaise”, Limoges, France, 1838, Antique French book

Biography of Napoleon & Louis XIV in “Plutarque Francaise”, Limoges, France, 1838, Antique French book; List of famous people described in this book: Pascal, Poussin, Moliere, Turenne, Lamoignon, Paul de Gondi, Colbert, Gorneille, Conde, Perrault, Quinault, Lebaun, Pellisson, Puget, La Fontaine, Racine, Lenotre, Bossuet, Bourdaloue, Vauron, Regnard, Boileau, Fenelon, Louis XIV, Villars, Duguay-Trouin, Rollin, Massillon, D”Aguesseau, Montesqueu, Turgot, Malesherbes, Napoleon. Height: 17.5 cm = 175 mm; Width: 10.7 cm = 107 mm; Thickness: 2.3 cm = 23 mm; Number of pages: 288; Condition: Very Good inside and outside; All pages present Provenance: private collection in Missouri, USA

Lot: 1276 - The Blockade: Runners and Raiders (The Civil War Series, Vol. 3) Hardcover – July 1, 1983, by Time-Life Books (Author)

The Blockade: Runners and Raiders (The Civil War Series, Vol. 3) Hardcover – July 1, 1983, by Time-Life Books (Author) • ASIN: ‎ 0809447088 • Publisher: ‎ Time-Life Books (July 1, 1983) • Language: ‎ English • Hardcover: ‎ 176 pages • ISBN-10: ‎ 9780809447084 • ISBN-13 ‏ : ‎ 978-0809447084 • Item Weight: ‎ 1.98 pounds • Dimensions: ‎ 9.5 x 0.75 x 11.25 inches

Lot: 1284 - The Civil War. First blood. Fort Summer to Bull Run, 1999

The Civil War. First blood. Fort Summer to Bull Run, 1999 Publisher: Time Life, Incorporated ISBN-10: 0809447045 ISBN-13: 9780809447046 Product Key Features Book Title: FIRST Blood; Author: Time-Life Books Editors; Format: Hardcover; Language: English; Topic: United States / Civil War Period (1850-1877); Publication Year: 1999; Genre: History; Number of Pages: 176 Pages; Dimensions Item Length: 11.1 in. Item Height: 0.6 in. Item Width: 9.3 in. Item Weight: 29.3 oz

Lot: 1285 - The Civil War. The Fight for Chattanooga: Chickamauga to Missionary Ridge (Civil War) Hardcover – January 1, 1985

The Civil War. The Fight for Chattanooga: Chickamauga to Missionary Ridge (Civil War) Hardcover – January 1, 1985 Discusses the strategies and results of the Chattanooga Campaign during the Civil War, discussing the key people involved. Same old thing over and over ..... man is a big failure in trying to use war as a means to gain righteous government . This book highlights that fact ...... glad I read it for the facts. Publisher ‏ : ‎ Time Life Education (January 1, 1985); Language ‏ : ‎ English; Hardcover ‏ : ‎ 176 pages; ISBN-10 ‏ : ‎ 0809448165; ISBN-13 ‏ : ‎ 978-0809448166; Item Weight ‏ : ‎ 1.98 pounds; Dimensions ‏ : ‎ 9.5 x 0.75 x 11.25 inches;

Lot: 1286 - The Civil War. The Assassination. Death of the president, hard cover book, 1987

The Civil War. The Assassination. Death of the president, hard cover book, 1987 Beautifully bound and illustrated volume on the Civil War featuring The Assassination: Death of the President. About the Author Best-selling author Richard Carlson, Ph.D., creator of the popular Don't Sweat the Small Stuff series and the just published Don't Get Scrooged, died suddenly of cardiac arrest enroute to New York on December 13. Carlson, 45, published his first book in 1985 and went on to publish more than 20 books that remain popular in English and in translation in 130 languages and 35 countries. Richard Carlson grew up in Piedmont, CA. He received his undergraduate degree from Pepperdine University and his Ph.D. in psychology from Sierra University. He was in private practice as a psychotherapist when he started to publish books about psychological and spiritual health. As his books started to attract a large audience, he began writing full time so he could teach more people how to live with presence and ease by cultivating gratitude and generosity. Dr. Carlson was a large supporter of and participant in the National Center for Family Literacy and at the time of his death he was working on a project with them called for "A Penny a Book" from publishers, authors and literary agents to promote literacy. Dr. Carlson is survived by his wife and life partner of 25 years, Kris Carlson, his co-author on Don't Sweat the Small Stuff in Love and the author of Don't Sweat the Small Stuff for Women, his loving daughters Jasmine and Kenna, sisters, Kathleen Carlson Mowris of Olympic Village, CA and Anna L. Carlson of La Selva Beach, CA, and his parents, Barbara and Don Carlson of Orinda, CA. A private memorial service will be held next week. Donations in lieu of flowers can be made in Richard's honor to local food banks, Challenge Day, Girls Inc. or Children Inc. ________________________________________ Product details: • Publisher ‏ : ‎ Time Life Books; 1st edition (January 1, 1987); • Language ‏ : ‎ English; • Hardcover ‏ : ‎ 176 pages; • ISBN-10 ‏ : ‎ 0809448203; • ISBN-13 ‏ : ‎ 978-0809448203; • Item Weight ‏ : ‎ 1.98 pounds; • Dimensions ‏ : ‎ 9.2 x 0.65 x 11 inches;

Lot: 1290 - Spies, Scouts, and Raiders: Irregular Operations (Time-Life The Civil War) Hardcover – January 1, 1985

Spies, Scouts, and Raiders: Irregular Operations (Time-Life The Civil War) Hardcover – January 1, 1985. Describes the activities of spies and couriers during the Civil War, looks at acts of sabotage and guerrilla warfare, and offers profiles of leaders of special operations. I really enjoyed this book! I love the series, but I think this volume is my favorite! I've studied the American Civil War for about 10 years now. I've always enjoyed the aspects that were outside of the battles. I loved the antidotes and stories contained in this volume. There are quite a few obscure bits in this one. (The volumes I have mostly center on just the battles) This will make a great addition to your collection! • Publisher ‏ : ‎ Time Life Education; 1st edition (January 1, 1985); • Language ‏ : ‎ English; • Hardcover ‏ : ‎ 176 pages; • ISBN-10 ‏ : ‎ 0809447169; • ISBN-13 ‏ : ‎ 978-0809447169; • Grade level ‏ : ‎ 7 – 9; • Item Weight ‏ : ‎ 1.84 pounds; • Dimensions ‏ : ‎ 9.25 x 0.75 x 11.25 inches;

Lot: 1291 - Death in the Trenches: Grant at Petersburg (Civil War) Hardcover – January 1, 1986

Death in the Trenches: Grant at Petersburg (Civil War) Hardcover – January 1, 1986. Recounts the long siege of Petersburg, Virginia, assesses its impact on the course of the Civil War, and looks at the combat performance of Black Union soldiers. Following the Wilderness Campaign in Northern Virginia, a series of battles which left both sides with over 40% casualties, the Union Army under grant tried one more time to outflank Lee at Petersburg. Moving his men to the south, using boats and pontoon bridges, Grant was let down by Butler and other generals. Nevertheless, he ended the fight with Lee defending Petersburg, the gateway to Richmond and the hub of the railroad network that his army depended on to survive. Both sides settled in for a protracted siege which would look eerily like the trenches of WWI. Lee knew that with the initiative gone, the end was only a matter of weeks or months away. The book looks at the long-term effects of the seige on both sides as well as the Battle of the Crater, yet another opportunity for victory thrown away by Union commanders. Another great book in this series, with period photographs, pictures of Civil War artifacts, maps and artwork. Sidebars include a look at the 1st Maine Artillery (a unit which was frightfully cut down during its baptism of fire), artistic renderings of Petersburg, the Union's giant depot at City Point, black troops in combat and Anatomy of a Trench System. • Publisher ‏ : ‎ Time Life Education (January 1, 1986); • Language ‏ : ‎ English; • Hardcover ‏ : ‎ 176 pages; • ISBN-10 ‏ : ‎ 0809447762; • ISBN-13 ‏ : ‎ 978-0809447763; • Item Weight ‏ : ‎ 1.85 pounds; • Dimensions ‏ : ‎ 9.25 x 0.5 x 11 inches.

Lot: 1293 - The Shenandoah in Flames: The Valley Campaign of 1864 (Civil War) Hardcover – January 1, 1987

The Shenandoah in Flames: The Valley Campaign of 1864 (Civil War) Hardcover – January 1, 1987; This volume looks at the 1864 Shenandoah Campaign, a federal military operation which ran concurrently with the Grant's Wilderness Campaign in central Virginia. While Grant attempted to get between Lee and Richmond a succession of Union generals tried to eliminate Confederate control over the strategic Shenandoah valley and possibly use it to cut the vital railroad supplying the Army of Northern Virginia. As the author shows in this volume of the Time-Life Civil War series, some of these generals were inept and experienced Confederate officers were able to beat the Federals and even use the Valley to invade Maryland and threaten Washington D.C. Eventually General Sheridan would be hand-picked by Grant to destroy the Confederates in the Shenandoah. Well-illustrated, with great photos, artwork, maps and pictures of artifacts. Includes sidebars on the Volunteer Reserve Corps, the forts of Washington, artwork of the Battle of Cedar Creek, VMI, Sheridan's army, and the destruction of Chambersburg. • Publisher ‏ : ‎ Time Life Education (January 1, 1987); • Language ‏ : ‎ English; • Hardcover ‏ : ‎ 176 pages; • ISBN-10 ‏ : ‎ 0809447843; • ISBN-13 ‏ : ‎ 978-0809447848; • Reading age ‏ : ‎ Baby - 2 years; • Item Weight ‏ : ‎ 1.78 pounds; • Dimensions ‏ : ‎ 9.25 x 0.5 x 11 inches;

Lot: 1296 - Art past, art present, by David Wilkins, Bernard Schultz, Katheryn Linduff, 6th edition, 2005

Art past, art present, by David Wilkins, Bernard Schultz, Katheryn Linduff, 6th edition, 2005. This accessible book looks at the historical and cultural contexts of art works and architecture around the world from prehistoric times to the 20th century—with detailed and informative analyses of art, artists, patrons, and techniques. Its unique chronological presentation in compact topical units offers an exceptionally easy-to-use format—with general period/style introductions followed by self-contained sections on a selected number of specific representative pieces. The global focus emphasizes the diversity and commonality of the human experience. A fully integrated, chronological history of art covers all periods, places, and arts—including extensive analyses of European art, and some American, African, Mesoamerican, and Asian art—along with thorough coverage of women artists throughout. For those who appreciate art and its history.

Lot: 1297 - The power of myth, by Joseph Campbell with Bill Moyers

The power of myth, by Joseph Campbell with Bill Moyers The Power of Myth launched an extraordinary resurgence of interest in Joseph Campbell and his work. A preeminent scholar, writer, and teacher, he has had a profound influence on millions of people—including Star Wars creator George Lucas. To Campbell, mythology was the “song of the universe, the music of the spheres.” With Bill Moyers, one of America’s most prominent journalists, as his thoughtful and engaging interviewer, The Power of Myth touches on subjects from modern marriage to virgin births, from Jesus to John Lennon, offering a brilliant combination of intelligence and wit. From stories of the gods and goddesses of ancient Greece and Rome to traditions of Buddhism, Hinduism and Christianity, a broad array of themes are considered that together identify the universality of human experience across time and culture. An impeccable match of interviewer and subject, a timeless distillation of Campbell’s work, The Power of Myth continues to exert a profound influence on our culture. • Publisher ‏ : ‎ Anchor (June 1, 1991) • Language ‏ : ‎ English • Paperback ‏ : ‎ 293 pages • ISBN-10 ‏ : ‎ 0385418868 • ISBN-13 ‏ : ‎ 978-0385418867 • Lexile measure ‏ : ‎ NP • Item Weight ‏ : ‎ 7.8 ounces • Dimensions ‏ : ‎ 5.13 x 0.72 x 7.96 inches • Amazon.com Review • Among his many gifts, Joseph Campbell's most impressive was the unique ability to take a contemporary situation, such as the murder and funeral of President John F. Kennedy, and help us understand its impact in the context of ancient mythology. Herein lies the power of The Power of Myth, showing how humans are apt to create and live out the themes of mythology. Based on a six-part PBS television series hosted by Bill Moyers, this classic is especially compelling because of its engaging question-and-answer format, creating an easy, conversational approach to complicated and esoteric topics. For example, when discussing the mythology of heroes, Campbell and Moyers smoothly segue from the Sumerian sky goddess Inanna to Star Wars' mercenary-turned-hero, Han Solo. Most impressive is Campbell's encyclopedic knowledge of myths, demonstrated in his ability to recall the details and archetypes of almost any story, from any point and history, and translate it into a lesson for spiritual living in the here and now. --Gail Hudson • Review • “Campbell has become the rarest of intellectuals in American life: a serious thinker who has been embraced by the popular culture.” —Newsweek "The symbols of mythology and legend are all around us, embedded in the fabric of our daily lives, and the Moyers-Campbell dialogues are a welcome guide to recognizing and understanding their meanings." —Cincinnati Post

Lot: 1298 - The book of waves, form and beauty on the ocean, by Drew Kampion, First edition, made in Italy, 1989

The book of waves, form and beauty on the ocean, by Drew Kampion, First edition, made in Italy, 1989, hard copy. I purchased this book for my father-in-law who is now 87 years young. He surfed until he was approx. 60, has a home on the beach in Newport Beach, CA and takes immense joy in the ocean on a daily basis. He loved this book, and felt that it captured the unique, ever-changing beauty of the ocean. I was stoked to find this book, since I believe it is now out of print. My only disappointment was the cover was a little roughed up, but my father-in-law didn't seem to mind, so I'm pretty satisfied with this purchase. I have really come to appreciate AMAZON.com. You can literally (no pun intended) find everything and then some. • Publisher ‏ : ‎ Arpel Graphics, Incorporated; 1st edition (January 1, 1989) • Language ‏ : ‎ English • Hardcover ‏ : ‎ 122 pages • ISBN-10 ‏ : ‎ 0916567141 • ISBN-13 ‏ : ‎ 978-0916567149 • Item Weight ‏ : ‎ 4.15 pounds • Dimensions ‏ : ‎ 0.9 x 11.8 x 12.1 inches; $888.00 – signed hardcover on Amazon- extremely rare, very good condition; $97.00 –not signed; $90 – new paperback;

Lot: 1300 - Diana: Portrait of a Princess Hardcover – August 31, 1998, by Jayne Fincher (Author), Judy Wade (Contributor)

Diana: Portrait of a Princess Hardcover – August 31, 1998, by Jayne Fincher (Author), Judy Wade (Contributor). An array of five hundred photographs, many never before released, provides a visual portrait of Diana, Princess of Wales, and includes anecdotes about and reflections on Diana's life Amazon.com Review Alone among award-winning photographers, Jayne Fincher snapped some of the most private moments ever seen of the late Princess Diana. What's her secret? Perhaps it's because, as an official royal photographer, she did not provoke the fear and panic that outside photographers tragically did, and her status as the only woman in the pool of royal photographers somehow put the royal family and the Princess of Wales off their guard in her presence. Diana: Portrait of a Princess contains never-before-seen photos from the early 1980s until Diana's death in August of 1997. Fincher captures the shy, awkward Lady Spencer, the picture of innocence and bewilderment thrust onto the global stage. Later in this chronologically ordered collection we see this young woman evolve into the glamorous and sophisticated princess. Some of the most striking images reflect the raw emotion and revealing intimacy in Diana's life, such as the private moments in which you can sense her fiercely tender devotion to her sons. Many of the natural, spontaneous shots depict a deeply distressed woman, trapped in a world of conformity, while still other pictures illustrate the growing strain in her loveless marriage to Prince Charles. Royal writer Judy Wade worked with Fincher to provide the text to go with these, the best of Fincher's 30,000 candid images of Princess Di. From Kirkus Reviews In one of what will undoubtedly be a host of tributes on the anniversary of her death comes a collection of several hundred color photographs of ``the people's princess,'' taken by the only female photographer granted access to Diana by Buckingham Palace. Ranging front Diana's emergence on the scene in 1980 up to the extraordinary events surrounding her funeral, Fincher's workmanlike photographs serve to remind the viewer both how exhausting Diana's public schedule was and how uniquely photogenic she was. Ranging from diplomatic receptions to balls to sporting events, the chronologically arranged photos also chart Diana's emergence as a confident public figure, as well as the deterioration of her marriage (there are some memorable shots of an acutely embarrassed couple at public events, clearly anxious to be away from each other). The most memorable shots are of Diana and her sons; her love for them is almost palpable. Judy Wade, a journalist, sets down Finchers carefully diplomatic recollections of Diana and Charles. Those who were fans of the princess and pictorial icon will find this a vivid review. Others may be moved to a contemplation of the peculiar modern fixation with celebrity. (500 color photographs) -- Copyright ©1998, Kirkus Associates, LP. All rights reserved.

Lot: 1301 - The watercolor painting book by Wendon Blake, 1978

The watercolor painting book by Wendon Blake, 1978; Here is the most comprehensive book ever published on the technique of watercolor painting, with 400 illustrations, including 32 step-by-step demonstrations... Provides detailed demonstrations to help the beginner develop and refine skills and techniques in painting still lifes, landscapes, and seascapes. • Publisher ‏ : ‎ Watson-Guptill Pubns; First Edition (January 1, 1978) • Language ‏ : ‎ English • Hardcover ‏ : ‎ 256 pages • ISBN-10 ‏ : ‎ 0823056724 • ISBN-13 ‏ : ‎ 978-0823056729 • Item Weight ‏ : ‎ 3.3 pounds

Lot: 1302 - Surrealism “The art of Jim Warren”, hardcover book signed by the artist, 1997

Surrealism “The art of Jim Warren”, hardcover book signed by the artist, 1997; Jim Warren is a genius modern artist with a strong surrealistic style. Jim Warren (born November 24, 1949, in Long Beach, California) is an American artist best known for book cover illustrations and surrealistic fantasy art.[1][self-published source] He has worked in surrealistic fantasy since about 1969. He has collaborated on paintings with marine life artist Wyland,[2] and artist Michael Godard. Warren currently lives in Clearwater, Florida. A self-taught artist, Warren uses traditional oil paint and brushes on stretched canvas.[ • Publisher ‏ : ‎ Art Lover Products; First Edition (January 1, 1997) • Language ‏ : ‎ English • ISBN-10 ‏ : ‎ 0965877507 • ISBN-13 ‏ : ‎ 978-0965877503 • Item Weight ‏ : ‎ 3.09 pounds

Lot: 1310 - Journey into China Hardcover – January 1, 1984 by National Geographic Society;

Journey into China Hardcover – January 1, 1984 by National Geographic Society; • ASIN ‏ : ‎ B000JV4DZS; • Publisher ‏ : ‎ National Geographic Society; Stated First Edition (January 1, 1984); • Language ‏ : ‎ English; • Hardcover ‏ : ‎ 518 pages; • Item Weight ‏ : ‎ 2.4 ounces; National Geographic; One of the world's leading nonfiction publishers, National Geographic Books has published more than 1,700 titles, featuring such categories as history, travel, nature, photography, space, science, health, biography, and memoir. A portion of its proceeds is used to fund exploration, conservation, and education through ongoing contributions to the work of the National Geographic Society.

Lot: 1311 - Wide Angle: National Geographic Greatest Places (National Geographic Collectors Series) Hardcover – November 1, 2011

Wide Angle: National Geographic Greatest Places (National Geographic Collectors Series) Hardcover – November 1, 2011. In 250 glorious photographs Wide Angle: National Geographic Greatest Places documents the beauty and depth of every part of the world. Delving deeply into a picture archive that houses over ten million images, with many photographs being published for the first time, this new book-the third and final in the "greatest photographs" series-presents the world's amazingly diverse places with epic grandeur, unparalleled intimacy, romantic beauty, and gritty realism. The photographs are landscapes, cityscapes, famous landmarks, and unfamiliar spots that reveal special qualities of geography or culture one might otherwise never see. Spanning more than eleven decades, the images in Wide Angle are divided into twelve chapters, each depicting a unique geography—including East and Southeast Asia, the Middle East, North Africa, and the Polar Regions. Each chapter is introduced by award-winning cultural writer and critic Ferdinand Protzman, whose essays accent the stunning photographs by renowned National Geographic photographers. Both essays and photographs carefully examine a region's special qualities, creating unique character and its own special and unforgettable sense of place. In Wide Angle, National Geographic photographers have recorded the world's places close up, in sweeping breadth, in depth, and over time. • ASIN ‏ : ‎ 1426208936; • Publisher ‏ : ‎ National Geographic; Reprint edition (November 1, 2011); • Language ‏ : ‎ English; • Hardcover ‏ : ‎ 504 pages; • ISBN-10 ‏ : ‎ 9781426208935; • ISBN-13 ‏ : ‎ 978-1426208935; • Item Weight ‏ : ‎ 2.05 pounds; • Dimensions ‏ : ‎ 6.26 x 1.37 x 6.78 inches;

Lot: 1314 - Kaplan SAT Prep PLUS 2022: Heart of Algebra, Problem Solving and Data Analysis, Passport to Advanced Math, Algebra, Geometry, Calculus

Kaplan SAT Prep PLUS 2022: Heart of Algebra, Problem Solving and Data Analysis, Passport to Advanced Math, Algebra, Geometry, Calculus The SAT Math test can be broken down into 4 main content areas: Heart of Algebra, Problem Solving and Data Analysis, Passport to Advanced Math, and Additional Topics. Some questions on the SAT Math test may include concepts that seem unfamiliar to you, but don’t worry–all the topics tested on the SAT Math test are taught in your typical high school Pre-algebra, Algebra I, Algebra II, Geometry, and Pre-Calculus classes. Read on for a more in-depth look at the concepts you might see on the SAT Math test.

Lot: 1315 - 60 years of Music – America loves best, Phonograph vinyl disk record, 1961: Frank Sinatra, Benny Goodman, Ella Fitzgerald, Glenn Miller, Bing Crosby, and others

60 years of Music – America loves best, Phonograph vinyl disk record, 1961: Frank Sinatra, Benny Goodman, Ella Fitzgerald, Glenn Miller, Bing Crosby, and others

Lot: 1316 - Frank Sinatra Cycles, 10 songs, studio album, Phonograph vinyl disk record, 1968

Frank Sinatra Cycles, 10 songs, studio album, Phonograph vinyl disk record, 1968; Cycles is a studio album by American singer Frank Sinatra, released in 1968. Released just before Christmas in 1968, there was a ten-month gap between the release of Francis A. & Edward K. and this album, which was the longest period in Sinatra's Reprise years in which he did not commercially record music (barring his contributions to The Sinatra Family Wish You a Merry Christmas). Sinatra sang a variety of folk-rock oriented songs, including Judy Collins' hit "Both Sides Now" (written by Joni Mitchell) and the Glen Campbell hits "Gentle on My Mind" (written by John Hartford) and "By the Time I Get to Phoenix" (written by Jimmy Webb). The title song was released as a single, reaching #23 on the Billboard Hot 100 chart and #2 on the Easy Listening chart, while the album peaked at #18 on the Billboard 200 chart. Production Cycles was recorded in Los Angeles during one session that lasted three hours from 8 p.m. to 11 p.m. During the session, 25 people including George Harrison, Pattie Boyd, and Tiny Tim came and visited Sinatra.[2] As seen on the front cover, the song "Wait by the Fire" by Al Gorgoni and Chip Taylor and was supposed to appear on the album, but Sinatra scrapped the song and substituted "My Way of Life" after the cover had already been printed.[3]

Lot: 1317 - Frank Sinatra: Only the lonely, studio album, Phonograph vinyl disk record, 1968

Frank Sinatra: Only the lonely, studio album, Phonograph vinyl disk record, 1968; Frank Sinatra Sings for Only the Lonely (also known as Sings for Only the Lonely or simply Only the Lonely) is the fifteenth studio album by American singer Frank Sinatra. It was released on September 8, 1958, through Capitol Records.[2] The album consists of a collection of torch songs, following a formula similar to Sinatra's previous albums In the Wee Small Hours (1955) and Where Are You? (1957).[3] According to John Rockwell's book, Sinatra: An American Classic, when asked at a party in the mid-1970s if he had a favorite album among his recordings, without hesitation, Sinatra chose Only the Lonely.[4] The album's front cover was painted by Nicholas Volpe, who won a Grammy Award for the painting.[5] The painting features Sinatra as a sullen, Pagliacci-like clown. Sketched on the album's back cover is one of Sinatra's recurrent visual motifs: a lamppost. Background[edit] Sinatra had planned to record the album with arranger Gordon Jenkins, with whom he had worked on Where Are You?. Since Jenkins was unavailable at the time, Sinatra chose to work with his frequent collaborator, Nelson Riddle. The three tracks conducted by Riddle at the would-be first session (May 5, 1958) were not used, and the subsequent May 29 session was conducted by Felix Slatkin,[6] uncredited, after Riddle went on a pre-arranged tour with Nat King Cole.[7][8] At the time of the recording, Sinatra's divorce from Ava Gardner had been finalized, and Nelson Riddle (who wrote the album's arrangements) had recently suffered the deaths of his mother and daughter.[7] Of these events, Riddle remarked: "If I can attach events like that to music...perhaps Only the Lonely was the result."[7]

Lot: 1318 - Gershwin on Broadway. Buffalo philharmonic orchestra, Overtures, stereo vinyl record disc, under Michael Tilson Thomas

Gershwin on Broadway. Buffalo philharmonic orchestra, Overtures, stereo vinyl record disc, under Michael Tilson Thomas. Manhattan is the original motion picture soundtrack to Woody Allen's 1979 film Manhattan with music by George Gershwin. It was performed by the New York Philharmonic under Zubin Mehta and the Buffalo Philharmonic Orchestra under Michael Tilson Thomas. It was nominated for Best Soundtrack in the 33rd British Academy Film Awards.

Lot: 1330 - Harry Potter and the Goblet of fire, by J.K Rowling, book, printed in USA, July 2000

Harry Potter and the Goblet of fire, by J.K Rowling, book, printed in USA, July 2000 Excellent condition, like new. Harry Potter and the Goblet of Fire is a fantasy novel written by British author J. K. Rowling and the fourth novel in the Harry Potter series. It follows Harry Potter, a wizard in his fourth year at Hogwarts School of Witchcraft and Wizardry, and the mystery surrounding the entry of Harry's name into the Triwizard Tournament, in which he is forced to compete. The book was published in the United Kingdom by Bloomsbury and in the United States by Scholastic. In both countries, the release date was 8 July 2000. This was the first time a book in the series was published in both countries at the same time. The novel won a Hugo Award, the only Harry Potter novel to do so, in 2001. The book was adapted into a film, released worldwide on 18 November 2005, and a video game by Electronic Arts.

Lot: 1331 - Angels & Demons, by Dan Brown, book, printed in 2003, New York, USA

Angels & demons, by Dan Brown, book, printed in 2003, New York, USA Angels & Demons is a 2000 bestselling mystery-thriller novel written by American author Dan Brown and published by Pocket Books and then by Corgi Books. The novel introduces the character Robert Langdon, who recurs as the protagonist of Brown's subsequent novels. Angels & Demons shares many stylistic literary elements with its sequels, such as conspiracies of secret societies, a single-day time frame, and the Catholic Church. Ancient history, architecture, and symbology are also heavily referenced throughout the book. A film adaptation was released on May 15, 2009.

Lot: 1332 - The Fresco, by Sheri S. Tepper, book, printed in 2000, in USA.

The Fresco, by Sheri S. Tepper, book, printed in 2000, in USA. The Fresco is a science fiction novel by American writer Sheri S. Tepper, published in 2000. It describes Earth's contact with a confederation of intelligent alien races. The Fresco was on the shortlist ("honor list") for 2001 James Tiptree, Jr. Award[1] Plot Multiple alien races have discovered Earth. Two members of one of those races, “Chiddy” and “Vess” of the Pistach, approach Benita Alvarez-Shipton and ask her to carry a device to the authorities that will communicate their message. Benita uses this as an opportunity to escape her abusive husband. The device ultimately reaches the U. S. President, and the Pistach envoys arrange a personal meeting with him. Having noticed Earth's forays into space, the Pistach envoys have been sent to evaluate Earth for membership in a confederation of intelligent races. Failing to qualify for membership exposes Earth to sequestration from space travel and predation by the three other races that have become aware of Earth. The envoys point out some issues that Earth needs to resolve and then take various actions to assist with those problems. The envoys also insist that Benita act as their official intermediary. Throughout the book, one of the envoys, Chiddy, explains the history of Pistach and their religion in journal entries. The Pistach religion and way of life are driven by the stories revealed in the eponymous Fresco, a series of seventeen painted panels. Age and soot and grime have darkened the panels beyond recognition, so the Pistach rely on the Compendium which contains annotated copies of the Fresco panels. When rebel Pistach take possession of the Fresco and clean the panels, it is revealed that the stories told in the Compendium are contradicted by the actual paintings, threatening the entire body of principles on which Pistach society is based. To prevent the Pistach from withdrawing their protection of Earth, Benita and a group of artists from Earth put the Pistach to sleep with sarsparilla and secretly repaint the panels to be in accordance with the Compendium. The changes to the panels are acclaimed a miracle. Inspired, Chiddy and Vess continue to help Earth and teach them to be neighborly. One year later, Benita is granted a divorce from her husband by the president and marries Chiddy, who had fallen in love with her throughout the book.

Lot: 1333 - The Comic Mark Twain Reader: The Most Humorous Selections from His Stories, Sketches, Novels, Travel Books and Lectures Hardcover – January 1, 1977

The Comic Mark Twain Reader: The Most Humorous Selections from His Stories, Sketches, Novels, Travel Books and Lectures Hardcover – January 1, 1977. Collects works, including perennial favorites and lesser known writings, that reveal and together celebrate Twain's genius as a humorist. Mark Twain is the pseudonym of Samuel Langhorne Clemens (1835 - 1910). He was born and brought up in the American state of Missouri and, because of his father's death, he left school to earn his living when he was only twelve. He was a great adventurer and travelled round America as a printer; prospected for gold and set off for South America to earn his fortune. He returned to become a steam-boat pilot on the Mississippi River, close to where he had grown up. The Civil War put an end to steam-boating and Clemens briefly joined the Confederate army - although the rest of his family were Unionists! He had already tried his hand at newspaper reporting and now became a successful journalist. He started to use the alias Mark Twain during the Civil War and it was under this pen name that he became a famous travel writer. He took the name from his steam-boat days - it was the river pilots' cry to let their men know that the water was two fathoms deep. Mark Twain was always nostalgic about his childhood and in 1876 The Adventures of Tom Sawyer was published, based on his own experiences. The book was soon recognised as a work of genius and eight years later the sequel, The Adventures of Huckleberry Finn, was published. The great writer Ernest Hemingway claimed that 'All modern literature stems from this one book.' Mark Twain was soon famous all over the world. He made a fortune from writing and lost it on a typesetter he invented. He then made another fortune and lost it on a bad investment. He was an impulsive, hot-tempered man but was also quite sentimental and superstitious. He was born when Halley's Comet was passing the Earth and always believed he would die when it returned - this is exactly what happened. • Publisher ‏ : ‎ Doubleday & Co.; First Edition (January 1, 1977) • Language ‏ : ‎ English • Hardcover ‏ : ‎ 489 pages • ISBN-10 ‏ : ‎ 038511334X • ISBN-13 ‏ : ‎ 978-0385113342 • Item Weight ‏ : ‎ 1.6 pounds

Lot: 1334 - Monaco Grand Prix, book by by Stuart Codling, 2019

Monaco Grand Prix, book by by Stuart Codling, 2019 Go behind the scenes to explore the history, racing, celebrity fans, and after hours of racing's most glamorous and prestigious round in the F1 championship with The Life Monaco Grand Prix. Monaco sponsored its first race in 1929 and the circuit has been part of the Formula 1 series, since 1950. Conducted with the patronage of Monaco’s royal family, its beautiful street-circuit has made Monaco the most glamorous setting of any F1 race. But the classic architecture and high-profile spectators belie a course notorious for its complexity and challenges. With no safety barriers until 1969, drivers have twice plunged into the harbor among the spectating yachts. Off the circuit, Monaco is a 24-hour spectacle of expensive boats, high-profile parties, celebrity F1 fans, penthouse spectating, and high-roller lifestyle. From the Monte Carlo casino (integral to numerous James Bond films) to top clubs like Amber Lounge, Jimmy’z, and The Black Lounge to F1 racers’ luxury homes to the takeoffs and landings of countless private jets, Monaco represents the epitome of the jet-setting lifestyle long associated with the F1 circus. From the first Grand Prix in 1929 to today's star-studded event, The Life Monaco Grand Prix takes the reader on a full lap of this prestigious race. PREFACE: MONACO, 6, CHAPTER 1: THE MAKING OF MONACO, 14, CHAPTER 2: THE PRINCE SANCTIONS A RACE, 22, CHAPTER 3: DANCER, RACER, SOLDIER, SPY, 46, CHAPTER 4: RACING AGAINST THE REICH, 62, CHAPTER 5: BACK ON TRACK, 84, CHAPTER 6: DRIVERS AND DUELS, 106, CHAPTER 7: STARS AND CARS, 162, CHAPTER 8: GOODBYE TO THE GASWORKS, 174, CHAPTER 9: MONACO AFTER DARK, 192, CHAPTER 10: IN THE PRESENCE OF GOD, 198, CHAPTER 11: RACERS WHO RIDE, 202, CHAPTER 12: ALL THE PRETTY PEOPLE, 208, CAPTIONS, 232, INDEX, 236, PHOTO CREDITS, 240, • Publisher ‏ : ‎ Motorbooks (April 16, 2019) • Language ‏ : ‎ English • Hardcover ‏ : ‎ 240 pages • Item Weight ‏ : ‎ 1.85 pounds • Dimensions ‏ : ‎ 7 x 1 x 9.13 inches