Ancient Art, Antiquities, Books, Natural History & Coins

Diorama on a L-shaped base depicting a ram standing with a shackle to one foreleg attached to a stub pillar, bowl by the forelegs, kneeling kilted male to the side with a pot on his lap, hands clasped, mouth open; attachment lugs to the underside. 155 grams, 58 mm wide



Property of a London gentleman; in the family collection since the 1970s. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13311-258232.

According to some scholars, the ram should be considered a symbol of farreh, an important Iranian concept sometimes translated as ‘glory’ or ‘charisma’ that mythical kings needed to rule and heroes to defeat their enemies.

Deep elongated vessel, carved with an image of a reclining Lamassu on one side, the hind legs and the right front leg tucked beneath the body, the left front leg raised on the side of the head, the head modelled in the half-round with a characteristic long beard and hair framing the face; accompanied by a display stand. 781 grams, 19.5 cm (1.12 kg total including stand)



From an important London-Geneva collection, formed before 1988, by family descent. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13371-258817.

The Lamassu was a protective deity related to several Mesopotamian civilisations (Assyrian in particular, where it was represented as a winged bull-man). They were considered beneficial and protective spirits, guardians of the doors with an apotropaic function, destined to ward off dark or hostile forces.

D-section carved mask with lateral spurs to the brow, exaggerated aquiline nose and broad mouth with raised lips; applied shell and glass inlay to each eye; pierced at the cheeks for attachment; mounted on a custom-made stand. 28.7 grams total, head: 28 mm wide, 83 mm including stand



From the private collection of the late Mr S.M., London, UK, 1970s-1990s; and a North American collection.

Carved in the round bust with heavily hatched brow and cheeks, D-shaped eyes, snubbed feline nose, ellipsoid mouth gaping with teeth exposed, segmented panel to chest. 47 grams, 37 mm



European art market, 1997. Acquired by the present owner from the above. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate no.12596-232196.

Carved as a seated human figure, body with rows of overlapping tufts of fur, set with a bald head carved from cream stone with semi-naturalistic detailing to the face; a separate wig with wavy hair, and separately modelled hands. 540 grams total, 95 mm high



Pallas Gallery (?), early 2000s. Acquired by the current owner from the above. Private collection of a North American lady. Accompanied by a copy of an invoice. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13372-256950.

This wonderful composite stone sculpture of a seated female figure with finely carved features is typical of the area of Bactria-Margiana, from the late 3rd to early 2nd millennium B.C. Among the few three-dimensional images assigned to this period in Central Asia are a group of stone female figures seated or squatting on a platform and wearing a pattern-decorated robe, perhaps imitating sheep's fleece.

Flat-based bowl, inscribed in spiral from the bottom inner wall to the rim with Aramaic text. 360 grams, 17.6 cm



Private collection, 1980s. UK private collection before 2000. Acquired on the UK art market. Private collection, London, UK

Aramaic incantation bowls are particular to the Sassanian period and have been found in the regions of modern Iraq. These simple ceramic bowls, also known as magic bowls, each contain an Aramaic inscription, written in ink, which spirals from the centre. The bowls seem to have played an important part in domestic life. For example, during excavation in Nippur in 1889, one or more incantation bowls were found in each house together with domestic artefacts, most often in doorways or under floorboards in the corner of rooms. The bowls are predominantly apotropaic, and the inscriptions tend to protect their owners from misfortunes such as childbirth, illness and evil spirits.

With a rounded underside and flared rim; painted asterisk to centre, hatched chevrons to mouth with profile birds in the voids; early Iranian workmanship. 298 grams, 16 cm wide



Ex London, UK, gallery, 1971-early 2000s. London, UK, collection.

Of zoomorphic form, with a globular body, u-section spout and loop handle to the rear. 846 grams, 30 cm wide



Acquired before 1978. Private collection, UK. Accompanied by a thermoluminescence analysis report no.N125e39 from Oxford Authentication. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12703-235149.

Comprising a rounded body resting on three stub legs; funicular mouth and short neck; beneath the rim a mask with pinched nose and two pointed ears, impressed circular eyes and mouth; three vertical decorative strips impressed with the same tool as formed the eyes and mouth; tiered strap handle with two finger-grips to the outer face and impressed detailing running from the neck to the shoulder; rim and one foot partly restored. 723 grams, 20.6 cm



Ex Zackary, Los Angeles, 1960s. Thereafter London art market, 1992. Accompanied by a copy of an Art Loss Register certificate no.S00079639.

Several tripod vessels were found at Marlik and Amlash. Examples of tripod vessels from other sites include a comparable example with a tripod stand from Agha Evlar. Jars with tripod knob stands and long necks, particularly similar to the Marlik specimen from Zeinab Bejar, were found in the upper level of Tombs C L and B III of Ghalekuti in the Dailaman region of Gilan. Vessels with tripod legs from Kalardasht are dated by Vanden Berghe to 1000-800 B.C.

With eight lines of qatabanic Sabaean text regarding an unknown temple of the kingdom of Qatabān, dedicated to the gods Amm dhu-Raymatum and Warafum: '1 Dlwn -b-Gbln ʿbd (s¹q)ny[ ʿm] 2 ḏ-Rymtm w-Wrfm (s¹)qnyt-ḏ= 3 hbm ḥg tkrb-s¹mn gwm/ 4 bʿw mhrt Nbṭ m w-(ytʿs¹) 5 w-ʾbl-s¹ ḥg t(k)rb-s¹mn l-m= 6 tʿn-s¹ b-s¹wt brṯ n rṯd D..= 7 wn ʿm w-Wrfm ʾḏn-s¹ w-(mqm)-s¹ 8 w-qny-s¹ b-ḥg ʿm w-ʾnby' 'Dalwān ... offered [to ʿAmm] (2) dhu-Raymatum and Warafum the offering of (3) bronze according to the promise he made to them ... (4) ... mares of Nabaṭ um ... (5) his camel in accordance with the promise he had made to them to be (6) protected in this expedition. Dalwān has confided (7) to ʿAmm and Warafum his faculties, his abilities (8) and his possessions, with the approval of Amm and Anbī'; mounted on a custom-made stand. 1.01 kg total, 23.7 cm high including stand



Ex London W1 collector; acquired between 1970 and the late 1990s.

Penannular armband with shallow D-section hoop and terminals formed as stylised ram-heads, each with exaggerated coiled horns, circular eyes set with cream-coloured beads and shallow semi-circular muzzles; transverse bands of geometric motifs along the neck. 616 grams, 10.4 cm



with a London, UK gallery 1971-early 2000s. Private collection, London, UK.

The bracelet is a product of the Bactria-Margiana Archaeological Complex ('BMAC', also developed from the 'Oxus Civilisation'), which was the dominant culture in the 3rd and 2nd millennium (often dated to c. 2250-1700 B.C.) in that area, corresponding roughly to modern Tajikistan and Afghanistan. The members of the group practised animal husbandry and a limited form of agriculture, with wheeled carts from the 4th millennium B.C. Its craftsmen were proficient at working metals and alloys, including bronze, copper, silver, and gold. Fortified sites with multiple walls are another notable BMAC development.

One of the largest known examples, comprising a thin-walled body and flaring foot, a separately made long spout rivetted to the body; the U-shaped spout resembling the beak of a bird with stylised linear feather detailing to the gracefully curving neck, eleven domed rivets to the edges; the base of the foot with concentric circle decoration. 735 grams, 46 cm



Believed to have been acquired in the 1960s-1970s. From the collection of Mr Jay Gluck (1927–2000) and Mrs Sumi Hiramoto Gluck. Malter Galleries Inc., Auction 80, The Gluck Collection of Ancient Art, 7 April 2002, no.54. Alexander Ancient Art, Netherlands. Private collection, London, UK. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13314-257665.

Jay Gluck (1927–2000) was an American author, art historian, and orientalist who spent much of his life in Japan and the wider Asia-Pacific region. A passionate collector and scholar of Asian art and culture, he is perhaps best known for his landmark publication Japan Inside Out (1964), and later A Survey of Persian Handicrafts (1977), co-authored with his wife Sumi Hiramoto Gluck, a Japanese-born artist and cultural collaborator who shared his deep engagement with Eastern art traditions. Together, the Glucks assembled a distinguished collection reflecting their combined expertise and decades of firsthand engagement with the arts of Asia and the ancient world. Items from their collection are held with great regard for the couple's scholarly rigour and the depth of provenance they represent.