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534325 Los(e)/Seite
Los 329
GB and World used stamp collection in three albums, Vic onwards including GB 15 1d penny red plates, two Geo V half crowns seahorse brown, mint pre-decimal blocks from Geo VI, Olympic Games 1948 cover, England World Cup Winners 1966 corner traffic light block of 15, many countries represented USA, Canada, India and Hong Kong etc
Los 3134
A cream and green painted Triang Ultra Modern 1930s dolls house No 52 3138, flat roof design opening at front to reveal two large rooms, two storeys, fitted with electric light and fireplaces, metal framed windows to front and sides, staircase to right, moveable suntrap to roof that has been overpainted (pink) built-in garage with opening doors, together with original furniture, to include bathroom fittings, cooker, sofa suite and bed
Los 23
JAMES WHITELAW HAMILTON RSA RSW NEAC (SCOTTISH 1860 - 1932),THE OLD FARMHOUSEoil on board, signed25cm x 35cmFramed.Note: James Whitelaw Hamilton was born on 26 November 1860, the eldest child to wood turner James Hamilton and his wife Mary Stevenson of 1 Morris Place Glasgow. His parents moved the family to Helensburgh and lived at Thornton Lodge, 107 Sinclair Street, Helensburgh. Whitelaw Hamilton displayed an aptitude for painting at an early age, and after studying in Glasgow, he moved to Paris and studied at the studios of Pascal-Adolphe-Jean Dagnan-Bouveret and Aimé Morot, both considered leading lights of the 19th Century French Movement - specialising in landscapes and portraiture.Whitelaw Hamilton's landscapes have a rugged and raw quality but he did not limit his work to one medium being equally successful using oils, pastels and watercolours. Not surprisingly, given Helensburgh's reputation as a centre for artists, Whitelaw Hamilton became friends with the Glasgow Boys. In 1884, he joined Guthrie, Henry, Crawhall and Melville at Cockburnspath. EA Walton, who spent his winters at Thornton Lodge, and James Guthrie were to remain friends with Whitelaw Hamilton throughout their lives. They shared similar ideals and spent many years in Helensburgh recording the urban lifestyle of the wealthy residents in the town. Whitelaw Hamilton married Lillian Millar Shaw of 12 Lynedoch Place, Glasgow at St Mary's Episcopal Church on 9 September 1891. He and Lillian took residence in the Grange, 23 Suffolk Street, Helensburgh, the home that he was to remain in for the rest of his life.Whitelaw Hamilton exhibited abroad as often as he did at home. He became a member of the Munich Secession and won a gold medal at the Munich International Exhibition in 1897. He became a member of the New English Art Club in 1887, a member of the Royal Scottish Academy in 1922 and a member of the Royal Scottish Society of Painters in Watercolours in 1895. He also held the position of Hon. Secretary, Royal Glasgow Institute of the Fine Arts. He suffered personal loss in 1918, when his son Lt. Arthur Leslie Hamilton was killed in action in Mesopotamia on 25 October, serving with the 1st Highland Light Infantry. A portrait of his son was completed by James Guthrie and is held within the collection of the Glasgow Art Gallery.James Whitelaw Hamilton died in Helensburgh on 16 September 1932 aged 71. His work is represented in Glasgow Art Gallery, Perth Art Gallery, City of Edinburgh Collection, Lillie Art Gallery, The Hunterian, Perth & Kinross Council, Kirkcaldy Museums & Galleries, Paisley Museum & Art Galleries, Dundee Art Gallery, Kelvingrove, The Royal Scottish Academy, Walker Art Gallery, Weimar Art Gallery in Germany and other public collections.
Los 19g
Roman, Imperial Period, Rome Mint, Marcus Aurelius, ca. 161 to 180 CE. AE sestertius (26.7 g). On the obverse, laureate and bearded head of Marcus Aurelius to right. On the reverse, Salus standing facing left, her right arm extends outwards over altar. RIC 843; C. 564. Size: 1.25" W (3.2 cm)Marcus Aurelius was one of the most famous Roman emperors and one of the so-called Five Good Emperors, a general, an author, and a guiding light on legal and administrative matters for the Empire. Coins bearing his likeness are from a time of prosperity and military success for Rome. Provenance: Ex-Matrisciano Collection, California Condition: Choice VF with excellent portrait/ All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #120825
Los 1e
Egypt, Late Dynastic Period, ca. 712 to 343 BCE. A wonderful cast bronze representation of a cat, sprawled on one side, one of her front paws crossed over the other in a pose recognizable to any cat fancier, gazing forward; at her side are her three nursing kittens. Comes with custom stand. Size: 2.2" L x 1.7" W x 1.3" H (5.6 cm x 4.3 cm x 3.3 cm); height on stand: 2.8" (7.1 cm)The felines are all realistically modeled and light incised details give the mother cat a beautiful, wavy coat. They are posed on a slightly curved bronze platform with raised edges. The piece was perhaps a cuff or applique. The ancient Egyptians, rather uniquely among the world's civilizations, had an obsession with cats, both tame and fierce, large and small. Cats were domesticated to help protect crops from pests in Cyprus or possibly Mesopotamia (it is difficult to interpret the archaeological record on this matter for a variety of reasons), but the Egyptian love of cats seems to have gone above and beyond that of their contemporaries. The cemetery at Hierakonpolis includes a cat skeleton in a pre-Dynastic tomb (ca. 3700 BCE) that had a broken left humerus and right femur that seem to have been set by a human and allowed to heal before that cat's ultimate death. The first illustration of a cat with a collar comes from a 5th Dynasty (ca. 2500 to 2350 BCE) Egyptian tomb at Saqqara. Cats were the most frequently mummified animal in Egypt and there were multiple feline goddesses, including the domesticated cat-form Bastet. Bronze statues like this one may have been direct offerings or appeals to Bastet; they appeal to the cat's fertility and tender motherly care, while her pose with ears up emphasizes her alertness and ability to protect her young.For a similar example see no. 93 in Mottahedeh, ed., "Out of Noah's Ark, Animals in Ancient Art from the Leo Mildenberg Collection"; see also "Divine Felines: Cats of Ancient Egypt", organized by Yekaterina Barbash, Associate Curator of Egyptian Art, Brooklyn Museum. Provenance: Ex- Private New York collection Condition: Piece is a fragment, as shown, but cat and kittens are all intact, with excellent remaining details and a smooth, dark patina over the surface. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #120673
Los 22c
Roman Empire, Eastern Mediterranean, ca. 2nd to 3rd century CE. A unique translucent green glass vessel, a free blown form with elegant indentations on the body, applied dark blue rigaree wrapped around the neck to the rim and twin pale green trail handles. These elaborate glass vessels were found in tombs and would have contained scented oils for the deceased to carry into the next world. Custom stand. Size: 3" W x 8.375" H (7.6 cm x 21.3 cm); 8.75" H (22.2 cm) on stand. Provenance: Ex-private New York Collection; Ex-Long Island, New York inheritance, acquired by Shay Oron, New York City. Condition: Lip and neck repaired with visible fissures; light iridescence and surface deposits. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #120899
Los 23C
Roman, the Levant, late Imperial Period, ca. 3rd to 5th century CE. Composed of tiny stone tiles (tesserae/tessellae), including marble, slate, and mica, this mosaic panel shows a scene of two women interacting at a bathhouse. Both wear bracelets and necklaces; one is draped with a cloth that falls around her bare buttocks, while the other stands nude, with a cloth falling behind her. The nude woman has her visible arm raised, as if gesticulating in conversation. The small remaining fragment of the other woman's face reveals that it is turned back, as if listening. The colors of the women's bodies are warm, mostly pinks and darker reds with some white stones to highlight shadow and light. Mounted on frame with honeycomb backing. Size: 29" W x 44.25" H (73.7 cm x 112.4 cm); size on frame: 30.8" W x 46.5" H (78.2 cm x 118.1 cm)The women are in a room with clean, pale yellow walls, standing on a glossy grey floor, dappled with sparing areas of pale brown that make it appear to be glistening with water. The women's clothing is red, grey, and pale yellow, outlined in black to give the impression of folds. One area that shows particularly skillful artistic execution is where the partially clothed woman's knee bends, catching the fabric and bunching it. Mosaics (opus tesellatum) are some of our enduring images from the Roman world. They reveal everyday life, social interactions, and even things like clothing styles, personal ornament, and the interior of buildings in ways other styles of Roman art generally do not. A scene like this would have taken place in a bathhouse, an informal public space where women could mingle and speak with one another in a close social setting. This mosaic may have graced the wall or floor of a bathhouse, and was probably originally set into a large, ornate border, as many of the mosaics from the Roman Levant are. In the Roman province of Syria, which encompassed most of the ancient Near East/Levant, mosaics seem to have developed as a common art form relatively late, with most finds coming from the 3rd century CE or later. Syria was one of Rome's wealthiest provinces, but it was also far removed from Rome itself and Roman culture was overlaid on enduring cultural traditions from Hellenistic Greece and the great civilizations that came before it. Antioch-on-the-Orontes (modern day Antakya, Turkey), was the capital of northern Roman Syria, and its excavations in the 1930s revealed more than three hundred mosaic pavements - of which many embellished public baths. Often the known mosaics from this region are mythological or religious scenes, but sometimes we see one like this, showing a touchingly human scene from upper class life.We cannot find a perfectly comparable example with this type of subject matter and size. To give you an idea of what is available, see for example this larger mosaic with mythological subject matter: http://www.christies.com/lotfinder/Lot/a-roman-marble-mosaic-panel-circa-3rd-5321865-details.aspx that sold for $30000 in 2010; this pair of smaller panels with less sophisticated subject matter: http://www.christies.com/lotfinder/Lot/a-late-roman-mosaic-panel-circa-4th-5th-2034792-details.aspx that sold in 2001 for roughly $6000, and this similar-sized but more colorful example: http://www.christies.com/lotfinder/Lot/a-late-roman-mosaic-panel-circa-4th-5th-5509263-details.aspx that sold for $25000 in 2011. Provenance: Ex-Private New York City Collection Condition: No restoration; mounted on frame with honeycomb backing. Losses to edges as shown. Some of the tesserae have small flaws All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #121211
Los 29d
Rome, ca. 3rd to 4th century CE. In a compound word, jaw-dropping! A free-blown glass bottle of light blue-green hues with a globular body on a concave bottom and a tall slender tubular neck which would have allowed only small amounts of precious scented liquid to be dispensed at a time. The neck is elegantly adorned with a ribbon-like trail around its lower end. Stunning traces of rainbow iridescence throughout, quite a beauty! Size: 3.375" in diameter x 7.125" H (8.6 cm x 18.1 cm) Provenance: Ex-private east coast, USA collection Condition: Repair to top section of neck. Heavy from sediment within the bottle. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #121126
Los 38
Ancient Near East, Luristan or other part of northern Iran, ca. 10th to 9th century BCE. A magnificent, enormous bronze sword of the "double ear" pommel style, made using the lost wax casting technique by highly trained urban artisans for an elite member of a nomadic horse-riding clan. The blade was cast first, and then the handle was cast onto it - scans of similar swords have revealed tangs inside the handles. Comes with custom stand. Size: 4.75" W x 35.25" H (12.1 cm x 89.5 cm); height on stand: 36.75" (93.3 cm).This well-balanced weapon has a slender, square hilt, with raised decorative elements on each of the four sides joining to a pommel that divides into two finely decorated semi-circular "ears" at right angles to the blade. A rectangular guard carefully designed with crescent-shaped horns extends down to firmly grip the upper end of the prominent midrib that tapers regularly with almost straight cutting edges to a point. The "double ear" style of sword - with both bronze and iron blades - has been excavated from graves in southern Azerbaijan, the Talish and Dailaman regions of northwest Iran, and the urban sites of Geoy Tepe and Hasanlu, also in northwestern Iran. Another, with both bronze pommel and blade, was pulled from the Caspian Sea, where it may have been thrown as an offering. It seems that swords like this example were not just made to be used in battle, but instead to show status or as votive weapons. There is a strong tradition in the ancient Near East of swords and other weapons being associated with the gods. For example, there is a rock carving dating to ca. 1300 BCE from this region that shows a scene of the gods of the Underworld, including one who is holding a sword similar to this one. Similarly, a golden bowl excavated at Hasanlu (northwestern Iran) shows three swords of similar form to this one that are associated with three deities from the Hittite pantheon. Whatever its original function, this would have been a spectacular weapon to behold, with a deep, shining surface when polished. Whoever commissioned this sword must have been an elite individual of high status, perhaps seeking to honor the gods by handling such a weapon. The British Museum holds an example of the "double ear" style that is slightly smaller than this one (ME 124630). Provenance: Ex-Kavet Collection, Massachusets Condition: Light green patina and small areas of encrustation over surface. Shape is excellent with no losses. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #120358
Los 41a
Byzantine Empire, ca. 9th to 13th century CE. A gorgeous, huge bronze reliquary in the form of two crosses fitted together, hinged at the bottom. At the top is a hinge attached to a thick, horizontal loop for suspension. Comes with custom stand. Size: 2" W x 3.5" H (5.1 cm x 8.9 cm); height on stand: 4.95" (12.6 cm).On one side is an incised design of four faces - perhaps representing the four Evangelists? - with a drilled, shallow circle in the center. On the other is an abstract design of drilled holes and incised lines forming a cross within the main body of the cross and some unreadable letters. Relics - physical remains of saints or objects associated with Christ, such as pieces of the True Cross, the shroud His body was wrapped in, or, mythically, the Holy Grail - held tremendous power in medieval Christianity. Reliquaries, objects designed to hold relics, were usually kept in cathedrals or churches, but some wealthy individuals were able to possess them. The less wealthy could purchase replicas of reliquaries, small reliquaries containing less precious items like soil from a holy site, or metal items produced as a form of souvenir from shrines. Later, many of these objects were destroyed in times of religious conflict or strife; ones that are intact have often been passed down through generations of families. The Metropolitan Museum of Art has several of these items in its collection, including on display – see the small hinged cross reliquary depicting Christ and the Virgin (1999.519.9). Provenance: Ex-private east coast, USA collection Condition: Excellent, with light patina. Both hinges have their original iron pins; the bottom one is non-functional due to patina. The loop for suspension has a tiny loss to one side and appears, based on patina, to have been made in a different workshop and may be an ancient repair, but is certainly roughly contemporary with this cross. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #120859
Los 41f
Central Asia, Indus Valley, Harappan/Mohenjo-Daro civilization, ca. 2700 to 2000 BCE. This is an incredible, large terracotta burial urn painted with black line motifs of peacocks around the carinated shoulder and a wave pattern around the body. It stands on a flat base and has a rolled rim with a narrow lip. The peacocks stand in groups of two and three, all facing the same direction and shown in profile, each group separated from each other by square, cross-hatched motifs that look almost like cages for keeping birds. Further black-line painted motifs - these abstract and geometrical - ring the neck and lower body. Size: 9" W x 9.75" H (22.9 cm x 24.8 cm)The blue peacock is native to India, and was declared its national bird in 1963. It often serves as the vehicle for several Hindu deities, including Brahma and Lakshmi; the god Indra is sometimes depicted sitting on a peacock throne. From the earliest decorative art in India, we know that the peacock has been associated with the sun, linked with beauty, glory, immortality and wisdom; this iconography spread from India outward to Babylonia, Persia, and Asia Minor. Peacocks are a common motif on Harappan pottery, sometimes shown in flight and sometimes shown standing like these, painted on the shoulder.See a burial urn of similar shape and with a flying peacock motif on the shoulder from the Harappa Archaeological Research Project, in McIntosh, "The Ancient Indus Valley: New Perspectives", 2007, pg. 92. Provenance: Ex-Private East Coast, USA Collection Condition: Two areas of repair on the rim; small chip from shoulder. Otherwise intact, with light areas of encrustation, especially around the base/lower body and the interior. Pigment is well-preserved for age. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #121129
Los 986
1936 Envelope addressed to Sidney Ross at Floyd Bennet Airport in New York and bearing British 2½d bright blue tied by '6 Nov 36' cds cancel plus USA 6c orange tied by '28 Oct 36' cancel, signed by 'J A Mollison' in blue and alongside an hand written note ' On second transatlantic flight N.Y.-London, 30 Oct 1936'; some wrinkles and few light staining, only 22 exist, rare
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534325 Los(e)/Seite