We found 42009 price guide item(s) matching your search

Masonic Interest; Two 19thC Royal Arch Chapter Past 3rd Principles Collar Jewels, the smaller hallmarked silver for Birmingham 1851, 4.5cm diameter, the larger unmarked white metal 6cm diameter (2)

A vintage arch top stoneware 'The Holborn Foster Mother' feeder. With borwn glaze handle and screw stopper. H16cmAll items in this auction are sold as seen, We are unable to provide condition reports or additional photos.

Victorian mahogany chiffonier bookcase with adjustable shelves over a pair of arch panelled cupboard doors and plinth base, 108 x 45 x 220 cm

A Victorian figured mahogany inverted breakfront sideboard with central drawer and arch panelled cupboards on plinth base, 180 cm wide x 50 cm deep x 82 cm high

90 OO/HO Wills Scenic Kits. RRP Over £600.Mostly as new in packaging. (See photos for items which are sun damaged or packaging may have a tearing).(16000g). (90).4 SS80 OO/HO Three Arch Viaduct 1 SS48 OO/HO Timber Signal Box1 SS73 OO/HO Timber Yard2 CK12 OO/HO Two Road Engine Shed4 CK13 OO/HO Black Horse Inn Craftsman Kit2 CK16 OO/HO Country Station Craftsman Kit (1 kit Box is open and box damaged)4 SSAM 103 Signal Box Interior8 Unboxed Kits4 SS51 OO/HO Yard Crane6 SSAM102 OO Scenic Series Metal Workshop Set1 SSAM101 OO Scenic Series Metal Village Blacksmith Set4 SSAM100 OO Scenic Series Metal Farmyard Junk2 SS16 OO Scenic Series Weighbridge & Hut1 SS10 OO Scenic Series Victorian Gents Toilet1 SS23 OO Scenic Series Bicycle Shed with Bicycles1 SS11 OO Scenic Series Taxi Men's Rest House10 SS68 OO Scenic Series Platform Accessories4 SS51 OO Scenic Series Yard Crane4 SS22 OO Scenic Series Two Lamp Huts with Oil Drums6 SS88 OO Scenic Series Relay Boxes Set 24 SS17 OO Scenic Series Coal Bunkers1 SS31 OO Scenic Series Village Ford1 SS39 OO Scenic Series Crossing Keeper's Cottage1 SS30 OO Scenic Series Barn1 SS12 OO Scenic Series Station Garage with Pumps1 SS71 OO Scenic Series Round-Top Windows4 SS14 OO Scenic Series Coal Yard & Hut Condition: Very Good - Fair

An Oak Thirty Hour, Longcase Clock, early 19th century, 12" arch painted dial signed M. Johnson, Bd Castle, four pillar movement with an anchor escapement striking on a bell, 228cm highWith pendulum and one weight

A George III mahogany longcase clock with eight day movement striking on a bell, the 12-inch brass breakarch dial with strike/silent indicator to arch above a chapter ring with black Roman hour numerals framing a chinoiserie engraved centre with subsidiary seconds and date aperture and inscribed 'Story & Howell Yarmouth', all cornered with cast and pierced scroll spandrels, the hood with glazed door and fluted columns above an arched trunk door, fluted cut corner columns and panelled base on bracket feet, height 235cm, with pendulum, two weights and winding key. Note: Storey & Howell are recorded Norfolk clockmakers working in Great Yarmouth pre-1778.

A mid-18th century longcase clock dial and movement, the 12-inch brass breakarch dial with silvered chapter ring framing a matt centre with silvered subsidiary seconds, date aperture and silvered oval plaque, inscribed 'John Tribe Petworth', all beneath a rolling moon to the arch, the eight day movement striking hours on a bell, height of dial 42.2cm, with pendulum and two brass cased weights and a winder, housed within a modern hardwood case. Note: John Tribe (born 1706) is a recorded Sussex clockmaker working in Petworth around 1730 onwards, son of John Tribe of Thakeham.

A late 19th century German gilt brass mounted walnut mantel clock with eight day movement chiming on gongs, the 6-inch silvered breakarch dial with black Arabic hour numerals, the case with gilt brass urn surmount above a moulded arch pediment and other brass mounts, on a moulded rectangular base and paw feet, height 50.5cm, with pendulum.

A George III Scottish mahogany longcase clock with eight day movement striking on a bell, the 13-inch brass breakarch dial with black Roman hour numerals and engraved with foliate scrolls, framing subsidiary seconds and date dials, inscribed 'Mitchell & Son Gorbals' to arch, the hood with blind fretwork frieze above a glazed door with twist columns, the trunk with rectangular door and twist corner columns, on a plain base and bracket feet, height 203cm, with later pendulum, two weights and winder.

A George III mahogany musical longcase clock with eight day three-train movement striking hours on a large bell and chiming on a nest of twelve smaller graduated bells with twenty-four hammers and pull repeat mechanism, the 13¼-inch brass breakarch dial with silvered chapter ring, matt centre with date aperture and silvered plaque, inscribed 'Henry Williams, Lancarvan', cornered with gilt urn, eagle and scroll spandrels, all beneath a three-section silvered arch displaying three of six rolling painted scenes, the hood with broken arch pediment, brass ball and spire finial and pierced fret panels above a glazed door and turned columns, the trunk with shaped arch door, on a plain base and bracket feet, height 228cm, with pendulum and three black painted lead weights (some faults). Note: Henry Williams of Lancarvan (1727-1790) is regarded as one of Wales finest clockmakers, working from his little workshop in the rural Vale of Glamorgan. He was known for producing high quality clocks and was also a successful farmer.

A mid-18th century brass part lantern clock, the 4¼-inch breakarch dial with matt centre and single hand, the chapter ring with black Roman hour numerals, below a boss to the arch inscribed 'Josh Oxley & Co Norwich', height of dial 14.8cm (disassembled and some parts missing).

A MAHOGANY EIGHT-DAY LONGCASE CLOCK G. AND T. HAMMOND, MANCHESTER, MID 19TH CENTURY The four pillar rack and bell striking movement with anchor escapement regulated by wood-rod seconds pendulum and 13 inch circular white painted Roman numeral dial with subsidiary seconds and signed G. & T, Hammond, Manchester to centre, the case with open shallow arch pediment over engraved brass plate inscribed PRESENTED TO THOMAS WYATT OF BOLLINGTON, Together with a sum of money making the cost of this Clock, the sum of, FOUR HUNDRED POUNDS, raised by PUBLIC SUBSCRIPTION, as a reward for the gallant part he took in the capture of two armed HIGHWAYMEN, in Shrigley, on the 11th Feb'y. 1848, when he was himself shot through the arm, And his, Brother, WILLIAM WYATT, of ADLINGTON, fell mortally Wounded., applied to the throat, with rectangular glazed door flanked by corner columns to trunk beneath over raised panel fronted plinth base 219cm high, 54cm wide Condition Report: PLEASE NOTE: ALL LOTS ARE LOCATED AT SACKVILLE WEST STORAGE IN ANDOVER (SP10 3SA) AND ARE NOT AVAILABLE TO VIEW. Movement is complete with no visible evidence of alteration or noticeable replacements. The mechanism is in working order however it is somewhat dirty/oily so a clean and overhaul is required. The dial retains original finish with overall light wear and a few minor surface defects; the minute hand is missing. The movement retains its original seatboard resting on unaltered uprights (cheeks) of the case confirming that the movement and dial are original to the case. Case is lacking lock from the trunk door otherwise is in sound original condition with faults very mich limited to minor bumps, scuffs, shrinkage, wear and other blemishes commensurate with age.Clock has pendulum and two brass-cased weights but no case key or winder.ADDITIONAL IMAGES: Please 'Ask a Question' to request additional images for this lot.  Condition Report Disclaimer

LANCASHIRE, Royal Arch Fishermen of the Bury District, a uniface engraved silver award medal by G. Unite, clasped hands above legend (This Medal was presented to James Lund...as a token of respect for his past Services, June 14th 1856), hallmarked Birmingham 1855, 58mm, 77.31g. Good very fine, very rare; with clip and ring for suspension £100-£150

An Art Deco arch topped glass wall mirror, with floral decoration, 76 x 51cm.

Masonic regalia set in original case includes ceremonial sashes, aprons, and medals with gold embroidery. Includes documents and insignia associated with Freemasonry and Royal Arch Chapters.

Autographed Denis Law 12 X 8 Photo : Colorized, Depicting Man United Centre-Forward Denis Law Celebrating In Typical Fashion Following His Goal Against Arch-Rivals Manchester City In The Second Leg Of The 1969 League Cup Semi-Final At Old Trafford, Signed In Silver Marker. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

ROBERTS (DAVID), illus, EGYPT AND NUBIA, 4 vols, vol I with lithograph frontis, title with vignette, 21 text illustrations and 20 full page lithograph illustrations; vol II with lithograph title, 21 text illustrations and 21 full page illustrations; vol III with lithograph title, 18 text illustrations and 18 full page illustrations and map of the Holy Land; vol V with lithograph title, 21 text illustrations, 20 full page illustrations and map, the lithographs by Louis Haghe after David Roberts, ¾ leather with cloth boards and marbled end papers, London, F.G. Moon, 1843 – 1849 (4) Condition Report:  The overall size of the exterior of the books is approx 62.5cm x 47cm. The Thickness of the books is between 3.5cm and 4cm. It is not clear if this is the folio editon or another.Four vols, No’s 1, 2, 3, 5 on the title pages.The volume numbers on the spines match apart from volume 5 which states Vol II on the spine.Vol I title page dated 1846Vol II title page dated 1843Vol III & V title pages dated 1849All of the bindings with rubbing and wear externally. Some foxing, age marks and scuffs and some with fading. Books with a very light curl (see image). Internally, all with foxing, varying from light to heavy. Please see additional images. Full page plate titles are (not including title pages):Vol I View under the Grand Portico FhilaeSlave Boat on the Nile – View looking towards the Pyramids Dashor and SaccaraRemains of the Portico of the Temple of Kom OmbeThe Temple of Aboo SimblePart of the Portico of EdfouThebesThe Interior of the Temple at Aboo SimbleGeneral view of the Ruins of LuxorThe Great Sphinx Pyramids of GizehThe Great Hall at KarnacObelisk of LuxorTemple at EsnehGeneral view of the Island of FhilaePortico of the Temple of KalabshiLibyan chain of mountains, from the Temple of LuxorView under the Portico of the Temple of EdfouTemple of Edfou, ancient Appolinoponis.DenderaRuins of KarnackThe Portico of the Temple of FhilaeGrand approach to the Temple of Fhilae Vol II Descent upon the Valley of JordanJericoConvent at St SabaEngediHebronAskelonGazaJaffa looking southCaiphus looking toward Mount CarmelSt Joan of D’ArcCape BlancoGeneral view of TyreTyre from the IsthmusSidonSidon looking toward LebanonBaalbecBaalbec (portrait not landscape)Doorway to BaalbecPortion of the Eastern Portico BaalbecBethlehemChurch of St Helena, Bethlehem Vol III El Dir PetraPetraTemple called El Khasne PetraPetra, shoeing the upper Eastern end of the valleyThe TheatreRemains of a Triumphal Arch at PetraAcropolis, lower end of the valleyThe RavineSite of PetraIsland of GraiaGulf of AkbarEncampment of the Auld-SaidChapel of the Convent of St Catherine on Mount SinaiAscent of the lower range of SinaiThe Convent of St Catherine, Mount SinaiThe Convent of St Catherine with Mount HorebConvent of St Catherine, Mount SinaiApproach to Mount SinaiSuezA map to illustrate the route of David Roberts, Esq, in the Holy Land, Petrea & Syria Vol V Front elevation of the Great Temple of Aboo SimbleFragments of the Great Colossi at the MemnoniumApproach of the Fortress of IbrimRuins of the MemnoniumEntrance to the Temple of AmunHadjar SilsilisKarnacKarnacMedinet Abou, ThebesMedinet Abou, ThebesThe Hypaethral Temple at Fhilae, called the Bed of PharoahPyramids of GeezehView from under the Portico of the Temple of DenderaGeneral view of Esouan and the Island of ElephantineKarnakEntrance to the tombs of the King of Thebes, Biban-el-MolookStatues of Memon at Thebes during the InundationGrand Entrance to the Temple of LuxorEdfouRuins of Kom OmboMap – Egypt and Nubia, dated 1949     

VIEWS IN NORTH WALES; a 19th century album of mounted black and white photographic prints of views in north Wales, comprising, Holyhead, New Harbour Holyhead, Brittania Tubular Bridge (x2), Menai Suspension Bridge, Carnarvon Castle, Carnarvon Castle Interior (x2), Beaumaris, River Ogwen Near Bangor, Menai Straits, Penmaenmauwr, Conwy Castle, The Bridges Conwy, The Llugwy Bettws-y-Coed, View Bettws-y-Coed, The Fairy Glen Bettws-y-Coed, The Lledr above Dolwyddelen, Railway Viaduct Lledr Valley, Large Arch Lledr Viaduct, Lledr Valley, Ripple marked rock near Dolwyddelen, Chester from the Roodee, Chester Old Dee Bridges and Castle, Chester, Old Houses Watergate St, Holyhead New Hotel, Holyhead Harbour from hotel windows, Holyhead Harbour, New Quay, Holyhead Harbour, June 17th 1880, Holyhead Old Harbour, largest 28cm x 37cm, page size 41cm x 49cm, (1)Condition Report: Binding in poor condition.

A fine 19th Century walnut Longcase Clock, the break arch brass dial signed "Anderson, Newcastle upon Tyne," with date aperture, seconds dial and strike/silent dial in its arch; with pendulum and door and winding keys, 228cms (90"). high (1)

An Irish Provincial mahogany cased Grandfather Clock, the hood with arch top and sunburst satinwood inlay, over Corinthian columns with glazed door housing a painted dial with Roman numerals, signed  'Wallace, Limerick,' the frame with inlaid shaped panel door on box base with bracket feet, approx. 232cms (91") high. (1)

A pair of late 19th Century gilt Banquet Chairs, each with a four arch back with turned rails, together with another similar five branch ditto. (3)

A 19th Century mahogany two door Wardrobe, the shaped cornice above two panel doors with moulded arch motifs on a plinth base, approx. 211cms high x 142cms wide (83" x 56"). (1)

A large heavy onyx three piece Mantle Clock Garniture, the arch formed case with gilt metal mounts, surmounted with a stag over a circular brass dial with Arabic numerals on a rectangular moulded plinth (lacking movement) together with two matching Tazzi, 46cms x 50cms (26" x 19 1/2") - clock; 26cms (10").  (3)

An Aesthetic movement ebonised and gilt Overmantel, the arch cornice with central painted porcelain panel of a cherub above long shaped shelf with central landscape mirror, the base with a large bevelled shield shaped mirror flanked either side with shelf and mirror panels, 175cms x 175cms (69" x 69"). (1)

A 19th century oak longcase clock, with a broken swan neck pediment above a short trunk door, box base and bracket feet, the 30.5cm dial painted with flowers to the arch with Roman numerals inscribed J Hando Brecon, the eight day movement striking on a bell

A 19th century oak and mahogany longcase clock, the hood with a broken swan neck pediment and fluted columns above a long trunk door on a box base, the 35.5cm dial with moonphase to the arch, Arabic numerals, seconds subsidiary dial and calendar aperture, inscribed John and Joyce Ruthin, 228cm high

A 17th Century oak Coffer with four sunken panel lid, above carved floral arch frieze and lock plate and three diamond design panels, panelled ends, with interior Candle Box and raised on stile supports, 26" high x 47.5" long x 2ft deep. Lacks patina overall, good original condition

A pair of Arts and Crafts brass and wrought iron fire dogs, circa 1900, the pierced foliate roundels cast with cross and foliate scroll decoration in the Gothic Revival style, on polished steel supports, bisected arch legs with tapered toes, 74cm high (2).Provenance: with receipt of purchase from The Griffin Foundry, Birmingham, 1918

Steven Arch (20th century): artist signed limited edition print, HMS Victory 113/1805, mounted with oak and copper from the vessel, overall 55 x 55 cm. Not available for in-house P&P

Alexander Creswell (b. 1957): pair of watercolours, Stancombe Park Egyptian Arch, and Urns at the Villa Lante, each signed LL, images 28 x 35 cm, overall 50 x 59 cm. Creswell travels throughout Europe, the USA, the Middle East, Egypt, China and Russia. In Britain he has received numerous commissions to paint great both country houses and fine architecture in general. After his first visit to Sicily, he seemed absorbed by the island’s landscape and tumultuous history. The result was the exhibition “Power & Glory – Sicilian Baroque” which encapsulates the spirit of two centuries of Sicilian architecture, starting with devastating earthquake of 1693. Artist Resale Rights may apply Not available for in-house P&P

Buffon (Georges-Louis Leclerc, Comte de). Buffon's Natural History, 4 volumes, London: Thomas Tegg, 1831, vignette titles, small black and white illustrations in-text, all edges gilt, contemporary maroon straight-grain morocco gilt, rubbed and scuffed, 12mo, together with:White (Gilbert). The Natural History and Antiquities of Selborne, new edition, London: J. and A. Arch, 1833, vignette title, small black and white illustrations in-text, early 20th-century calf gilt, ornithological devices blocked in gilt to spine compartments, 8vo, plusBewick (John and Thomas). Select Fables; with cuts, designed and engraved by Thomas and John Bewick, 1st edition, London: S. Hodgson, 1820, engraved frontispiece, vignette title, woodcut illustrations in-text, top edge gilt, remainder untrimmed, early 20th-century brown half morocco gilt, spine a little faded, joints worn, rubbed and marked, 8vo, plus 46 other natural history, mostly 19th-century and leatherboundQTY: (52)

* Abbot (Henry). Six Aquatints of Rome: Coliseum, Arch of Septimius Severus, Temple of Jupiter Tonans, Column & Forum of Tiajan, The Pyramid of Caius Cestius & Temple of Jupiter Stator, London: Baldwin Craddock & Joy, Novr. 1st. 1820, six aquatints by T. Fielding, J. Gleadah, D. Havell & R. Reeve, all with contemporary hand-colouring, large margins, some dust and finger soiling, slight staining but largely confined to the margins, three of the engravings have a near-contemporary silhouette watercolour on the verso, each approximately 460 x 340 mmQTY: (6)NOTE:Abbey Travel 179; 1, 5, 10, 17, 12 & 21.Originally published in Henry Abbot's 'Antiquities of Rome; comprising Twenty-Four Select Views of its Principal Ruins..., made in the year 1818'.

Darwin (Charles). On the Origin of Species by Means of Natural Selection, or the Preservation of Favoured Races in the Struggle for Life, Fifth Thousand, London: John Murray, 1860, half-title with three quotations on verso, folding lithographic diagram by William West after Darwin bound to face p. 117, 32 pp. publisher’s catalogue at rear (dated January 1860, lacking pp. 23-28), a few scattered marginal pencil marks, some finger and dust-soiling and a few light creases to early leaves, including creasing at foot of front flyleaf and half-title, marginal splits to blank foremargin of D1 and lower inner margin of E9, inner margins of K1-6 slightly cracked, coated brown endpapers, pictorial bookplate of Millicent Garrett Fawcett with the motto ‘Truth is the Light’ to front pastedown, original blind-stamped green cloth with Edmonds and Remnants ticket at rear, gilt-stamped spine, rubbed and a little edge wear, spine ends strengthened, 8vo in 12sQTY: (1)NOTE: Provenance: Millicent Garrett Fawcett (1847-1929), leader of the constitutional women’s suffrage movement and author. In 1867 she married the statesman, academic and economist Henry Fawcett. Millicent wrote on women’s education, women’s suffrage, and economics, as well as two novels. She was co-founder of Newnham College in 1875, and served on its council. She was a committee member of the London National Society for Women’s Suffrage from 1867, and spoke and lectured on women’s issues and other political subjects in the 1870s. She emerged as the women’s suffrage movement’s leader after the death of Lydia Ernestine Becker in 1890.Unlike Becker, with whom Darwin occasionally corresponded between 1863 and 1877, Millicent Fawcett never seems to have met or corresponded with Darwin himself, though she and her husband Henry did have contact with Darwin’s second son, George. Millicent was a committed disciple of John Stuart Mill, a keen supporter of women’s suffrage, while the arch-conservative Darwin has traditionally not been recognised as a promoter of women’s rights. This view has softened in recent years and certainly Millicent believed Darwin was an ally and named him as a supporter:‘… This objection, that the notion of women suffrage is monstrous and absurd and deserves only to be treated as a joke, is one which is slowly dying a natural death. You still hear of it in remote country districts, but it has received its death blow from the names of the many very eminent persons who are the warm advocates of women’s suffrage. Perhaps I need only mention such names as Mr Mill, Canon Kingsley, Mr Darwin, Professor Huxley and Professor Maurice to remind you that women’s suffrage is advocated by men occupying the highest ranks in philosophy, science and literature’, (from ‘A Lecture Delivered at the New Hall, Tavistock, 11 March 1871’, published in Melissa Terras & Elizabeth Crawford (editors), Millicent Garrett Fawcett: Selected Writings, (UCL Press, 2022), p. 53.)Freeman 376a; Norman 594; cf. Garrison-Morton 220 & PMM 344b for the first edition. Second edition, second issue. One of 3,000 copies; only two copies of the first issue with an 1859 imprint are known.'The most important biological book ever written' (Freeman) and 'one of the most important books ever published' (Garrison-Morton).

The Garrard Silver Jubilee clock, designed and manufactured exclusively for Garrard, by F W Elliott Ltd, 28-day clock to commemorate the Silver Jubilee of Her Majesty Queen Elizabeth II, sterling silver arch-top dial with applied chapter ring, Roman numeral hour markers and Tudor Rose centre column, London 1977, limited edition no. 81/250, case height 33cm, with key and certificate of authenticity

A Vintage mahogany chiming mantel clock, by Gustav Becker of Freiburg, silvered arch-top dial with Roman numeral hour markers, case height 43cm, with key and pendulum

An early 20th century mahogany 8-day bracket clock, with label for Loffler Brothers of Kilburn, gilt-brass arch-top dial with Arabic numerals and movement striking on a gong, case height 40cm, with pendulum (A/F)

A Vintage bevel-edge arch-top wall mirror, overall height 95cm

A mahogany mantle clock with broken arch pediment, and brass mounts and a brass circular dial with black Roman Numerals

A Long case clock mahogany and walnut veneered 8 day , by Christopher Tucker London, The arch brass and silvered dial with subsidiary seconds dial and date apperature, damage to the doom

Ptolemaic Period, 3rd-2nd century B.C. Round-topped stela with decoration on two registers; the lunette, featuring a winged sun disc with pendant uraei; the main panel with a frieze in sunk relief depicting the pharaoh wearing the double crown, facing left offering the hieroglyphic symbol for 'fields'; a goddess stands behind him, possibly Isis, wearing a tight-fitting robe and sporting a tall two-plumed headdress, with one hand raised in praise; facing the pharaoh is the falcon-headed god, possibly Horus or Her-wer, wearing a double-crown, and behind him stands the ibis-headed Thoth wearing the Atef crown, both gods hold a was-sceptre; repaired, mounted on a custom-made stand. Cf. Bosticco, S., Museo archaeologico di Firenze: le stele egiziane di epoca tarda Rome, 1972, no. 58, for an arch-topped stela depicting the pharaoh offering the 'field' symbol to the gods Her-wer and Sobek. 19.45 kg total, 55 cm including stand (21 5/8 in.). (For this specific lot, 5% import VAT is applicable on the hammer price.) [A video of this lot is available to view on Timeline Auctions Website]Acquired in the mid-1980s-1990s. Private collection, Switzerland, thence by descent. Private collection, since the late 1990s. Accompanied by an academic report by Egyptologist Paul Whelan. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12200-222172. 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.The overall tripartite composition is comparable to numerous stelae of the Ptolemaic Period and can be dated to the 3rd-2nd century B.C. The decorative lunette and/or sky bands and bold sunk relief winged sun disc are characteristic of this period, as is the fringed detailing of the female’s garment. The offering of the ‘field’ symbol is also a frequent depiction of the stelae of this period, which can be understood as a ‘catch-all’ device representing an offering of all the produce from the fields. Such stelae were often produced as stock products to which clients would have their names and other details added. Therefore, the stela is likely an example of one awaiting purchase. After the purchase, the hieroglyphic labels would be added to the figurative tableau, and a dedicatory text would be carved into the plain rectangle in the lower part. Sometimes, however, it appears that a purchaser could not afford the additional expense of a professionally engraved inscription, and so would scratch a short dedication in the lower panel as seen, for example, in the stela for Horudja from the Delta site of Tanis and now in the Musée du Louvre (inv. no. AF 11682).TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each piece undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: www.timelineauctions.com/stories/our-vetting-process/15/TimeLine is a leading auction house specialising in antiquities, ancient art, collectables, natural history, coins, medals, and books. Our auctions offer museums, collectors, historians, and enthusiasts the opportunity to acquire unique and historically significant pieces.

Early 4th century A.D. Well preserved rectangular tablet inscribed in Roman cursive script, on the outer face the beginnings of a contract and the signatures of witnesses, the inner side with a recessed panel inscribed with fourteen lines of Roman cursive script, on the outer face right of the sulcus the signatures of five witnesses, to the left the beginning of the contract: 'the pactum et conventum was made between Maianus, son of Dontiquus, and a person called Silvanus; Maianus was born shortly before A.D. 281 and reached an advanced age as he is still attested after AD 360'; the text consists inter alia of typical Roman legal formula like stipulatus est … – spopondidit … - testati sunt …, including the note: Actum Titiiuni, which may be understood as ‘negotiated and agreed at Titiiuni’. Cf. Rothenhöfer, Peter Jürgen Blänsdorf, Sana mente sanaque memoria testamentum feci: Eine testamentarische Verfügung vom 12. April 340 n. Chr., Gephyra 13 (2016), pp.153-163; Rothenhöfer, Peter - Wang, Weixia Flavius Aelius Victorinus praeses provinciae Numidiae, VDI 2025 (forthcoming); Wang, Wexia, Vibius Flavianus, First Governor of the provincia Valeria Byzacena, VDI 2025 (forthcoming); for examples of testamentary documents on wooden tablets that have survived, see FIRA III, p. 47; for Anthony Silvanus from 142 AD; also see BGU VII 1695 for Safinnius Herminus; for another from Transfynydd, North Wales, see Arch. Camb. 150, pp. 143-156; and see Bowman, A.K., Life and letters on the Roman frontier: Vindolanda and its people, London, 1994, for discussion of the uses of Roman writing tablets. Exhibited at the Harwich Museum, Harwich, Essex, UK, 21st January-10th March 2025; accompanied by a copy of a photograph of the artefacts on display. Rothenhoefer, P., Neue römische Rechtsdokumente aus dem Byzacena-Archiv / New Roman Legal Documents from the Byzacena Archive, (forthcoming). 64 grams, 18.2 cm (7 1/8 in.). [No Reserve] Acquired by Albert Sfez in the early 1950s. Formerly the property of Monsieur Alain Sfez, a Belgian collector; acquired by gift from his father Albert Sfez, in 1965. Acquired by a London dealer in 1973. From an important London collection since 1975; thence by descent. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12525-230804.

Early 4th century A.D. Well preserved rectangular tablet with a recessed panel inscribed with eleven lines of Roman cursive script, no writing on the reverse, the last tablet of a legal contract probably regarding questions of land ownership between a Crescentius and a Lanuarius into which also local elders, seniores, were involved; the text consists of highly developed legal formula, e.g. testati sunt …, and ends with the note: Actum Goretiano, which may be understood as ‘negotiated and decided at the Goretiano estate’; the fundus Goretianos is also mentioned in various other know legal documents. Cf. Rothenhöfer, Peter Jürgen Blänsdorf, Sana mente sanaque memoria testamentum feci: Eine testamentarische Verfügung vom 12. April 340 n. Chr., Gephyra 13 (2016), pp.153-163; Rothenhöfer, Peter - Wang, Weixia, Flavius Aelius Victorinus praeses provinciae Numidiae, VDI 2025 (forthcoming); Wang, Wexia, Vibius Flavianus, First Governor of the provincia Valeria Byzacena, VDI 2025 (forthcoming); for examples of testamentary documents on wooden tablets that have survived, see FIRA III, p. 47; for Anthony Silvanus from 142 AD; also see BGU VII 1695 for Safinnius Herminus; for another from Transfynydd, North Wales, see Arch. Camb. 150, pp. 143-156; and see Bowman, A.K., Life and letters on the Roman frontier: Vindolanda and its people, London, 1994, for discussion of the uses of Roman writing tablets. Exhibited at the Harwich Museum, Harwich, Essex, UK, 21st January-10th March 2025; accompanied by a copy of a photograph of the artefacts on display. Rothenhoefer, P., Neue römische Rechtsdokumente aus dem Byzacena-Archiv / New Roman Legal Documents from the Byzacena Archive, (forthcoming). 27.4 grams, 14.4 cm (5 5/8 in.). [No Reserve] Acquired by Albert Sfez in the early 1950s. Formerly the property of Monsieur Alain Sfez, a Belgian collector; acquired by gift from his father Albert Sfez, in 1965. Acquired by a London dealer in 1973. From an important London collection since 1975; thence by descent.

4th-6th century A.D. Octagonal in plan with chamfered edges to the marble surface; engraved central square with birds in the upper corners and spandrels below, enclosing a bilinear ring with menorah on a stand between etrog and lulav; mounted on a custom-made stand. Exhibited at the Harwich Museum, Harwich, Essex, UK, 21st January-10th March 2025; accompanied by a copy of a photograph of the artefacts on display. 577 grams total, 14.2 cm including stand (5 5/8 in.). From an important UK collection, London, 1970-1990s. Ex London, UK, collection. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12527-231879.An extremely rare and fine example of the type. The menorah is first mentioned in the Book of Exodus (25:31–40), according to which the design of the lamp was revealed to Moses by God on Mount Sinai. The candlestick was to be forged out of a single piece of gold and was to have six branches, ‘three on one side, and three on the other’, There are no extant images of the menorah from the First Temple period, but many examples dating from the Second Temple period have been recorded. The menorah was often depicted flanked by symbolic ritual objects. Here, with what appear to be the etrog (citron) and lulav (date-palm branch) of the festival of Sukkot (Feast of Tabernacles). A new Menorah was installed in the Second Temple, built after the return from exile in Babylon. This was looted by Antiochos Epiphanes in 169 BCE when he desecrated the Temple.  With tragic wit, the Jews named him Epimanes, or ‘the madman’, when it became apparent that his policies were violently anti-Jewish. However, after the Maccabean Revolt (167-160 BCE) Judas Maccabeus ordered the construction of a new seven-branched candelabra to be placed in the Temple. The rededication is still celebrated with the festival of Hanukkah (‘to dedicate’). According to rabbinic tradition, the victorious Maccabees could only find a small jug of pure olive oil uncontaminated by virtue of a seal, and although it only contained enough oil to sustain the Menorah for one day, it miraculously lasted for eight days, by which time further oil had been found. The Menorah was subject to Roman plunder after the destruction of the Second Temple in 70 CE; according to Josephus, it was displayed during the Roman triumphal march, the scene of which is famously depicted in a frieze on the Arch of Titus along with other spoils of the destroyed temple. For centuries, the Menorah and the other temple treasures were displayed as war booty in the Templum Pacis in Rome or in the Imperial Palace and was still there when the city was sacked by the Vandals in 455 CE. Although the Menorah disappeared and the Talmud forbade its reconstruction, it became a popular symbol signifying Judaism. Representations of the Menorah often decorated tombs, walls, floors of synagogues and amulets.

Circa 1st millennium B.C. Globular with flared rim, horizontal painted bands to the shoulder and equator, wavy line beneath and frieze of ibexes above. Cf. Dibon-Smith, R., The Ibex as an iconographic Symbol in the ancient Near East, 2015, fig.18, for similar image of ibexes on the Susian pottery. 768 grams, 15.7 cm high (6 1/8 in.). [No Reserve] From a collection acquired on the UK art market from various auction houses and collections mostly before 2000. From an important Cambridgeshire estate; thence by descent.The images of the ibex attested as the most ancient figures date back to the discovery of the beakers of Susa ca. 4000 B.C. There are several such beakers in the museums, all coming from the excavations of the prehistoric levels of Susa (later on becoming the Elamite Shushan, modern Shush, Iran). The ibex is portrayed in a non-naturalistic way, with the use of simple shapes, such as triangles. The horns of the goat arch back over itself, forming a circle over its body. The beakers of Susa have the following elements in common: the large ibex image, with exaggerated horns, and figures of wavy lines symbolising water and rain.

Miocene Period, Yorktown Formation, circa 23-5.3 million years B.P. Showing the edges of the neural arch and the base of transverse processes. 2.43 kg, 22 cm wide (8 5/8 in.). [No Reserve] From Beaufort County, North Carolina, USA. From the private collection of Kenneth Machin (1936-2020), Buckinghamshire, UK; with collection no.VM3; his collection of antiquities and natural history was formed since 1948; thence by descent.

Devensian Period, 110,000-12,000 years B.P. From Mammuthus Primigenius, showing the neural arch, inked collection number '83' to the body, metal tag with '1090'. 1.73 kg, 30 cm (11 3/4 in.). [No Reserve] Dredged by a fisherman of the Dutch coast. From the private collection of Kenneth Machin (1936-2020), Buckinghamshire, UK; with collection no.VM83; his collection of antiquities and natural history was formed since 1948; thence by descent.

England, Norfolk or Suffolk, early 15th century A.D. Carved end of a church pew with lancet arch arcading supporting a roundel with triskele; pointed upstand with foliage detailing; old clout-nail to lower edge. 15.3 kg, 108 cm high (42 1/2 in.). [No Reserve] Ex Peter Richey, 1997.

Bern, Switzerland, circa 1520 A.D. Pair of stained glass window panels comprising: a kneeling female figure in a blue robe in a landscape, within an arch with heraldic supporters on the capitals; with heater shield lower right with mask on a barry field; a kneeling bearded male in a landscape within a lancet arch with heater shield lower left, running goat in fess beneath a mullet; both from the circle of Hans Funk, each supplied with frame including integral backlight, 12V DC transformer and three-pin plug. 16.5 kg total, 59 x 43 cm including frame (23 1/4 x 17 in.). [2, No Reserve] Kept in a private collection for several decades, Zurich, Switzerland. with Schuler Auktionen, 24 March 2021, no.529. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12551-230650.

Byzantine Square AE Commercial Weight of One Uncia.. Circa 4th-6th century AD. Engraved in outline and inlaid with silver large cross between Γᴑ A; all beneath arch supported by two columns / Blank. Cf. Pondera Online 18540; Bendall -; MAH -; Pera -. 26.80gr, 24mm x 25mm x 6mm. Condition as seen. Square commercial weight with edge of two tiers.Ex German art market, 2000s.Acquired from an EU collector living in London.From the collection of Surrey, UK, gentleman.

1st-4th century A.D. A massive parallelepiped block, square in section, grey-brown in colour. Cf. Jenkins, F., ‘Roman Villa, Wingham’ in Arch Cant 1984, pp.87-100, for the report of excavations; for similar bricks found in the excavations of a Roman Villa in Cobham Park see Archeologia Cantiana, 1960, p.178, Pl.I. 2.79 kg, 19.5 x 20.2 cm (7 3/4 x 8 in.). [No Reserve] Found near Wingham, Kent, UK. From the collection of a late East Anglian teacher and antiquarian who retired to the Isle of Wight in Hampshire, UK. He amassed a large collection of objects between the 1960s-1980s.In Kent, nearby Dover, there is the site of a Roman villa located in a field named The Vineyards. The site was excavated in 1881-82 during which time a hypocaust, tessellated pavement, bath house and a quern were found. The hypocaust was dated to two periods and a quern was found on a tessellated pavement.

A collection of Scandinavian and similar silver and white metal jewellery, a David Andersen of Norway 45mm enamelled pansy brooch; a white metal pendant collet set with an oval cabochon cut 30x18mm amethyst to centre and arch of seven moonstones graduating in size to top above, 60cm bar and trace link chain; two G Glaser white metal brooohes and pair of earrings; another unmarked brooch; three white metal modern dress rings; two boulder pieces all in a Cyma jewel case.

A PAIR OF PAINTED WOOD AND METAL GARDEN ARMCHAIRS 20TH CENTURY Lancet back panel design 86cm high, 55.5cm high, 49cm high Condition Report: Each with marks, knocks, scratches, abrasions consistent with age and use Splits and cracks, chips and losses, distressing to paintwork, corrosion to exposed metal areas, the seat slats appear to be fairly recent replacements, The arcaded section to one chair back is loose, there are some later screws just about holding this element in place, there should be a further screw to hold the back up - due to the angle of the arch it is no easy to get a standard screwdriver here, an angled tool may be required - there are holes to the backs where previous screws have been placed and worn the timber away, some filler or similar may be required for future long term use and security. otherwise frames solid and stablePlease see additional images for visual reference to condition Condition Report Disclaimer

Ɵ  Adam (Robert and James) The Works in Architecture, parts 1-4 only of vol.1 (of a total of 10 parts in 2 vol.), first edition, text in English and French, separate printed title, preface and explanation of plates to each part, 8 engraved plates to each part, 2 double-page, 2 hand-coloured, total of 32 plates only (of 80) also lacking frontispiece by Bartolozzi, some marginal repairs, lacking general title, staining and soiling, one hand-coloured plate with repaired tear, modern half calf over marbled boards, uncut, large folio, Printed for the Authors and Sold by T. Becket, 1773-76. *** The first four parts only of the leading work on British classicism and one of the landmark architectural books of the eighteenth century."The most beautiful and innovative in representation in English architectural literature of the eighteenth century" (Robin Middleton in the Millard Collection)""The style of the Adam brothers replaced Palladianism as the English national style. The fact that it also gained international importance and influenced art on the European continent, in Russia and North America is not least thanks to this publication." (M. Fischer) Literature: Harris 5 (notes); Millard Coll. 2; British Arch. Library 28. 

An oak library timepiece, 19th century, with a silvered pointed arch dial, inscribed 'Carter, 61 Cornhill, London' within engraved scrolls, the case with pierced Gothic decoration enclosing a single fusee movement and with an engraved backplate,19cm wide28cm highCondition ReportThe movement is not tested, no key, pendulum present. Locks are all present, but no door key.The movement appears very clean, it is very likely that the side panels were silked, but doesn't appear to detract.The side panels are glazed.

A paisley shawl, early 20th century, the ivory field with an arch filled with boteh, the spandrels decorated with two peacocks, 245 x 123cm Condition report: some staining. 

Two Victorian fob seals, 19th century, comprising: a late Victorian white chalcedony fob seal, with eagle surmount the chalcedony engraved with initials, length 18mm; and a fob seal with a plain carnelian matrix, length 3.7cm Small dent to the arch section on the larger seal.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

THOMAS PACE OF WHITECHAPEL, LONDON (act. in Whitechapel 1784-1825): A late 18th / early 19th Century arch-top bracket clock striking on a bell, convex painted dial with Roman numerals, pierced metal hands, mahogany case inlaid with brass fleur de lys, column corners, raised on bun feet, pierced brass side frets. The twin fusee movement with recoil escapement and rack/snail strike, hammer a/f and loose from movement. With key and pendulum. For renovation, glass cracked to back door. 41cm high x 30cm wide x 16cm deep.Thomas Pace of London is recorded in Baillies' 'Watchmakers and Clockmakers of The World' book as working from 1784-1825 in Whitechapel. A watch by Thomas Pace is noted in the Guildhall Museum.

STEPHEN ASSELIN OF LONDON (1670-1744): A green lacquer striking and chiming bracket clock, the gilt dial with calendar and pendulum apertures, subsidiary dials for hours and quarter strike/silent and a painted lunar disk to the arch. The three train movement with verge escapement and chiming on six bells, the backplate with engraved arabesque foliage, supporting a putto, inverted bell-top case with carry handle to top, red and gilt chinoiseries on a green ground. Together with later ogee moulded bracket. With winding key, door key, pendulum and Sotheby's sale catalogue excerpt from February 3rd 1961. 46cm high, 30cm wide, 21cm deep.  Bracket 35cm wide x 24cm deep x 16cm high COINDITION REPORT:  Hour hand out of synch to strike train. Chiming, striking and going trains function but require attention. Movement in poor condition. Dirty and signs of corrosion and dry oils. With power on each gear train, chime out of sequence / not landing correctly but lift and drop. Movement appears to be complete though. There is slightly different engraving to the brackets which hold the movement and crude holes to case side screws. Could be later. Some damage to fretwork, wear to paint. Loss to above rear door.

A vintage 20th century acrylic on canvas painting. Vibrant polychrome design of French street scene. Depicts cafe and row of shop front buildings to left, with cobbled street and arch architectural building. No signature present. Framed. 39cm x 47cm approx.