Bactrian Style Lapis Lazuli Bead Necklace String

With outstretched wings and erect body, open beak and eyes hollowed to accept inserts, five-feather spread tail and a rectangular socket to the back; mounted on a custom-made display stand. 430 grams total, 11 cm including stand



Béla Hein collection, Paris, France, before 1931. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12569-232077.

Béla Hein (1883-1931) was a prominent dealer and collector of African art in early 20th century Paris. In the early 1920s, he founded a gallery specialising in African art, contemporary sculpture, and a variety of curiosities, including antiquities. Hein's influence extended across the art world, and his collection reflected a keen eye for both historical and aesthetic significance.

Cylindrical body topped with a standing quadruped, likely a mouflon, accompanied by a copy of an old scholarly note, typed and signed by W.G. Lambert, late Professor of Assyriology, University of Birmingham, 1970-1993, which states: 'Cylinder Seal of Bronze, surmounted by a Horned Animal Maximum height 42mm., Diameter of seal: 15mm. The animal has big, back-curving horns, and was probably meant as a mouflon sheep. It is decorative, makes an imposing piece of a simple seal shape. The design of the seal is a wavey line creating triangular spaces, which are filed with triangles of a smaller size or arrow-heads. In one case the latter and a v-shaped extra wavey line are used. The date of these ornamented seals has been disputed. Some scholars have put them in the third millennium B.C., some in the first millennium. The seal design is well known for the latter half of the third millennium and the beginning of the second millennium B.C., and the animal gives the impression of being related to such creatures in bronze from third millennium Anatolia. Thus this is a late-third-millennium seal, and is to be placed somewhere in the area from Anatolia to Kurdistan. Its condition is fine, and the metal sculpture is well done.' 25.7 grams, 41 mm



UK private collection, acquired 1990-1993. Accompanied by a copy of a scholarly note, typed and signed by Professor Wilfrid George Lambert in 1990.

Seals were the working signatures of the ancient Near East. Pressed or rolled into wet clay, they secured jars, bags, doors and tablets, and left a distinct impression that identified the owner, authorised a transaction, and showed whether a container had been opened. Stamp seals (pressed once to leave a single emblem) appear from the 7th–4th millennia BC and continue throughout later periods; cylinder seals (rolled to create a repeating frieze) develop in Mesopotamia in the late 4th millennium BC and are used into the 1st millennium BC. Beyond administration, seals were miniature artworks and amulets. Their images—gods and worshippers, royal hunts, banquets, heroes and mythic beasts—broadcast rank, piety and profession, and were believed to protect the owner. Materials range from soft stones to hard chalcedonies, haematite and lapis, worked with drills and abrasives to achieve crisp intaglio cutting. Many were worn on cords or rings and followed their owners through life, sometimes into the grave. Seals matter because they underpin the earliest systems of record-keeping and trade. Impressions on tablets and bullae are primary documents for ancient law, economy and religion; the seals themselves preserve that imagery in the round.

Comprising a wire hoop with filigree cones and granule clusters. 1.50 grams, 13 mm



From the collection of a late Japanese gentleman, 1970s onwards.