Western Asiatic Mixed Stone Bead Necklace String Group

Including triangular, barbed-and-tanged, leaf-shaped, and other types. 266 grams total, 49-108 mm



Ex London art market, 1980-1990s. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

Some of these arrowheads seem to belong to the type V, subcategory types A, C and D according to the classification of Khorasani and Negahban. In the four categories of triangular bronze arrowheads from Luristan, Marlik and Northern Iran individuated by Negahban, subtypes C and D of type V are larger arrow or javelin heads, C with barbed shoulders and D with round shoulders. Subtype A is substantially similar to C, but smaller.

Showing a decorated temple with animals, accompanied by a museum quality impression and 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 White Marble, 41 x 35 mm. The engraving shows a decorated temple facade and beside it four horned animals, a standard on a pole and a motif of four dots. This is a Jemdet Nasr seal, c. 3000-2800 B.C., from southern Mesopotamia, and is in very good state of preservation. It illustrates the Sumerian city state of the time. the temple was the largest building, and it owned flocks and herds, being a big economic organization as well as a religious institution. For the climate and terrain sheep and goats were the normal domestic animals, and ordinary people might own these. The larger domestic animals, which included cattle and other horned animals such as gazelles which eventually proved unsuccessful as domestic animals, were owned only by the temple. Seals of this size and quality are rare.' 98.8 grams, 41 mm



with Armand Trampitsch, Glyptique Archéologie, Paris, Hôtel Drouot, Sale No.2, 13-14 May 1992, no.216. Accompanied by a copy of a scholarly note, typed and signed by Professor Wilfrid George Lambert in 1992.

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. For collectors, well-cut examples with sharp impressions, good polish and honest ancient wear are especially desirable, and pieces with early collection histories are keenly sought.

Formed as a Master of Animals atop a collared tubular stem with flared foot; the finial composed of two goats with heads returned and a looped band at the rump, above these two birds standing looking up towards two quadrupeds each with a bird's head on the rump; each in the grip of the Master standing crowned between them; the Master with tubular body, animal-like ears, prominent nose above a small mouth and wearing collars, neck rings and tiered headdress with addorsed bovine heads; waisted socket below and flared dentilled rim; mounted on a display stand. 916 grams total, 43 cm including stand



Acquired in Iran, 1967. Private collection, UK. 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.12824-241323.

The “Master of Animals” is a long-lived Near Eastern motif showing a central figure—human, heroic or divine—grasping two confronting beasts, usually by their necks or forelegs. First seen in late 4th–3rd millennium BC Mesopotamian seals, it spread across Iran, Anatolia and the Levant and remained current into the 1st millennium BC. Its meaning is straightforward and powerful: control over the wild, the protection of order, and the sanction of royal or divine authority. The image appears on seals, plaques and weapons, and in the round on bronze fittings and finials (notably in Luristan), where it likely marked status and carried an apotropaic force. For collectors, the type is prized for its clear silhouette and economy of form, the instant legibility of a hero mastering chaos, a theme as old as the first cities and as compelling today.