Circa 100-300 ADA beautiful cameo bust of a young female, possibly an empress, with draped robe and mantle. The back is plain and unworked. The female figure’s hairstyle, with her low chignon, may be reminiscent of the fashion under Marcus Aurelius (imp. 147-175 AD). Portraits of his wife, Faustina II, on coins display a similar hairstyle, with the hair woven and assembled in a low bun.Marshall, F.H. Catalogue of the Jewellery, Greek, Etruscan and Roman, in the Department of Antiquities, British Museum, London, 1911, item 2726 for type.M.L. Vollenweider & M. Avisseau-Broustet, Camées et intailles, Tome II, Les portraits romains du Cabinet des médailles, Catalogue raisonné, (Paris 2003), pp. 37ff., pp. 219-20. Size: L:16mm / W:10mm; 1.1g Provenance: Property of a London Gentleman; formerly in a private UK collection formed in the the 1990s.
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Circa 100-200 ADA post-classical gold ring with oval bezel and tapering band, the roman cameo convex oval carnelian gem engraved with bust of Hercules wearing Nemean lion skin over head. Ring possibly later.For similar see:Cf. Henig, M.; Classical Gems, The Fitzwilliam Museum, Cambridge. Size: D: 17.35mm / US: 7 / UK: O; 5.32g Provenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.
Circa 117-138 AD, Period of Hadrian A finely modelled bust with centrally parted wavy hair surmounted by a veil, her eyes incised which is practice introduced under the Emperor Hadrian. The hair locks swept back and the headdress indicate that the person depicted was an aristocratic woman. Size: L:345mm / W:245mm; 27.3kg Provenance: Property of a London gentleman; formerly with the Mahboubian Gallery, London, UK; acquired before 1972; accompanied by an early 1970s black and white photograph; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.157481-10033.
Baden-Durlach - Silbermedaille 1883 auf das 25-jährige Bestehen des Pferderennens "Grosser Preis von Baden". Stempel von F. W. Kullrich. Büste des Königspaares. Rv. Stadtansicht, darüber CIVITAS AURELIA AQUENSIS. Ca. 51,7 g rau. ss, Rf.| Baden-Durlach - Silver medal 1883 on the 25th anniversary of the "Grand Prix of Baden" horse race. Stamp by F. W. Kullrich. Bust of the royal couple. Rv. City view, above CIVITAS AURELIA AQUENSIS. Approx. 51.7 g rough. VF, rim-nick.
BREKER, ARNO ( 1900-1991), Büste "Richard Wagner", Bronze, grüntonig patiniert, im Guss bezeichnet 'BREKER' und 'GUSS BARTH BERLIN', auf schwarzem Marmorsockel verschraubt, H: Figur ca. 13 cm, Gesamt ca. 19,5 cm. Leichte Altersspuren.| BREKER, ARNO ( 1900-1991), Bust "Richard Wagner", bronze, green toned patina, inscribed 'BREKER' and 'GUSS BARTH BERLIN' in the cast, screwed to a black marble base, H: figure approx. 13 cm, total approx. 19 .5 cm. Slight signs of age.
BREKER, ARNO (1900-1991), Büste "Gerhard Hauptmann", Bronze, braun- und grüntonig patiniert, im Guss bezeichnet 'BREKER', auf schwarzem Marmorsockel verschraubt, H: Figur ca. 12 cm, gesamt ca. 17 cm. Leichte Altersspuren.| BREKER, ARNO (1900-1991), Bust "Gerhard Hauptmann", bronze, brown and green toned patina, inscribed 'BREKER' in the cast, screwed to a black marble base, H: figure approx. 12 cm, total approx. 17 cm. Slight signs of age.
A MEISSEN ALLEGORICAL GROUP DEPICTING SCULPTURE modelled as three putti, one holding a hammer and chisel, another a sculpture and the third a tablet (lacking)and pencil, grouped around a female bust on stand, the whole on a naturalistic base with scrolling and acanthus moulded plinth, the base with crossed blue swords and impressed number 46, 20cm high Condition Report:Putti which should be holding the tablet, this is missing and there is a crack to his wrist and chips to the end of his fingers of that hand. Missing part of a wing also. Standing putti has a chip to one wing and a firing crack to foot. Seated putti holding sculpture, missing tiny chip to wing. Base is missing a couple of pink ribbons.
Robert Harrop - The Camberwick Green Collection - six figures comprising Harry Farthing (potter) # CG30, Mrs Honeyman with Pram # CG77, the Dutch Organ Dancers # CG48, Windy Miller 'Bees by the Bakery' # CG85, Dr Mopp 'Thrushes in the Trees' # CG93 and PC McGarry (bust) # CGYP03, all appear mint in original boxes (this does not constitute a guaranatee) [6]
Robert Harrop - The Camberwick Green Collection - five figures comprising Mr Swallow-Wharfinger # CG 49, Thoma Tripp (milkman) # CG 41, Windy Miller (bust) # CGYP02, Mr Robinson (window cleaner) # CG82 and Mrs Honeyman & Baby # CG04, all appear mint in original but incorrect boxes (this does not constitute a guaranatee) [5]
A quantity of advertising wares including, Clark & Co Anchor Sewing Cottons Board, Modelo Garment Hanger Co. card female bust hanger, Northern Echo enamelled sign, various wooden crates and boxes including Colmans Mustard, Hudson's Coap, Angelita Butter, various soap and polish boxes, Rowntree, other confectionary and tea tins, Masons and other sweet jars etc (qty)
A 19th century ivory bookmark ornamented with a bust of a gentleman, probably Dieppe, together with a quantity of other 19th century bone and ivory items including a desk seal, boxed Cantonese fan, aide memoire, Stranraer stanope viewer and sewing accesories etc (one tray)Condition report: All three fans are damaged, two examples are worse than the other. All with splits.
A classical Roman plaster bust entitled 'The Benevento Head' depicting a victorious Olympian / athlete, after the original, held within the Louvre Museum collection. The bust imitating white marble with proud facial features and well defined locks of hair with laurel wreath branch crown. The bust raised on a pedestal base (single piece). Measures approx; 45cm tall. Condition; Some minor marks to the plaster in places but no visible signs of major damage.
Inkie (British, b.1969) - Angel Dust - A contemporary one off stenciled spray paint print on paper featuring Inkie's iconic Art Nouveau lady. To the border reading "Beauty 2010 Angel Dust". Signed to the bottom right in pencil with Temwa Special to the left. Limited edition 1/1. This piece was specially created for the Temwa Charity. Print measures approx; 74cm x 58cm. Inkie is a London based painter and street artist, originally from Clifton, Bristol. Inkie began working as part of Crime Incorporated Crew (CIC)or the Crime inc.crew in 1983, along with Felix and Joe Braun. He was the head of the many artists arrested in 1989 during "Operation Anderson", the UK's largest ever graffiti bust. He arranged 1998's Walls on Fire event with Banksy, on the site of the future At-Bristol centre. He has subsequently worked in the video game industry, including some time as head of creative design at Sega.
Bracket type clock, George III, signed WILLIANS HUGHES. London, 1784.Mahogany case, with important gilt bronzes.Signed dial, gilt, with gilt brass spandrels, chiming cancellations.Three-train machine with chime of hours and quarters, on eight bells and hours on one.Measurements: 63 x 36 x 22 cm.Important English table clock, with the dial signed by the clockmaker Williams Hughes, accompanied by the legend "Hig Holborn London". It follows the bracket model, a type of transportable clock, with handles, which became popular in England in the 18th century.Architectural in structure, the front and back windows are arched, with their spandrels richly worked with gilded bronzes. Also noteworthy are the gilded bronze applications that reproduce the stipes with vegetal body and human bust on the flanks, as well as the openwork soffits with floral motifs, and the flamboyant trophy-like pinnacles that crown the corners. The feet are also made of bronze, and a bronze crest decorates the dome in the form of a slope with a curved profile. The dial has a silver-plated disc with the hours engraved in black with Roman numerals, while the minutes are marked in Arabic. The hands are baroque in style. It is accompanied by a second striking dial and a calendar window. The foliate work on the gilt brass spandrels is also noteworthy.
Bracket type clock, George II, signed ROBERT ROMLEY. London, 1740.Ebonised case, with bronze applications.Signed dial, gilt, with gilt bronze spandrels, with the possibility of an override chime.Machine: eight days winding, square plates, engraved and signed back, quarter strike on eight bells and hour strike on one bell. Measurements: 53 x 30.5 x 20.5 cm.English table clock, with the dial signed by the clockmaker Robert Romley. It follows the bracket model, a type of transportable clock, with handles, which became popular in England from the end of the 17th century. With an architectural structure, the front and back windows are arched, with their spandrels richly worked with gilt bronzes. Also noteworthy are the gilded bronze applications that reproduce the stipes with vegetal body and human bust on the flanks, as well as the openwork soffits with floral motifs on the tympanum, and the fruit pinnacles that crown the corners. The feet are also made of bronze. The dome takes the form of a slope with a curved profile. The dial has a silver-plated disc with the hours engraved in black with Roman numerals, while the minutes are marked in Arabic. The hands are baroque in style. It is accompanied by a second dial for chiming and a calendar window.Bracket clocks of English origin are notable mainly for their mechanism, but also for their decoration. This type of clock originated in the 1960s, when the pendulum was applied to the clock, replacing the previous "foliot" regulator or balance. This change made it necessary to provide the mechanism with a case to protect it from shocks that could alter its movement. This was the origin of the watches known in England as brackets, i.e. portable watches. These were short cases which housed a mechanism held between two thick plates and contained, as the driving force for each train, a combination of a hub and a snail. These clocks were originally intended to be placed on a bracket, hence their English name. This bracket was a separate piece that was usually made at the same time, with decoration to match the clock. Later, however, the base and clock began to be made separately.
Bracket type clock, George II, signed ROBERT HIGGS. London, first half s. LONDON, FIRST HALF OF THE 18TH CENTURY.Ebonised case, with gilt bronze applications.Signed dial, gilt, with gilt bronze spandrels.Selection dials with six melodies, sound annulment, quarter and hour chimes, with calendar.Three-train machine, with musical cylinder that activates thirteen bells and chime of hours and quarters on a bell.Measurements: 60 x 39 x 25 cm.Important English table clock, from the George II period, with the dial signed by the renowned watchmaker Robert Higgs. It follows the bracket model, a type of transportable clock, with handles, which became popular in England from the end of the 17th century. Architectural in structure, the front and back windows are arched, with their spandrels richly worked with gilded bronzes. Also noteworthy are the gilded bronze applications that reproduce the stipes with vegetal body and human bust on the flanks, as well as the openwork soffits with floral motifs, and the fruit pinnacles that crown the corners. The feet are also made of bronze, in the form of scrolls surrounded by foliage, and a bronze crest decorates the dome in the form of a slope with a curved profile. The dial has a silver-plated disc with the hours engraved in black with Roman numerals, while the minutes are marked in Arabic. The hands are baroque in style. It is accompanied by a second chime dial and a calendar window. Robert Higgs was a member of the Clockmakers Company from 1750 to 1769. Prior to that, he worked at Sweetings in London.English bracket clocks are notable mainly for their mechanism, but also for their decoration. This type of clock originated in the 1760s, when the pendulum was applied to the clock, replacing the previous "foliot" or balance regulator. This change made it necessary to provide the mechanism with a case to protect it from shocks that could alter its movement. This was the origin of the watches known in England as brackets, i.e. portable watches. These were short cases which housed a mechanism held between two thick plates and contained, as the driving force for each train, a combination of a hub and a snail. These clocks were originally intended to be placed on a bracket, hence their English name. This bracket was a separate piece that was usually made at the same time, with decoration to match the clock. Later, however, the base and clock began to be made separately.
A COLLECTION OF WORLD WAR I CRESTED CHINA, manufactured by Arcadian, Diamond, Shelley, Sussex, Carlton, Savoy and others, items include a dispatch rider 'Maidenhead', Shrapnel Villa 'City of London', We've kept the home fires burning 'Ryde', bust of a sailor 'Birkenhead' German Zeppelin bomb, Tommies Bungalow 'Birmingham', H.M.S. Queen Elizabeth 'Newmarket', Lusitania 'Eastbourne', Super Zeppelin 'Kidderminster', clip of bullets 'Heath Hayes', search light 'Chester', etc, tallest piece height 9cm (16) (Condition report: search light has a firing crack, HMS Queen Elizabeth has a broken turret, otherwise in good condition with some wear to the gilding)
A COLLECTION OF WORLD WAR I CRESTED CHINA, manufactured by Arcadian, Carlton, Clays, Rialto, Corona and others, items include a bust of 'Tommy Atkins' 'Eastbourne', dispatch rider 'Loftus-in-Cleveland', Tommy with machine gun 'Ilfracombe', 'The Black Watch' 'Droitwich', 'Tommy dugout somewhere in France' 'City of London', motorbike and sidecar 'Inverness', 'Tommy throwing hand grenade' 'Thetford', unmarked soldier with rifle at his side 'Herne Bay' and a 'Are we downhearted? No! / It's a long long way to Tipperary' 'Portrush', etc (17) (Condition report: Corona China wig wam is cracked through the base, the other wig wam which is unmarked has a firing crack through the base, United we stand jug has nibbles around the rim, dispatch rider has hairline crack below the headlight and one handlebar near lamp, overall wear to the gilding to many pieces)
Doulton Lambeth stoneware jardinière, decorated with flowers on a natural ground, shape 765, impressed factory markings, numbers and inscriptions to the underside, 10" diameter opening, 10.5" high; together with a smaller Doulton and Slater's patent stoneware jardinière, 6242, 8" diameter, 7" high; further Doulton Lambeth stoneware pottery jardinière decorated with figural portrait bust panels and geometric borders, 8930, 6" diameter, 7.5" high (3)
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