We found 117861 price guide item(s) matching your search
There are 117861 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
117861 item(s)/page
Lot 729
DAVID BOWIE - SCARY MONSTERS LP - PURPLE VINYL (BOW LP 2). Fantastic addition to any serious David Bowie collection with this original legendary purple vinyl pressing of Scary Monsters... One of only a handful of copies ever pressed (some sources say as little as 5 copies were produced) the record (UK pressing from 1980) is graded strictly as Ex. Very few markings are noted, however please be aware that there is light 'poly bag residue' noted on both sides. Strictly aesthetic, the record plays with total clarity. Matrix/stampers: BOW LP2 A3 TOWNHOUSE I CANT THINK.... B3C & BOW LP2 B3 TOWNHOUSE .....OF ANYTHING A1AX. With original lyric insert in Ex+ condition Complete with the original UK picture sleeve (as this copy would have been housed with) presented in lovely Ex+ condition with just a little edgewear.
Lot 628
70s - 80s / PUNK / NEW WAVE / MOD / POWER POP - 7". Killer collection of about 130 x 7". Artists/titles include Red Beans and Rice (CHIS 124), Gorillas, The Damned, A.P.B., The Selecter, The Jam, That Summer Feeling, Charlie Pickett, Some Loves, Combat 84, The Hammersmith Gorillas, Nince Taylor and His Playboys, The Lemons, Southside Johnny and The Asbury Jukes, Close Shave, Flys, Whirlwind, The shakin' Pyramids, Go Go's, Dirty Looks, Athletico Spizz '80, Bethnal, Bow Wow Wow, The Doll, The Smirks, Nick Lowe, Laurel Aitken, The Lines, 21 Guns, Stepaside, Trevor White, Vic Godard & Subway Sect, The Satellites, Paul Shuttleworth, 9 Below Zero (signed), Jo Jo Zep & The Falcons, Gamma. Condition is generally VG+ to Ex+.
Lot 759
DAVID BOWIE - IN BERTOLT BRECHT'S BAAL EP - MISPRESSING (PLAYING 'WILD IS THE WIND). Extremely unusual mispressing of the 1982 EP (BOW 11) which plays Wild Is The Wind on the A side... The record is in Ex+ or 'NM' condition with only a couple of very faint, fine and wispy paper marks. Housed with original stock gatefold sleeve in Ex+ or 'NM' condition.
Lot 652
CLASSIC ROCK & POP - 60s TO 90s ARTISTS - LPs. Great instant collection of 59 x LPs. Artists/titles include David Bowie (x2) - Ziggy Stardust (UK 2nd SF 8287 with Mainman/Chrysalis credits on the LP, no Mainman on sleeve - strong Ex condition record, 6E/4E matrix endings/with Ex condition paper lyric inner/Ex some ringwear on the front) and Lodger (UK original pressing BOW LP 1 - Ex/Ex w/insert), The Pastels - Illuminati - Pastels Music Remixed (deleted 1998 double LP, Domino WIGLP 46 - VG+ and Ex+ records/Ex), The Beatles - 1962-1966 and 1967-1970 (stock black vinyl copies), Led Zeppelin - IV (green/orange EU RE), Uriah Heep - Return To Fantasy, The Persuasions, OMD, XTC, Fairground Attraction, Kanye West, Fleetwood Mac - Tango In The Night (w/hype sticker), Canned Heat, Rolling Stones, Status Quo, Jon And Vangelis, Barclay James Harvest, Mike Oldfield, Steve Winwood and ELO. Condition is generally VG to Ex+.
Lot 859
DAVID BOWIE / ALBUMS & MAXIS / JAPANESE & ROW RELEASES - LPs/12"/7". Stirrin' clean bundle of 8 x LPs, 2 x 12" plus 1 x shaped pic 7". Titles include The Man Who Sold The World (original US, SR 61325, Ex+/Ex), David Live (RCA-9105-06, no OBI), Images (L35P 1073/4, no OBI), The Rise and Fall of Ziggy Stardust and The Spiders From Mars (SF 8287), Aladdin Sane (RS 1001), Rare Interview (AR 30010), Labyrinth (EYS-91170, no OBI), Loving The Alien (EAP 195), Space Oddity (AQL1-4813), Let's Dance (SO-17093), Fashion (BOW T 7). Condition is generally Ex to Ex+/as new.
Lot 824
CLASSIC ROCK - LPs. Great selection of classic titles with these 9 x LPs. Titles are Jimi Hendrix (x2) - Electric Ladyland (original UK Track pressing 613008/9 white text copy with hand corrected matrix, A1/B1/A1/B1 endings - outstanding Ex+ or 'NM' condition records, super clean with just a couple of extremely faint and wispy markings/Ex sleeve, showing only light wear, note that the sleeve has been stored 'back to front' likely to censor the nude ladies(!), this has caused some shelfwear and light 'wavy' nature to the sleeve, if a weight was applied to the sleeve this should subside) and For Real! (DJLMD 8011 - Ex+ or 'NM' copy), Various - Woodstock Two (UK plum Atlantic original 2657 003, with US sleeve), T. Rex (x2) - Electric Warrior (HIFLY 6 - Ex would likely clean as Ex+/VG+, with inner, no poster) and S/T (HIFLY 2), The Who - A Quick One/The Who Sell Out (Select Double 2683 038 - superb Ex+ or 'NM' copy), Mott The Hoople - All The Young Dudes (S 65184), Humble Pie - As Safe As Yesterday Is (IMSP 025) and David Bowie - Scary Monsters (BOW LP 2 w/insert). Condition elsewhere is primarily Ex+ or 'NM'.
Lot 808
DAVID BOWIE - 7" (WITH DEMOS). Smart pack of 10 x UK 7", 5 of which are demos. These are Fame (RCA 2579 - glossy Ex), Fashion (BOW 7 - Ex/Ex), Scary Monsters (And Super Creeps) (BOW 8 - Ex/Ex), Up The Hill Backwards (BOW 9 - Ex+/Ex) and Alabama Song (BOW 5 - Ex+/Ex). Also with stock copies of The Jean Genie (RCA 2302 solid centre - Ex), John, I'm Only Dancing (RCA 2263), White Light/White Heat (RCA 372 - Ex/Ex+), Let's Dance (EA 152) and Blue Jean (EA 181 - Ex+/Ex+).
Lot 3061
A rare early Portrait Jumeau bisque head Bebe, French circa 1880, fine pale bisque head with fixed pale blue glass eyes, painted lashes and feathered brows, closed mouth, pierced ears with pink glass earring, blonde wig and cork pate, fully jointed wood and composition fixed wrist body, wearing an embroidered cream dress with large bow, cotton socks, leather shoes, 34cm tall, the incised incised 3
Lot 574
5th century AD. A silver-gilt bow brooch comprising a triangular headplate with cabochon amethyst(?) to each angle, deep ribbed bow, footplate formed as a beast-head with pellet eyes and teeth visible at each side, recurved catch to the reverse. Cf. Tejral, J. Morava na Sklonku Antiky, Prague, 1982, item 93(2"). 27.6 grams, 75mm (3"). Property of a gentleman; acquired in the late 1960s-early 1970s. The footplate is an almost exact copy of the beast-head on the face-plate of the Sutton Hoo helmet. Fine condition.
Lot 330
Shang Dynasty, 13th-12th century BC. A bronze ritual wine chalice with plain trumpet-form neck above three bow-string bands, the mid-section with a band of dragons with rounded eyes centered on a narrow flange, below two further bow-string bands interrupted by four cruciform apertures, the spreading foot with lip overhanging vertical sides. 348 grams, 14cm (5 1/2"). Property of a North West London gallery; formerly in a 1980s collection. Fair condition.
Lot 579
6th century AD. A bronze cruciform brooch (Group IVaiii) comprising a rectangular headplate and flared lateral wings with integrally-cast D-section bell-shaped knops, shallow bow with chamfered ends, tapering footplate with lateral bird-heads, terminal with facing horse-head mask and lateral looped nostrils; punched crescent decoration in vertical bands to the the headplate and footplate; ferrous accretion to the pin-lug, catch with extended spine below. Cf. West, S. A Corpus of Anglo-Saxon Finds From Suffolk, East Anglian Archaeology 84, Ipswich, 1998, item 149(2"). 93 grams, 13.5cm (5 1/4"). Found Suffolk, UK, before 2013. Very fine condition.
Lot 257
539-330 BC. A rock crystal cylinder seal with a bearded worshipper on the left, wearing a pointed hood or cap and a long robe with a curved fringe, raising his right hand, facing a combat scene between the king and a confronting composite winged monster; the king stands facing right with torso presented frontally, with short beard and rounded hairstyle, wearing a robe and carrying a quiver with arrows; he aims his bow at a rampant, winged, snarling leonine creature, who raises his forelegs; between the contestants is the encircled figure of a man in side view, raising his right hand and holding the left over a fire/incense altar; a winged sun-disc above, behind and above the king two crosses, each formed by five points, and between monster and worshipper a crescent and two stars; ground line underneath; accompanied by a museum-quality impression. For a similar image, but without worshipper, see Merrillees, P.H. Catalogue of the Western Asiatic Seals in the British Museum. Cylinder Seals VI: Pre-Achaemenid and Achaemenid Periods, London, 2005, fig.59. 15.4 grams, 35mm (1 1/2"). From the family collection of a Hampstead gentleman; formerly acquired in the 1980s. Fair condition, chipped and repaired.
Lot 75
8th-5th century BC. A substantial bronze bow fibula with integral single-coil spring and pin, lozenge-section bow, rectangular flange finial with catch, two ducks(?) modelled in the round to one face of the bow. See Heynowski, R. Bestimmungsbuch Archaeologie: Fibeln, Munich, 2012. 111 grams, 11cm (4 1/4"). From the property of a London gentleman; formerly in a UK collection, acquired in the 1990s. Very fine condition.
Lot 163
Early 5th century AD. A substantial gold Keller type 6 crossbow brooch, decorated with seven red garnets; with hollow pentagonal-section crossbar, three eight-sided finials, openwork scrolled plaques flanking the deep kidney-shaped section bow, tubular footplate with openwork scooped edges; hinged pin and V-section catchplate to the reverse closed with a mounting in red garnet; the bow ornamented with three mountings of garnets on each side in cloisonné style, and decorated for all its length on the central rib by an imitation-pearl pattern, also visible on the beaded collars of the three eight-sided finials; original pin still in place. See Brunšmid, V., Kameni Spomenici Hrvatskoga Narodnoga Muzeja u Zagrebu (Gravestone monuments in the National Croatian Museum of Zagreb), in Vjesnik Hrvatskoga Arheoloskoga drustva, X, 1910; Levi Pisetzky, R.,Storia del costume in Italia, 5 voll., Milano, 1964-1969; Keller, E., Die Spätrömische Grabfunde in Südbayern, Munchener Beitrage zur Vor-und Frühgeschichte 14, Munchen, 1971; Arrhenius, B., Merovingian Garnet Jewellery, Göteborg, 1985; Hattatt, R. Iron Age and Roman Brooches, Oxford, 1985, item 507 for type; Beck, H. et al. Fibel und Fibeltracht, Berlin, 2000, fig.114 (2), 115(7); Schach Dörges, H. Züsammengespulte und vermengte Menschen’ in Archäeologischen Landesmuseum Baden-Wurttemberg, Die Alamannen Stuttgart, 2001, pp.79-102; Martin, M., Alamannen in Römische Heer’in Archäeologischen Landesmuseum Baden-Wurttemberg, Die Alamannen Stuttgart, 2001, pp.119-124; Mackreth, D.F., Brooches in Late Iron Age and Roman Britain, 2 volumes, Oxford, 2011; the item can be dated at the 5th century for analogies with similar brooches (Keller type 6, 1971, p.53), like three samples published by Mackreth (2011, cat.3.6, pl.142); these fibulae show a development on earlier types, consisting of a pin secured by another means to ensure that the brooch could not fall or be pulled off without considerable force; Mackreth references a gold specimen from the Moray Firth. The brooch is of remarkable quality and technical accomplishment, both in its manufacture and in the working of the gems. This kind of fibula, well known as a 'crossbow brooch', was used by the Roman army from the last quarter of the third century until the sixth century AD. It was a signifier of military status, and simpler specimens in bronze are often found in the graves of soldiers from the 4th and 5th century AD. More precious specimens, in gold or gilt, such as this example, were reserved for officers. 38.33 grams, 80mm (3"). Property of a Spanish collector; acquired from an old Spanish collection, 2008; accompanied by an academic report by military specialist Dr Raffaele D'Amato. The brooch is of remarkable quality and technical accomplishment, both in its manufacture and in the cutting of the gemstones into angular pyramidal forms. This kind of fibula, well know as a 'crossbow brooch', was in use within the Roman army from the last quarter of the third century until the sixth century AD. It was an attribute of military status and simpler specimens in bronze are often found in the graves of soldiers of the 4th and 5th century AD. More precious specimens, in gold or gilded, such as this example were reserved for officers. Very fine condition. Rare.
Lot 491
Mid 16th century AD. A German Renaissance 'hand and a half' or 'Bastard' sword, with ring guard, double-edged broad blade, lenticular in section, with single short shallow fuller, running up half of its length; complex hilt, with pommel (style T1) in shape of truncated wedge, closed by a rivet on the top, long tang, cross-guard widening towards the edges where the iron quillons are ending with a triangle; the handle presents a double-sided guard together with the knuckle bow; it shows two additional rings on the lower part of the hilt, bowing towards the flat blade, which is decorated with an unidentified maker’s mark, impressed just under the fuller. See Talhoffers Fechtbuch aus dem Jahre 1467, gerichtliche und andere zwei Kämpfe darstellend, ed. Hergsell G., Prag,1887; Dufty, A.R., European Swords and daggers in the Tower of London, London, 1974; Talhoffer, H., Medieval Combat: a Fifteenth-Century Illustrated Manual of Swordfighting and Close-Quarter Combat, by Rector, M. (ed.), London, 2000; Oakeshott, E.,Sword in hand, London, 2001; the sword is a good parallel with the sword kept in the Tower, published by Dufty (1974, pl.14, lett.a), clearly coming from the same workshop, as shown by the same mark impressed upon the blade (1974, pl.106, lett.9b"). 1.4 kg, 1.2m (47 1/4").From an important private family collection of arms and armour; acquired on the European art market in the 1980s, and thence by descent; believed from Leige, Belgium; accompanied by an academic report by military specialist Dr Raffaele D'Amato.In the inventory of the Tower of London, in 1547 AD, Grete slaghe swordesie. two handers, are mentioned. Since the last quarter of the 15th century began the development of the hilt of the arming sword, which eventually become a rapier, paralleled by the big 'bastard' swords (Oakeshott, 2001, p.137"). Until 1500 AD, the two-handed sword was mainly relegated to use in duels, so much so that in 1409 AD Fiore dei Liberi published the first Italian manual on the use of this weapon, followed by Filippo Vadi some ten years later, who drafted also a series of points necessary to allow a sword to be defined as 'two-handed'. In the famous Talhoffers Fechtbuch are illustrated the various ways and movements of such combats with the double-handed sword: the first sixty seven plates are dedicated to the fight with the 'Langes Schwert' (longsword"). The fencing is analysed in all the various moments, by instructing regarding positions or guards until the guidance of real blows: at the beginning, further explaining the various engagements, as well as how the most varied movements with the blade and the handles should be done, and mentioning the various booklets about the sword. The fencing is analysed in detail. The author explains how to put focus on the key moments of the fight: how to hold the point of the blade and to rip with the quillons of the handle, how to make a blow with reversed sword or how to push with the sword pommel against the face of the opponent, or to complete the fight in appropriate moments by a wrestling match. Finally, without having incurred any damage, the author explains how to emerge victorious or disarm the opponent. With the arrival of the new century, the grip was made safer by altering at the handle and the base of the blade, which was lengthened until the sword reached the height of a man; moreover, the two-handed sword gained popularity in battle, where it was used to knock down the wall of enemy spades. The average weight of a two-handed sword was about one and a half kilograms, and the total length ranged from 110 to 150 cm. The 16th century was the peak of their popularity as weapons, Jacopo Gelli in his Guida del raccoglitore e dell’amatore di armiantiche (Guide for the collector and enthusiast of ancient weapons) defines such a weapon as 'Big Swiss Longsword', shaped like a biscia (whirlpool), used during the XVI century, to not be confused with the hand and half sword, having a snaked blade (from the French Flamboyante"). Italian sword makers referred always to such kind of blade as 'a biscia', imitating the shape of a creeping snake on the ground.Fine condition. Rare.
Lot 578
6th century AD. A superb florid cruciform brooch with highly decorative openwork border to the headplate formed as a rectangular median plate with lateral wings, enhanced with punched-pellet detail to the sides and top edge of each; raised central square panel; to the middle of each edge a Style I human mask in plan, formed as a T-shaped brow-and-nasal with two pellet eyes, with pairs of Style I profile bird-heads with curved beaks; the bow deep with facetting at each end; the footplate rectangular with Style I lappets and punched-pellet border; the transverse collar with two rows of punched-pellet detail; the finial a Style I human mask with two columns of punched-pellet detail extending to the peltoid terminal; the overall decorative effect forming a triangular band of Style I openwork ornament broken only at the bow and terminal; to the reverse pin-lugs, ferrous stain from the pin and base of the catchplate. Hammond, B. British Artefacts vol.1 - Early Anglo-Saxon, Witham, 2009, fig.1.1.4.1-l. 112 grams, 12.5cm (5"). Found Suffolk, UK, 2008; accompanied by an Art Loss Register certificate and a copy of the book in which the brooch is publish, British Artefacts vol.1, Witham, 2009. The staring male face on the footplate, with fierce eyes and prominent moustache, probably represents a divinity such as the thunder-god, Thunor (later Thor"). The god of thunder, lightning, storms, oak trees, strength, the protector of mankind, and also hallowing, healing and fertility, probably has his origins in the pre-Roman Germanic religion, where a god with similar attributes, but whose name is not known to us, is identified with Hercules by the Romans. During the Migration Period a deity under the name of Donar appears on jewellery and inscriptions, and Christian chronicles speak of a sacred oak tree of Donar in Germany that was felled by missionary, Saint Boniface. It is in the Viking Period that Thor becomes the pre-eminent deity of the Scandinavian countries. He had the central place at the great temple in Uppsala, Sweden, with Odin and Freyr to either side of him. His main symbol is the hammer, which is likely to be derived from the club of Donar. The raven is sacred to Odin and their presence on this brooch was possibly to evoke the protection of both gods. Very fine condition. Extremely rare.
Lot 538
8th-5th century BC. A very large bronze brooch comprising a square-section bow with two coils attached to a round-section arm with spiral ribbing to the head, bulbous collar, s-curved catch and discoid plaque to the foot. Cf. Hattatt, R. Ancient and Romano-British Brooches, Sherborne, 1982, item 197. 172 grams, 25.5cm (10"). Formerly in the Chris Rudd collection, Norfolk, UK; formed since the 1970s; collection number E1; formerly in the Fabulous Fibulas collection, Southern UK; formed in the 1980s and 1990s. Chris Rudd has collected ancient coins and antiquities since the 1940s. As an amateur archaeologist he found many himself at Badbury Rings, Dorset, 1952-53. He also dug at Hod Hill with Professor Sir Ian Richmond and at Wroxeter with Dame Kathleen Kenyon and Dr Graham Webster. Today he is best known as a Celtic coin dealer. His catalogues have been described as ‘an important research source’ by Professor Sir Barry Cunliffe and ‘treasure houses of delight’ by Dr Anne Ross. Coins and artefacts associated with Chris Rudd – as a collector, dealer and valuer – can be seen in The British Museum and other museums. This collection was formed since the 1970s. Fine condition, repaired.
Lot 370
SAN MINIATURE BOW AND ARROWS IN SKIN CARRIER, CENTRAL KALAHARI, BOTSWANA, 1940s Small arrows following the design and technique of the larger hunting forms, the quiver made from antelope hide, complete with strap 15cm high PROVENANCEPROVENANCEClayton Holliday Collection Label “Collected by Mitch Spencer and Mollie Zaloumis, given to me sometime between 1952 - 57
Lot 671
A scarce French steel barrelled percussion blunderbuss with elliptical muzzle, converted from flintlock of c 1800, 29” overall, 2 stage barrel 14”, the octagonal breech engraved and lightly gilt with floral designs; plain rounded lock with double line border; walnut fullstock with cheek piece, floral carved apron around breech tang, and with interesting safety catch set into a steel plate behind the lock; the bronze mounts include butt plate tang and trigger guard bow chiselled with foliage and urn, the trigger guard with scrolled grip and acorn finial. GWO & C, the stock quite crisp apart from traces of minor splits in the fore end, (no ramrod). Plate 8 and front cover
Loading...-
117861 item(s)/page