Mesopotamian Bronze Socketted Axehead

Finely carved in haematite with a formal presentation scene: a goddess sitting enthroned upon a dais, clad in a flounced robe and a multiple-horned tiara, her arm extended in reception; before her a similarly attired interceding goddess approaching, leading a robed worshipper into the divine presence; lunar crescent in the field, with three-line inscription within a panel: 'Abbamu, scribe, son of Bazige'; supplied with a museum-quality impression. 18 grams, 27 mm



From the private collection of Professor Dr. Hans (1900-1967) and Mrs Erlenmeyer, Switzerland. The Erlenmeyer Foundation, Basel Switzerland, since 1981. with Sotheby's, Western Asiatic Cylinder Seals and Antiquities from the Erlenmeyer Collection (Part 1), London, 9 July 1992, no.109. Private collection, London, UK. Accompanied by copies of the relevant Sotheby's catalogue pages. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13283-253486.

Prof Hans Erlenmeyer was a noted Swiss collector from 1943 to circa 1960; he and his wife established the Erlenmeyer Foundation. This seal is of particular note as the first cylinder seal given to Professor and Mrs Erlenmeyer. Its imagery belongs to the religious and political language of the Third Dynasty of Ur, when order was restored after the collapse of the Akkadian dynasty. In the eyes of the ancient Mesopotamians, that earlier collapse could be understood as a sign of divine displeasure; under Ur III, renewed piety and correct devotion assumed central importance. The presentation scene seen here reflects that world precisely: the seal owner is led by a minor goddess, or Lamma, into the presence of his personal deity. Seals of this class are valued for their exacting workmanship and disciplined clarity of design. Though they lack the freer energy of the Akkadian age, they possess instead a ceremonial gravity and devotional precision that are wholly characteristic of Neo-Sumerian art.

Restrung and comprising mainly spherical, elongated ovals, oblates, and biconical shapes; accompanied by a custom-made lined display box. 224 grams, 56 cm



Numismatic and Ancient Art Gallery AG, Ancient Art of the Mediterranean World, No 8, no.5, c.1982. Taisei Gallery, Gold & Silver Auction, Part II, Ancient to Renaissance, 5 November 1992, The Conrad Salon, The Waldorf-Astoria, New York, no.39. Private collection, London. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13265-253358.

The Sumerian word for silver is kú-babbar, which means ‘white metal’. Silver was mined from ores that contained significant amounts of other metals and impurities and therefore requires a great deal of further processing before it can be used. It was considered sacred and immutable, and an extremely high-status material, used for royal jewellery.

Penannular type with thick D-section shank, bulb finials. 66 grams, 95 mm



From the collection of a gentleman, acquired on the London art market in the 1990s.