Ca. 1-300 AD.A bronze patera featuring a round bowl with a mid-depth profile, a flat base, and a pronounced rim. On one side of the bowl, a horizontal handle protrudes, designed with a ribbed shank to enhance grip, and culminating in a beautifully detailed ram head with its distinctive curling horns. The patera served a practical function in Roman society, primarily used for libation rituals and religious ceremonies. Libations involved the pouring of offerings, typically of wine or other liquids, as a symbolic act of homage to deities or spirits. For a similar, see Christie's Live Auction 2755 Antiquities, 13 December 2013, Lot 141. Size: L:60mm / W:290mm ; 875g Provenance: Property of a London Ancient Art gallery, formerly NYC collection. Ex. Fortuna Fine Arts, NYC.
We found 350105 price guide item(s) matching your search
There are 350105 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
350105 item(s)/page
Ca. 200-300 AD.A pair of bronze keys. Each key features a ring that gracefully expands downwards, culminating in a flat-section plaque. The short shank of the keys is equipped with a projecting bezel, showcasing a collection of teeth with distinctive shapes and sizes. These keys played a vital role in unlocking and securing various storage containers, such as chests, boxes, and caskets, serving as indispensable tools for safeguarding valuable possessions. Cf. The Metropolitan Museum of Art, Accession Number: 96.9.440. Size: L:58-63mm / W:25-30mm ; 55g Provenance: Private UK collection; From an old London collection formed in the 1990s.
Ca. 100-300 AD.A bronze phalera featuring the portrait of the hero Hercules. This circular-shaped plaque with its relief depiction, positioned at the center, showcases the stoic countenance of Hercules himself. With his head slightly turned to the left, the hero's penetrating gaze directs toward the distant horizon, evoking a sense of determination and purpose. Noteworthy facial features include an aquiline nose and small, finely contoured lips, all of which contribute to the overall depiction of strength and resolve. Furthermore, an abundant beard and delicately outlined hairline adds a touch of maturity and wisdom to the portrayal. Hercules, a figure deeply rooted in Greco-Roman mythology, embodies the epitome of physical prowess and heroic valor. He is renowned for his exceptional strength and numerous feats, often depicted as overcoming daunting trials and defeating formidable adversaries. As a demigod, the son of Zeus, Hercules occupies a prominent place in ancient narratives and symbolizes the triumph of virtue over adversity. This item comes with a custom-made stand. Size: L:105mm / W:110mm ; 290g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Ca. 9th century AD.A bronze bottle with a distinctive piriform body, characterized by its graceful, pear-like shape, is adorned with meticulously executed repoussé teardrop designs. These intricate motifs elevate the visual appeal of the bottle, adding depth and texture to its surface. Resting on a circular low foot, the vessel exudes a sense of stability and balance. The neck of the bottle rises elegantly from the body, leading to a beautifully formed mouth that serves as the focal point of the piece. This mouth is embellished with a band of protruding knobs, enhancing both the aesthetic and functional aspects of the perfume bottle. The purpose of such bottles was to contain and dispense perfumes and aromatic substances. Perfumes held a significant cultural and social role in Abbasid society, with the practice of perfuming oneself and one's surroundings being highly esteemed. These intricately crafted perfume bottles were not only utilitarian vessels but also objects of beauty and luxury, reflecting the refinement and sophistication of the Abbasid elite. Size: L:160mm / W:90mm ; 360g Provenance: Property of a London Islamic art specialist collector; previously in a collection formed since the 1980s.
Ca. 200 BC.A bronze plaque with a B-shaped profile portrays a warrior figure positioned to the left, brandishing a sword, while standing before a two-wheeled cart adorned with a canopy. The cart is intricately rendered, showcasing detailed craftsmanship and precision. Three horses are depicted pulling the cart, and within the confines of its structure, the heads of two passengers can be discerned. Notably, a tree with a gracefully curving trunk rises between the warrior and the cart, adding a dynamic element to the composition. Similar plaques often depict scenes from daily life, showcasing a range of activities and symbolizing various aspects of the civilization's social and cultural milieu. The representations on these plaques offer insights into the customs, rituals, and beliefs of the Ordos Civilization, providing glimpses into their modes of transportation, social hierarchies, and warrior traditions. For a similar, please see The Miami University Art Museum, Museum Accession Number 2015.2.32. Size: L:90mm / W:50mm ; 70g Provenance: Private UK collection; From an old London collection formed in the 1990s.
Western Asiatic/Aegan, ca. 1200-700 BC.Crafted from bronze, this sword possesses distinct characteristics, including a long blade that tapers gracefully and a broad, flat middle ridge that adds structural strength and visual elegance to the weapon. The blade and hilt are seamlessly connected through an overlay casting technique, highlighting the ingenuity of the ancient artisans. Of particular interest is the sword's eared pommel with its distinctive crescent shape, contributing to the overall balance of the weapon by acting as a counterweight to the blade. This design feature enhances the sword's maneuverability and control, allowing the wielder to execute swift and precise movements during combat. Bronze weapons played a pivotal role in the societies of Bronze Age Western Asia, revolutionizing warfare, hunting, and cultural practices. The adoption of bronze as the primary material for weaponry marked a significant technological advancement, as it offered superior strength, durability, and cutting capabilities compared to earlier materials such as stone or copper. Size: L:455mm / W:50mm ; 390g Provenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s.
Ca. 100-300 AD.A bronze finger ring with a broad and flat-section hoop, providing a comfortable fit for the wearer. The incised shoulders add an elegant touch, enhancing the visual appeal of the ring. The focal point of this piece is the large octagonal-shaped bezel, adorned with a grooved border that adds depth and texture. Within the bezel, a central panel captures attention with its mesmerizing chevron decor, displaying a series of interlocking V-shaped motifs. These chevron patterns, characterized by their angular precision, create a sense of visual harmony and geometric sophistication. Flanking the central panel are side panels adorned with mesmerizing geometric patterns. These designs exemplify the Roman fascination with order, symmetry, and precision, reflecting their mastery of mathematical principles and artistic expression. Size: D: 18.75mm / US: 8 3/4 / UK: R; 10.06g Provenance: Private London collector, acquired on the Austrian Art market, formerly in an old USA collection formed since the 1970s.
Ca. 900-1100 AD.A bronze bracelet, expertly fashioned in the round with a round-section shank, presents a captivating aesthetic with its finials designed in the likeness of snake heads. Notably, these intricately crafted serpent heads face each other, elegantly converging at the bracelet's focal point. The exterior of the bracelet showcases a meticulously executed ornamental design adorned with incised patterns, further accentuating its allure. Snakes held profound symbolism within Viking culture, particularly in the context of bracelets. In Norse mythology, serpents were regarded as potent creatures representing a wide array of concepts, including wisdom, protection, and transformative power. The depiction of snake heads as finials on Viking bracelets suggests a connection to these symbolic representations. The intertwining nature of the snake heads not only signifies unity but also alludes to the cyclical nature of life and the transformative journey one undertakes. Thus, these bracelets, with their serpent-inspired design, encapsulate the intertwining themes of protection, transformation, and the eternal cycle of existence, underscoring the rich cultural and mythological tapestry of the Viking era. Size: L:70mm / W:65mm ; 50g Provenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets.
Ca. 1600-1700 AD or later.The bronze statue portrays the resplendent figure of Tara, a revered deity in Buddhist traditions. Tara is a symbol of compassion and represents the divine feminine energy that nurtures and protects all beings. Standing with a slight flexion in her left knee, this depiction of Tara conveys a sense of grace and eternal youthfulness. A prominent element of the sculpture is the lotus that blossoms from Tara's shoulder. The lotus, an emblem of purity and enlightenment, serves as a reminder of Tara's role in guiding individuals on the path of spiritual growth and awakening. Its presence reinforces the symbolism of Tara as a compassionate guide who leads devotees towards liberation and the realization of their inner potential. The statue's intricate facial features command attention and admiration. The artist has skillfully captured the delicate contours of Tara's face, accentuating her eyes, which gaze with serene compassion, and her slender eyebrows that contribute to her expression of wisdom and kindness. The elaborate crown adorning her head signifies her status as a deity and symbolizes her transcendent nature. What captivates the viewer most is Tara's enigmatic smile. It is a smile that radiates tranquility and a deep understanding of the human condition, inviting contemplation and evoking a sense of wonder and reverence. The smile serves as a reminder of Tara's unwavering support and guidance, offering solace and encouragement to those who seek her blessings. This item comes with a custom-made stand. Size: L:305mm / W:125mm ; 1.37kg Provenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection.
Ca. 500-300 BC.A helmet of hammered bronze. The domed crown with frontal medial ridges, contoured double curve above the brow continuing as an occipital rib around the helmet. Moveable articulated crescentic cheeky guards with contoured edges are attached by hinges on the sides. The Chalcidian-Type helmet started to replace the Corinthian-type helmet on the battlefield in the 5th century BC due to its restrictive attributes. The new versatile Chalcidian form of battle helmet enabled the owner to adapt on the battlefield. The Chalcidian helmet enabled greater sensory perception as the helmet was lighter and made in with senses in mind. By the time of the Peloponnesian War (434-402 BC) the Chalcidian helmet was the most widely distributed helmet in the Greek ranks. Size: L:295mm / W:245mm ; 1.2kg Provenance: Private London collection; acquired on the European art market prior to 2000.
Ca. 400 AD.An oil lamp crafted from meticulously fitted sheets of bronze. Its base is sculpted in the shape of a cup, complemented by a flat fitted cover adorned with a distinctive central cross motif, which consists of intricately arranged round perforations. Below this captivating design, the IC XC Christogram is engraved, an abbreviation for "Jesus Christ" in Greek, symbolizing the religious significance associated with this lamp. The cover also features a small triangular-shaped opening, strategically positioned to serve as a spout for convenient filling and placement of a wick. Opposite this opening, a looped handle, secured to the main body through riveting, ensures ease of handling and transport. In the Roman world, bronze oil lamps were widely utilized. These lamps played a vital role in illuminating domestic spaces and public areas during this period. They served as practical sources of light and also held symbolic significance in religious and social contexts, providing a means to display one's faith and cultural identity. Size: L:80mm / W:75mm ; 50g Provenance: Private UK collection; From an old London collection formed in the 1990s.
Ca. 1200-900 BC.A cast bronze double axe head, characterized by a short cylindrical shaft hole with a collared rim, a flattened top, a vertical crescent-shaped blade with sides that broaden out towards the cutting edge, and a smaller horizontal adze blade to the back. This type of axe head was commonly used as a weapon and a tool for various tasks such as chopping wood, clearing land, and even in hunting and warfare. In Bronze Age societies, the production and use of tools and weapons were highly valued and played a significant role in shaping the social and economic structure of these communities. The ownership and display of such artifacts were a symbol of wealth, power, and status. Size: L:75mm / W:210mm ; 895g Provenance: Private UK collection; From an old London collection formed in the 1990s.
Ca. 1100-1400 AD.A bronze finger ring featuring a flat-section hoop. The focal point of the ring is its round bezel, which proudly displays a decorative pattern depicting the Star of Bethlehem. The Star of Bethlehem, also known as the Christmas Star or the Star of the Nativity, holds profound significance in Christian iconography. According to the biblical narrative, this celestial phenomenon appeared in the sky and guided the Magi to the birthplace of Jesus Christ in Bethlehem. The Star of Bethlehem is widely regarded as a symbol of divine guidance, hope, and the revelation of God's presence on Earth. In the context of the Crusaders' rings, the inclusion of the Star of Bethlehem motif reflects the deep religious fervour and spiritual devotion of the Crusaders themselves. The Crusades were military expeditions undertaken by Christian warriors with the goal of reclaiming and protecting holy sites in the Holy Land, including Bethlehem, from Islamic rule. These rings served as personal adornments and powerful symbols of faith and allegiance to the cause of the Crusades. By incorporating the Star of Bethlehem into their rings, the Crusaders not only demonstrated their commitment to their Christian faith but also sought divine protection and guidance throughout their perilous journeys and battles. The star symbolized their hope for divine intervention and the belief that their cause was sanctioned by God. Size: D: 16.71mm / US: 6 1/4 / UK: M; 3.88g Provenance: Private London collector, acquired on the Austrian Art market, formerly in an old USA collection formed since the 1970s.
Ca. 202 BC - 220 AD.A polychrome terracotta duck on bronze legs is a stunning example of the period's artistic and technical achievements. The figure is hollow-moulded, with the bird standing on exquisitely crafted, lifelike legs that add to the realism of the piece. The colourful plumage is meticulously detailed, with a red head featuring wide-open eyes and a cream-colored beak. The short neck is accentuated in orange, and the wings are green, adorned with striking red dots. This polychrome terracotta bird belongs to the category of Mingqi, objects that were buried with the deceased to serve them in the afterlife. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:145mm / W:135mm ; 635g Provenance: East Anglian private collection; formerly acquired in the early 1990s in Hong Kong.
Ca. 224–651 AD.A bronze ring with a circular band and a tulip-shaped oval bezel on a broad base set with a red gemstone depicting a left-facing lion with an upturned tail. The lion is rendered in a naturalistic manner with detailing of the ribcage. The Sasanian Empire was the last Persian imperial dynasty before the Muslim conquest in the mid-seventh century AD. It lasted for over four centuries, from 224 to 651 AD, making it the longest-lived Persian dynasty. The Sasanian Empire succeeded the Parthian Empire, and re-established the Iranians as a superpower in late antiquity, alongside its neighbouring arch-rival, the Roman-Byzantine Empire. The period of Sasanian rule is considered a high point in Iranian history, and in many ways was the peak of ancient Iranian culture before the Muslim conquest. Good condition, fully wearable. Size: D: 17.1mm / US: 6 3/4 / UK: N 1/2; 6.6g Provenance: Private London Collection.
Ca. 900-1100 AD.A penannular bronze bracelet crafted from a single piece of bronze. It features a mesmerizing twisted body that creates an intricate and hypnotic effect. The Vikings were known for their exquisite craftsmanship, and their twisted bracelets were no exception. These bracelets were a symbol of wealth and status, worn by both men and women to showcase their importance in society. The twisted design of the bracelet not only added visual interest but also made the bracelet stronger and more durable. Size: L:75mm / W:60mm ; 80g Provenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets.
Western Asiatic/Aegan, ca. 1200-700 BC.A bronze sword consists of a leaf-shaped blade that tapers gracefully to a sharp point. Notably, the blade is distinguished by blood grooves, also known as fullers, which are long, shallow channels running parallel to the central ridge on both sides of the blade. These grooves served several purposes, including reducing the weight of the sword, strengthening the blade, and potentially allowing blood or other fluids to flow away from the blade during combat, thereby minimizing the risk of the weapon becoming stuck. The hilt of the sword features a round-section shank with a central rib, displaying meticulous attention to detail. The rib provides additional rigidity to the hilt, ensuring stability and durability during wielding. The sword is adorned with a D-shaped stone pommel, elegantly completing the hilt. The stone pommel serves both a functional and ornamental role. Functionally, it balances the weight distribution of the sword, enhancing maneuverability and control. Furthermore, the stone pommel adds a touch of prestige and aesthetic appeal to the overall design of the weapon. Size: L:535mm / W:85mm ; 745g Provenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s.
Western Asiatic/Aegan, ca. 1200-700 BC.A fine example of a two-edged bronze blade with a leaf-shaped design and a small tang providing a secure resting place for the spear shaft. The blade boasts a corrugated midrib that extends to the tip and flares at the shoulder, lending an element of visual drama to its already formidable profile. The blade's design is carefully calibrated to maximize its effectiveness as a spear, with each section of the weapon contributing to its overall performance. Size: L:395mm / W:80mm ; 385g Provenance: Private UK collection; From an old London collection formed in the 1990s.
Ca. 9th century AD.A bronze bottle features an apple-shaped body adorned with a series of vertical panels, each intricately incised with elaborate arabesque designs and calligraphic inscriptions. These ornate decorative elements contribute to the overall aesthetic richness and cultural significance of the bottle. Resting on a tall and flaring foot, delicately engraved with a circumferential pattern, the vessel exhibits a sense of elegance and stability. The neck of the flask gracefully extends from the body, leading to a tubular mouth. The mouth is adorned with a decorative horizontal register of protruding knobs, adding both visual appeal and functional elements to the bottle. Size: L:130mm / W:85mm ; 370g Provenance: Property of a London Islamic art specialist collector; previously in a collection formed since the 1980s.
Ca. 1000 AD.A cast-bronze reliquary cross pendant composed of two cruciform plaques that fit together, a hinged mechanism to the top and bottom, and a loop for suspension. One face displays the crucified Christ in relief. The other - Virgin Mary in Oranta pose. She is flanked by four bust of Saints to each arm. The Oranta is an iconography of the Virgin Mary standing in adoration with her arms outstretched. This type of cross can be opened to hold a small relic or a prayer document. Relics, as the physical remains of saints or objects associated with Christ, held tremendous power in medieval Christianity. This item is in wearable condition and it comes with a modern necklace cord. Size: L:47.9mm / W:22.9mm ; 16.07g Provenance: Private London collector, acquired on the Austrian Art market, formerly in an old USA collection formed since the 1970s.
Western Asiatic/Aegan, ca. 1200-700 BC.A bronze spearhead featuring an elegant and symmetrical design with a double-edged blade that tapers gradually to a point. A pronounced midrib runs through the entire length of the blade, adding depth and dimensionality to its surface. Bronze spearheads played a significant role in the Bronze Age, a period marked by the widespread use of bronze as a key material for tools, weapons, and various artifacts. Bronze spearheads were essential weapons during this era and were instrumental in shaping warfare, hunting, and social dynamics. Size: L:595mm / W:65mm ; 615g Provenance: Private UK collection; From an old London collection formed in the 1990s.
Ca. 100-300 AD.A bronze finger ring showcases a round hoop with a slight carination, adding subtle visual interest to its overall design. However, it is the bezel that commands attention, featuring a central raised boss that acts as a focal point. This prominent boss is encircled by two concentric bands of radiating strokes, forming an intricate and captivating decorative motif. Roman rings, such as this bronze example, were not only fashionable adornments but also significant cultural artefacts. They served as personal statements of wealth, social status, and personal taste. The craftsmanship and artistic embellishments displayed on this ring highlight the expertise of Roman metalworkers in creating intricate designs. Size: D: 17.53mm / US: 7 1/4 / UK: O; 6.35g Provenance: Private London collector, acquired on the Austrian Art market, formerly in an old USA collection formed since the 1970s.
Ca. 100-200 AD.A bronze brooch, meticulously crafted with a flat and openwork design, epitomizes the artistry and functionality of brooches in the ancient Roman world. The brooch features double crescent-shaped ends with gracefully curled and involuted terminals, creating an intricate and visually captivating composition. Brooches held immense significance in Roman society, serving as both practical fasteners for clothing and expressions of personal adornment. They were essential accessories that secured garments in place, ensuring comfort and proper presentation. Moreover, brooches played a crucial role in reflecting the wearer's social status, wealth, and fashion sensibilities. Size: L:45mm / W:35mm ; 15g Provenance: Private UK collection; From an old London collection formed in the 1990s.
Ca. 600-800 AD.A cross pendant meticulously crafted from bronze, with slightly flaring terminals that give the piece a unique and dynamic look. At the junction and at each arm, there is a concentric circles motif that embodies the five wounds of Christ. This motif found in many Christian artifacts, including bronze cross pendants, is a representation of the suffering of Jesus Christ during his crucifixion. The five wounds typically consist of the wounds on Christ’s hands, feet, and side. Size: L:37.8mm / W:23.8mm ; 3.18g Provenance: Private London collector, acquired on the Austrian Art market, formerly in an old USA collection formed since the 1970s.
Ca. 900-700 BC.A bronze sceptre features a janiform design, wherein a highly stylized anthropomorphic figure exerts firm control by grasping the long necks of flanking double-headed beasts. Notably, the lower portion of the sceptre portrays bird-like creatures, further adding to its symbolic richness. Along the length of the sceptre, an additional figure is depicted, accompanied by the hindquarters and slender legs of animals. This amalgamation of human and animal forms creates a captivating visual narrative that resonates with the culture and beliefs of the time. The bottom part of the tube exhibits decorative ribs, enhancing its visual appeal and craftsmanship. It is positioned on top of a flared support, distinguished by a serrated bottom edge, which provides stability and balance to the sceptre. Such sceptres hold great cultural and symbolic significance. They serve as expressions of power, authority, and control over the natural world. The portrayal of the anthropomorphic figure dominating and subduing mythical beasts conveys a sense of human mastery and dominance over the forces of nature. The use of double-headed beasts and the inclusion of animal elements highlight the interconnectedness between human and animal realms, possibly representing a harmonious union or the balance of opposing forces. For a similar, please see The British Museum, Registration number 1914,0214.42. Size: L:400mm / W:90mm ; 505g Provenance: Private UK collection; From an old London collection formed in the 1990s.
AN YVES SAINT LAURENT MUSE LEATHER HANDBAG In blue/grey leather with gold/bronze tone hardware, cylindrical lock with key, black fabric interior, with brand dust bag Yves Saint Laurent Approximately 46cm Wide x 30cm High Condition: Condition Report Some light scuffing to feet and small marks to base. Some light possible water spots/rain marks(?) in many areas. Light environmental wear to hardware, and one spot of verdigris to the lock. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
A SALVATORE FERRAGAMO WOVEN BRONZE LEATHER CLUTCH With optional internal shoulder strap and red leather interior, with brand dust bag Approximately 10cm high x 16cm wide Condition: Condition Report A small area of wear to the leather on the internal rim of the bag where the clasp hits, some dirt to one corner, and some light signs of use. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
Bronzefarbener Hoheitsadler mit HK-Emblem, wohl nach altem Vorbild gefertigt und aus späterer Zeit als 1933-1945, am Flügel oben RZM Symbol und Zusatz "Sy23". Bronzefarbenes Metall, H ca. 23 cm. Altersspuren, teils fleckig und berieben| Bronze-coloured sovereign eagle with swastika emblem, probably made after an old model and from later than 1933-1945, on the wing above RZM symbol and addition "Sy23". Bronze-flecked metal, h approx. 23 cm. Signs of age, partly spotted and rubbed.
3 ungarische Bergbauorden im jeweiligen originalen Etui, darunter 2 x "Bronze", 1 x "Silber". Ein Etui goldfarben bedruckt "FSZMP". Alters- und Gebrauchsspuren| 3 Hungarian mining medals in the respective original case, including 2 x "Bronze", 1 x "Silver". A case printed in gold with "FSZMP". Signs of age and use
Luftfahrt - Konvolut: Einseitige achteckige Bronzeplakette 1929 v. A. Moser. Autoplakette des DTC Deutscher Touring Club, Ortsgruppe Friedrichshafen, auf die Weltfahrt des LZ 127. Ca. 8 x 7 cm, DTC Plakette emailliert. Im Etui. Vz. Dazu Bronzemedaille 1924 v. Mayer & Wilhelm Stuttgart, auf die Amerikafahrt des LZ 126, vz. | Aviation - Unilateral Octagonal Bronze Plaque 1929 BC A Moser. Car badge of the DTC Deutscher Touring Club, local group Friedrichshafen, on the world tour of the LZ 127. Approx. 8 x 7 cm, enamelled DTC badge. In case. EF. In addition bronze medal 1924 v. Mayer & Wilhelm Stuttgart, on the America trip of the LZ 126, EF.
Bergbau - Konvolut: Bronzemedaille 1923 a.d. Forderung der Franzosen im Alliierten Kontrollrat nach "Produktiven Pfändern". Franz. Hahn presst deutschen Bergmann in Spindel aus / Zitat von Poincaré in 6 Zeilen, davor Fragezeichen. Dazu Satiremedaille "Ruhrkrank" mit Zitat "Wer andern eine Grube gräbt, fällt selbst hinein". Beide ss-vz| Mining - Mixed lot: Bronze medal 1923 a.d. Demand by the French in the Allied Control Council for "productive pledges". French rooster squeezes out a German miner in a spindle / quote from Poincaré in 6 lines, with a question mark in front of it. In addition, the satirical medal "Ruhr sick" with the quote "Whoever digs a pit for others, falls into it himself". Both VF-EF
Römische Spätantike : umfangreiches, 49-teiliges Konvolut Antiken, 4.Jh.n.Chr. - Auflösung einer Sammlung, dabei z.B. 1 x Spätantike - Nummus Anfang 4.Jh.n.Chr, Valens, Av: N VALENS PF AVG, Büste des Valens mit Diadem n.r., Rv: SECVRITAS REI PVBLICAE, Victoria mit Krone und Palme, im Abschnitt HSISC, ss, berieben, Tönung, 2,53g rau oder 1 x Spätantike - Bronze, Vetranio 350 n.Chr., Av: Büste des Vetranio mit Lorbeerkranz, DN VETRANIO PF AVG, Rv: Victoria bekränzt Vitranio, HOC SIGNO VICTOR ERIS, ss, berieben, kleine Feilspur am Rand, Kratzer, 4,5g rau. Dazu 1 x Spätantike - Bronze, Magnentius, 350-353 n.Chr., Av: Büste des Magnentius mit Diadem, DN MAGNENTIVS PF AVG, Rv: Magnentius, FELICITAS REI PVBLICE, ss, berieben, Kratzer, 4,94g rau. 1 x Spätantike - Nummus/Centenionalis, Constans 337-350 n.Chr., Av: Büste mit Diadem n.l., DN CONSTANS PF AVG, Rv: Soldat führt eine Person aus einer Hütte weg, die unter einem Baum steht, FEL TEMP REPARATIO, ss, berieben, Schrötlingsriss, Tönung, 2,51g rau. Dazu vieles mehr. Dabei kleine Bestimmungszettelchen. Am besten besichtigen.| Roman late antiquity : extensive, 49-piece convolute antiquities, 4th c. AD -- Dissolution of a collection, among them e.g. 1 x Late Antiquity - Nummus beginning 4th century AD, Valens, Av: N VALENS PF AVG, bust of Valens with diadem to right, Rv: SECVRITAS REI PVBLICAE, Victoria with crown and palm, in section HSISC, VF, rubbed, toning, 2,53g rough or 1 x Late Antiquity - Bronze, Vetranio 350 AD, Av: Bust of Vetranio with laurel wreath, DN VETRANIO PF AVG, Rv: Victoria crowning Vitranio, HOC SIGNO VICTOR ERIS, VF, rubbed, small file mark on rim, scratches, 4.5g rough. Plus 1 x Late Antiquity - Bronze, Magnentius, 350-353 AD, Av: Bust of Magnentius with diadem, DN MAGNENTIVS PF AVG, Rv: Magnentius, FELICITAS REI PVBLICE, ss, rubbed, scratches, 4.94g rough. 1 x Late Antiquity - Nummus/Centenionalis, Constans 337-350 AD, Av: Bust with diadem n.l., DN CONSTANS PF AVG, Rv: Soldier leading a person away from a hut standing under a tree, FEL TEMP REPARATIO, VF, rubbed, red chipping, toning, 2.51g rough. Plus much more. Small identification slips with it. Best to inspect.
7-teiliges Konvolut historischer Münzen, dabei u.a. z.B. 1 x Frankreich - 1/2 Écu au bandeau 1758, Ludwig XV, ss, Tönung, 14,4g rau und 1 x Niederlande - 2 1/2 Gulden 1854, Willem III, ss, berieben, Tönung, Kratzer, 24,75g rau sowie auch 1 x RDR - Bronzegußmedaille nach einer Silbermedaille aus dem Jahr 1745, auf den Frieden von Füssen zw. Bayern und Österreich, s., berieben, Kratzer, 31,12g rau. Erhalt verschieden. 3 x in altem Sammlungspapiertütchen Heinrich Pilartz. Am besten besichtigen.| 7-piece set of historical coins, besides, among other things, e.g., 1 x France - 1/2 Écu au bandeau 1758, Louis XV, VF, toning, 14.4g rough and 1 x Netherlands - 2 1/2 florins 1854, Willem III, VF., rubbed, toning, scratches, 24.75g rough as well as also 1 x RDR - bronze casting medal after a silver medal from 1745, on the peace of Füssen zw. Bavaria and Austria, F, rubbed, scratches, 31.12g rough. Preservation various. 3 x in old collection paper bag Heinrich Pilartz. Best to visit.
Kleine Fundgrube von der Antike bis in die Moderne, mit GOLD und SILBER - 1 x Goldmedaille 1969, Die erste Mondlandung, Apollo 11, 900er Gold, 3,12g Gold fein. 1 x Württemberg - 3 Mark 1911/F, Wilhelm und Charlotte Silberhochzeit, ss-vz, Stempelriss, Tönung, 16,71g rau. Silbermedaillen, Notgeld, DM, Kleinmünzen, Byzantinische Bronzemünzen und weiteres. Erhalt unterschiedlich. Am besten besichtigen.| Small treasure trove from antiquity to modern times, with GOLD and SILVER - 1 x Gold Medal 1969, The First Moon Landing, Apollo 11, 900 gold, 3.12g gold fine. 1 x Wurtemberg - 3 Mark 1911/F, Wilhelm and Charlotte silver wedding anniversary, VF-EF, stamp crack, toning, 16.71g rough. Silver medals, Notgeld, DM, small coins, Byzantine bronze coins and others. Preservation varies. Best to visit.
Frankreich - Satirische Bronzemedaille, Auf die Schlacht von Sedan u. die Niederlage im dt.-franz.Krieg 1870/1871, Typ "Au hibou" (Auf die Eule), Napoleon III., signiert: MASSONET ED., ss., berieben, Kratzer, Tönung, Randfehler, 10,6g rau.| France - Satirical Bronze Medal, On the Battle of Sedan and the defeat in the German-French war 1870/1871, type "Au hibou" (To the owl), Napoleon III, signed: MASSONET ED. VF., rubbed, scratches, toning, rim nicks, 10.6g rough.
Württemberg - Im originalen Etui mit Wappen und Devise: Bronze Landwirtschaftsmedaille (Prämienmedaille) Wilhelm I. (1816-1864) o.J. , v. Dietelbach (unsigniert), ss, Rf. stark fleckig. Dazu weitere bronzene Medaille von Mayer & Wilhelm der Stadt Crailsheim ihren Kriegern zur Heimkehr 1918, vz-st| Württemberg - In the original case with coat of arms and motto: bronze agricultural medal (premium medal) Wilhelm I. (1816-1864) n.y., from Dietelbach (unsigned), VF, rim-nick, heavily stained. In addition, another bronze medal by Mayer & Wilhelm of the city of Crailsheim for their warriors returning home in 1918, EF-BU.
Loading...-
350105 item(s)/page