Please note that you will require specific approval in advance to bid on this lot.Omega Auctions are proud to present the former childhood home of George Harrison. George and his family moved into the property in 1950 when George was just 6 years old and here they spent 12 important and happy years prior to moving in 1962. During this period the house became a regular rehearsal venue for The Quarrymen and then latterly The Beatles. There are numerous pictures of George inside and outside the property (example pictures included in the listing).A truly unique opportunity to own the property where George spent his formative years and that played an important part in helping The Beatles flourish soon after the Harrison family moved in 1962. Whether you want to live here yourself or be able to share the space with fellow fans this represents an excellent investment opportunity. Our current vendor bought the property in 2014 and according to Zoopla average house prices in the area have risen 20% since that date.This spacious 3 bedroom family home has undergone a complete renovation. The ground floor comprises a hallway, lounge, kitchen/dining room. The first floor includes three spacious bedrooms, bathroom and WC. There is a family-sized rear garden. According to the vendor, a number of original features from George's time at the property still remain and include the bath, sink, some original doors, hanging rails in wardrobes and outbuildings with original doors and decor. In addition to this, the vendor will also be including a large kitchen dresser unit that was found in the outbuildings and would most likely have originally been in the kitchen when George and his family lived there. IMPORTANT NOTE - any successful buyer could apply for a blue plaque from November 2021.Location: Upton Green is located in the suburb of Speke which is approximately 8 miles South East of Liverpool City Centre. Liverpool Airport is nearby and the area is well served by public transport and local amenities including supermarkets and retail parks.IMPORTANT NOTE: Viewing will be by appointment only during the 2 week period ahead of the auction. Legal pack including contract are available to view for all prospective bidders. Proof of funds and bidding deposit will also be required prior to being approved to bid.BUYERS PREMIUM: Significantly reduced for this lot to 10% inclusive of VAT. Buyers will also need to factor in the legal costs of purchasing the property along with any other costs as set out in the legal pack. Omega Auctions will assist the buyer as much as possible throughout the buying process.OTHER CHARGES PAYABLE BY THE BUYER: 1.5% (inc VAT) Seller Commission, £650+VAT seller's legal fees, seller's disbursements associated with the sale (eg Official Copy entries, filed plan and associated documents)EXCHANGE OF CONTRACTS: As is standard with UK property auctions, legal exchange of contracts will occur on the fall of the hammer and a 10% Property Deposit plus the Buyer Premium and Seller Commision is payable immediately after the auction. Completion is required within 30 working days of the sale date.View more images on our Youtube channel - https://www.youtube.com/watch?v=TlUuhNFqoYo&t=35s
We found 596780 price guide item(s) matching your search
There are 596780 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
596780 item(s)/page
THE CONTOURS - 1965/66 UK TAMLA MOTOWN 7" (DEMO AND STOCK COPIES). Terrific pack of UK Tamla Motown 7" rarities from The Contours to include Determination c/w Just A Little Misunderstanding (TMG 564, demo copy - VG+ with a couple of very light and minor surface scuffs, centre missing) and First I Look At The Purse c/w Searching For A Girl (TMG 531, stock copy - VG+ a few light surface scuffs).
LED ZEPPELIN - 'I' LP (ORIGINAL UK 'TURQUOISE' COPY - ATLANTIC 588171). A superb condition original UK copy of the must have debut long player from Led Zep! First UK pressing with Superhype/Jewel credits on both labels and the iconic 'turquoise' lettering sleeve. The record (Atlantic plum labels 588171) is in magnificent Ex+ condition. A superlative copy, there are just a couple of extremely faint, minor and wispy paper marks to the incredibly clean playing surfaces. With super sharp and clean labels showing just some minor spindle marks. Matrix/runout: 588171 A//1 1 2 4 & 588171 B//1 1 8. This copy with 'corrected' 8s. The sleeve is in VG+ condition. A neat example, there is some light creasing and some light scuffs on the reverse though no rips, tears or seam splits.
ARZACHEL - ARZACHEL LP (ORIGINAL UK PRESSING - EVOLUTION Z 1003). The 1969 masterpiece from Steve Hillage and Egg band members, this a fantastic condition first 1969 UK copy on tiny label Evolution Records. The record (Z 1003) is issued on blue/silver labels with the songs on the labels not numbered. The record is in very strong Ex condition with only a couple of very light and minor hairline marks to the playing surfaces. With small black stickers on the labels. Matrix: Z 1003 A1 - ⬦ H & Z 1003 B1 - ⬦ H. The flipback design sleeve is in sharp VG+ condition with the front extremely clean - showing some light ringwear on the reverse.
U2 - THREE 12" (ORIGINAL IRISH PRESSING - CBS 12-7951). A must have addition to any serious U2 collection with this original Irish pressing of their debut 1979 single. This is one of the first 1000 copies pressed by CBS (CBS 12-7951) with the band members names inscribed on both sides of the vinyl in the dead wax and Ireland spelt correctly on the label and "Made in England" at the 6 o clock position. The record is in clean Ex condition showing only a couple of rather light and minor surface marks to the playing surfaces which do not extend any deeper than this. Please note that there is a visual only 'pressing fault' on the A side: When the record plays, the player arm moves right and left noticeably (as if it was stamped off-centre) - as mentioned this is only aesthetic and we could not tell the difference upon playback. Matrix/runout: CBS 7959-12-A CBS U2.3. A-1 (etched drawing of a person) BONO ADAM THE EDGE LARRY BANG! & CBS. U2.3 B-1 BANG BONO ADAM THE EDGE LARRY. This copy is housed with an original company CBS 12" sleeve though does not have the original numbered sticker.
JOY DIVISION - AN IDEAL FOR LIVING 7" EP (ENIGMA RECORDS 1978 ORIGINAL - PSS 139). A must have addition to any Joy Division collection with a lovely clean original UK copy (self-released on Enigma Records PSS 139) of Joy Division's elusive debut release, An Ideal For Living. This is the first pressing with serrated rim and matrix/runout PSS 139 EP A1 EG & PSS 139 EP B1 EG. The record is in Ex condition. A very well kept example, there are just a couple of very light and minor surface hairline marks to the playing surfaces, none of which are ever heavier in nature. Sharp and clean labels with some spindle marks. The original fold-out sleeve is in neat VG+ condition. Again well preserved without any rips or tears, there is some general 'ageing' to the sleeve with some light edgewear and four small 'spots' in the corners of the reverse. A great copy of the EP that 'wasn't a concept but an enigma'...
etched glass, gilt inclusions, air-twist stem23cm (9in) highFootnote: Exhibited:St Louis World's Fair, 1904 (design exhibited).Literature: Jackson, L. (ed.), Whitefriars Glass: The Art of James Powell & Sons, Ilminster, 1996, p. 105 pl. 35 I, (similar example illustrated).Note:The technique of embedding gold and platinum foil in molten glass was first developed by Powell in 1879.
watercolour, initialled, dated and titled in pencil, 16cm (6 1/4in) high, 21cm (8 1/4in) wide; together with ANOTHER SIMILAR WATERCOLOUR; TWO WATERCOLOURS OF BIRDS; and a WATERCOLOUR OF DOGS, all unframedFootnote: Literature: Christie’s South Kensington, Catalogue of an exhibition of pottery Hannah Barlow: a pioneer Doulton artist 1851- 1916, August 1985, published by Richard Dennis, p. 7, fig. 5 (first image illustrated).Note: Irlam was Hannah Barlow's older brother.
silvered metal, black patinated bronze base, signed ALEX FISHER/ BHANAVAR49cm (19 1/4in) highProvenance:20th Century Decorative Arts, Christie's South Kensington, 23 July 1993, lot 765;Purchased from Michael Whiteway, December 1993.Footnote: Literature:Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, p. 213 (illustrated). Note:George Meredith’s The Story of Bhanavar the Beautiful, from a collection of pseudo-oriental stories titled The Shaving of Shagpat was first published in 1856 and became a popular subject of artists and sculptors of the period. The tale follows Bhanavar, an Arabian beauty and innocent daughter of a Caucasian amir, who gains possession of a magical jewel and is transformed into an evil queen of the serpents. In Alexander Fisher’s rendition he captures Bhanavar at the moment of transformation, with her arms held aloft to the heavens, creating a femme fatale figure that was a source of fascination to the public, as was shown in art and literature of the period, in the latter half of the long nineteenth century.
porcelain, pâte-sur-pâte and gilt decorated, painted Rousseau rue Coquilliere 41, pâte-sur-pâte ‘Miles’ 21.5cm (8 1/2in) highFootnote: Literature:Coleman, B., The Best of British Arts & Crafts, Atglen, 2004, pp. 72 & 90 (illustrated).Note:Miles was a pseudonym used by Solon when signing works (see Jones, J., Minton, The First 200 Years of Design and Production, Shrewsbury, 1993, p. 188).
£20 COINS. Seven Royal Mint commemorative fine silver £20 coins to include, 2013 A Timeless First (5) & 2014 Outbreak of the First World War (2). Each backed on presentation/information card & sealed in unopened plastic wallet. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
£20 COINS. Four Royal Mint commemorative fine silver £20 coins, to include 'The 90th Birthday of Her Majesty the Queen', 2014 Outbreak of the First World War & 2013 A Timeless First (2 coins). Each backed on presentation/information card & sealed in an unopened plastic wallet. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
£20 COINS. Four Royal Mint commemorative fine silver £20 coins, to include 'The 90th Birthday of Her Majesty the Queen', 2014 Outbreak of the First World War & 2013 A Timeless First (2 coins). Each backed on presentation/information card & sealed in an unopened plastic wallet. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
£20 COINS. Four Royal Mint commemorative fine silver £20 coins, to include 'The 90th Birthday of Her Majesty the Queen', 2014 Outbreak of the First World War & 2013 A Timeless First (2 coins). Each backed on presentation/information card & sealed in an unopened plastic wallet. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
England, c.1505-1515 AD. An irregular stained glass panel with lead-alloy frame; deep blue field with painted image of an angel in profile; attributed to Barnard Flower. 300 grams, 36cm (14 1/4"). Ex central London gallery; previously from the Fairfield collection, 12 January 1996, lot 1049; previously with George A. Douglass, Sr, Greenwich, Conn. LG-9; formerly in the collection of Roy Grosvenor Thomas, London, UK. Barnard Flower was a renowned Flemish glazier who was commissioned by King Henry VII and later his son, Henry VIII from 1505 to 1517. He is believed to have been the first non-English holder of the office of King's Glazier. Flower came to England in the late 15th century and by 1496 he was providing glass for Henry's palace at Woodstock (Oxfordshire) and Sheen Palace in the following year. His workshop was located in Southwark to avoid the restrictions imposed by the Glaziers' Company in the City of London. Stained glass pieces attributed to Flower include: parts of the West Window of St George's Chapel, Windsor; some windows in King's College Chapel, Cambridge; most of the glazing at St Mary's Church, Fairford - the most complete set of mediaeval stained glass windows in England. [No Reserve] Fine condition.
Late Period, 664-332 BC. A bronze figurine of Osiris standing with flail and crook in his crossed arms, plaited beard, Atef crown to his head with uraeus above the brow, mounted on a custom-made stand. See O'Connor, D., Abydos: Egypt's First Pharaohs and the Cult of Osiris, London, 2009, for a discussion on the role of Osiris in Egyptian religion and society. 150 grams total, 12cm including stand (4 3/4"). Property of a London gentleman; acquired in London in 1976. Fine condition.
14th century AD. An iron longsword of Oakeshott's Type XV.A with tapering, pointed blade of flattened diamond section, the edges with battle nicks; the style 4 cross with downturned tips, long grip with slight taper; style K disc pommel with chamfered edges. See Oakeshott, R.E., The Archaeology of the weapons, London, 1960; Oakeshott, E., The sword in the Age of the Chivalry, Woodbridge,1964 (1994); Oakeshott, E., Records of the Medieval Sword, Woodbridge, 1991; Oakeshott, E., Sword in hand, London, 2001 (2007); many specimens recall our sword: one of the most striking examples is in the Wallace Collection, London (Oakeshott, 2001 (2007) p.102); another extremely similar sword is published by Oakeshott (2001 (2007) p.114, fig.96); these swords are of exactly the same type as that visible on the monument of Can Grande Della Scala in Verona and that on the Berkeley effigy at Bristol (Oakeshott, 1960, pp.308-309 and pl.12); other similar specimens are from a group in the collection of the late Sir James Mann, found in Northern France, another in Yorkshire (Victoria & Albert Museum), and yet another, probably from Italy, has an Arabic inscription; varying a little in size, otherwise almost identical (Oakeshott,1964 (1994) p.59"). 779 grams, 87cm (34 1/4"). Property of a London gallery; previously with a London private collector from 2007; formerly in the Peter Ing Till collection, Vienna, Austria, since 1990; accompanied by an academic report by military specialist Dr Raffaele D'Amato. The sword belongs to the category XVa of Oakeshott (1991, pp.127 ff.), which seems to first have appeared in the second half of the 13th century. These swords were of the well-known 'Bastard' or 'hand-and-a-half' type. The general outline or silhouette of this type is much like that of the previous type XIV, but the section of the blade is different, as in the prime function of the sword. The type XV allowed the warrior to deliver a lethal thrust, even when the opponents protection was completely made of metal plate, whereas the blade XVa type was generally narrow and slender. Fair condition.
1st century BC-1st century AD. A clear glass skyphos with vertical body walls, tapering towards the rim, splayed circular foot and integral ring handles formed between projecting plates, the upper with a forked terminal, the lower rounded. Cf. The Hermitage Collection, Ancient Glass in the Hermitage Collection, 1997, no.37; cf. The British Museum, Masterpieces of Glass, 1968, no.37; cf. The Metropolitan Museum, accession numbers 17.194.888 and 81.10.94, for similar examples. 352 grams, 21cm wide (8 1/4"). Property of a gentleman; ex Theodore Sarmas collection, acquired in the 1970s. This vessel was produced using casting techniques; it was then lathe-cut and polished. The skyphos was the most valuable vessel in the Greek and early Roman eras, attested by their representation on the first Jewish coins, the silver shekels minted during the First Jewish Revolt against the Roman Empire in 68 AD. A limited number of these vessels can be found in museums worldwide. Although a number of fragmentary or restored examples can be found on the art market, complete examples such as the one offered here are comparatively rare. [A video of this lot is available to view on Timeline Auctions Website] [No Reserve] Fine condition, repaired.
Late 19th-early 20th century AD. A group of twelve Rajasthan School(?) hand painted figural scenes of Barahmasa on paper, illustrating the changes of the twelve seasons, each painted in vibrant colours and framed by a yellow and red border, the month in Hindi below: March-April, Chaitra: the first month of the Indian calendar, showing a prince dressed as Lord Krishna seated with his beloved, symbolising an amorous encounter set on a marble pavilion within a bower composed of plantain trees, a second couple engaged in love-making near a fountain, a third couple on a pavilion above, hills, birds, deer and trees in the background; April-May, Vaishakha: the royal lovers, modelled as Radha and Krishna, shown seated in a palace pavilion above a char-bagh garden with a grid of fountains, outside the palace walls women worship ‘Bata’ in the form of a banyan tree, two warriors with bows and arrows returning from a hunt, an attendant with bow drawn to silence the peacock disturbing the royal couple with its call, trees and a hill in the background; May-June, Jyestha: showing Krishna and consort in an upper pavilion flanked by attendants holding fans, fountains and swimming birds below, warriors with bows, cranes, deer and elephants in the landscape; June-July, Ashada: monsoon rains with whips of lightening, Krishna trysts with a sakhi in a luxurious pavilion, nayika keeps guard outside as peacocks cry, Vishnu reclines in a shrine floating in a pond filled with lotus blossoms, an ascetic practicing yoga is visited by noblemen; July-August, Shravana: portraying the festival of Gana-Gaura, commemorating the union of Shiva with his consort Parvati, showing the royal lovers engaged in love-making in their terrace pavilion, overlooking a procession of ladies carrying Parvati idols on their heads, and consigning them to the water, a young warrior/courtier is watching them from his door-steps, a boatman amongst lotus flowers, a mounted warrior returning home and lightening in the background; August-September, Bhadon: representing the monsoon season, when many of those working away from their village traditionally return home and are reunited with their loved ones, the painting shows the two lovers looking out at the rain, with lions, elephants, trees and abundant wildlife around, lightning flashing across the skies; September-October, Ashvina: the painting depicts the festival of Dashahara, during which Lord Rama had Ravana killed in battle, showing Devi’s shrine to which three courtiers are paying homage and sacrificing a buffalo, an ‘army’ marches towards a model of Lanka fortress, palace dwellers shower flowers on the marching army, the prince and his consort sit atop the terrace pavilion, signalling their departure by waving a fly whisk; October-November, Kartika: legendary birds 'Chakva’ and ‘Chakvi’ fly beside the moon, the prince, dressed like Lord Vishnu, enjoys music in the pavilion below, his consort in the terrace pavilion above, the month when crops are sewn; November-December, Agahan: the prince seated on a terrace together with his consort, holding a gem, a maid carries a vessel of wine, the sun riding a horse-drawn chariot across the sky, cranes and other birds enticed by bountiful water and greenery, an image of Vishnu in the pavilion to the right, seated aesthetics before it; December-January, Pausha: the prince and his beloved consort dressed in winter garments, warming themselves over a fire whilst palace attendants cook and clean, also whilst warming themselves, as do a couple in a hut outside the walls, showing three levels of society affected by the cold; January-February, Magha: the month of spring, dark skies brightened by stars, trees and flowers in full bloom, maidens bathing in lotus-filled waters, worshippers before a shrine in one part of the pavilion, the prince in the pavilion above, persuading his reluctant beloved not to leave and unite with him in love; February-March, Phalgun: Krishna wearing a gold lotus crown seated on a terrace, ladies below, playing Holi- throwing coloured powder at each other. 340 grams total, 34 x 24cm each (13 1/2 x 9 1/2"). From the private family collection of a West London gentleman; previously in the personal collection of Harmadar Singh Thind; thence by descent. A popular genre, providing the visual imagery for the poetry which usually accompanied such artwork. The Barahmasa series progresses according to the months of the Hindi lunar calendar, portraying lovers’ minds as they change with the seasons, against a backdrop of shifting seasons and ritual events. [12] Fine condition.
9th-7th century BC. A rectangular ivory panel with gently domed profile, the upper face carved with a frieze composed of a winged ram standing right, wearing a headdress, semi-naturalistic detailing to the horns and head, detailing to the wings, proceeded by a large stylised hybrid tree producing volutes and vines, and a standing human figure facing left, with outstretched arms formed as eagle wings, with semi-naturalistic detailing to the hair and face, further detailing to the feathers on the wings and the figure's robes; stained green. Cf. The Metropolitan Museum, accession numbers 67.22.3, 61.197.7, 59.107.11 and 64.37.12, for similar elements in ivory. 193 grams, 16cm (6 1/4"). Property of a London gentleman; before that in the private collection of a Kensington collector; previously in the collection of Mrs Petra Schamelman, Breitenbach, Germany; acquired from the collection of Fernand Adda, formed in the 1920s-1930s. The Adda family, originally from Alexandria, formed the majority of their collection in the 1920s-1930s. Abraham Adda (b. circa 1855) had three sons, Victor (b. circa 1885-1965) a collector of coins, Iznik and ancient Egyptian objects; Fernand, a collector of Iznik ceramics, and Joseph. The collection has been situated in Europe since before the Second World War; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10888-181054. Carved ivory pieces such as this were used in the production of elite furniture and luxury objects in the early first millennium BC, possibly overlaid with gold foil or inlaid to create the effect of a shining surface. A similar plaque was found in a storage room at Fort Shalmaneser, a royal building at Nimrud used to store booty and tribute collected by the Assyrians while on military campaign. Fine condition.
21st-22nd Dynasty, 1000-900 BC. A hollow cast bronze head of a pharaoh wearing a tripartite wig and a long braided chin-beard; eyebrows, makeup lines around the eyes and chin strap for the false beard inlaid in gold; the eyes inlaid with obsidian, remains of original clay casting core visible; mounted on a custom-made display stand and held in a custom-made display case. Cf. Roeder, G., Egyptischem Bronzefiguren, 1956, p.471 & 637, pl.63-64; and J.F. et L, Aubert Bronzes et Egyptiens, 2001, p.353-355; Hill, M., 'A Bronze Aegis of King Amasis in the Egyptian Museum: Bronzes, Unconventionality and Unexpected Connections' in Eldamaty, M. and Trad, M. (eds.), Egyptian Museum Collections Around the World, Vol.2, Cairo, 2002; Hill, M., Gift for the Gods. Images from Egyptian Temples, New Heaven and London, 2007; Ivanov, S., 'A Bronze Aegis of King Amasis in the Egyptian Museum, Cairo' in Maravelia, A.-A. (ed.) En Quête de la Lumière / In Quest of Light. Mélanges in Honorem Ashraf A. Sadek (BAR International Series 1960), Oxford, 2009A; Ivanov, S., 'The Aegis in Ancient Egyptian Art: Aspects of Interpretation', in Hawass, Z. (ed.), Egyptology at the Dawn of the Twenty-first Century. Proceeding of the Eighth International Congress of Egyptologists, 2000. Vol.2, Cairo, New York, 2009B; Roeder, G., Ägyptische Bronzefiguren, Berlin, 1956; Aubert, J.F, and Aubert, L., Bronzes et Or Egyptiens, Paris, 2001, pp.353-355; Dunham, D., 'An Egyptian Bronze Aegis', 1932, BMFA Vol.29, no.176, pp.104-109. 1.18 kg total, 21cm including stand (8 1/4"). From the collection of a Kensington gentleman; acquired from Mansour Gallery, London W1, UK, in 2013; acquired from Rennes Enchères - Hôtel des Ventes, France, 11 March 2003, lot 117 (front cover) for 150,000.00 euros; previously in the French family collection of Monsieur and Madam M since the early 1960s, thence by descent; accompanied by an academic report by Dr Alberto Maria Pollastrini; also accompanied by copies of the French Passport no.058205 dated 15 April 2003, Rennes Enchères invoice, Rennes Enchères cataloguing in French and with an English translation, Mansour Gallery invoice, previously, typed and illustrated collection cataloguing pages, and the 2003 auction catalogue showing the piece on the front cover; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10936-181155. This mask was part of an aegis, a cult implement representing the head of a deity wearing a broad usekh-collar. Aegides appeared at the beginning of the 18th Dynasty and became popular in the Third Intermediate and Late Periods (IVANOV 2003B, pp.332-333); their real use is still under debate: in general, aegides were used to decorate the prow and the stern of sacred barques but sometimes they are described by scholars as terminals for standards or for carrying poles of a piece of processional equipment. Although aegides are generally surmounted with divine heads (further examples in Roeder, 1956, pp.465-472, pl.63-65), royal images are not unknown (e.g. aegis of King Amasis, Hill, 2002, pp.545-556; Hill, 2007, pp.137-138; Ivanov, 2009A, pp.25-32"). [A video of this lot is available to view on Timeline Auctions Website] Fine condition.
Late 14th century AD. A rectangular section of a medieval tapestry, missing two corner sections: Haut de lice, Semis of yellow fleurs-de-lis and repeated crowned letter ‘L’; hemp or linen and silk; modern backing; French workmanship. See Catalogue, Les Fastes du Gothique, le siècle de Charles V, Grand Palais, RMN, Paris, 1981, no.337, p.396; M. Prinet. Le damas de lin historié, Fondation Abegg, 1982, pp.49-50. 1 kg, 72 x 130 cm (28 1/4 x 51 1/4"). Ex central London gallery; acquired from Francesca Galloway, Hotel Drouot, Paris, France, in 2001; accompanied by a previously researched cataloguing sheet. This textile is remarkable in both its rich texture and its decoration: it is a samite, so the same pattern is reproduced on the two sides. The decoration is composed of a regular semis of fleurs-de-lis alternating with a crown with an L in the middle. This pattern connects our piece to the two first dukes of Anjou, Louis I (died 1384) or Louis II (died 1417"). A fragment from the cathedral of Angers has the same decoration and technique, except for the blue colour of the background. However, our piece certainly comes from the same workshop and was perhaps made for a member of the Anjou family. [No Reserve] Fine condition.
c.13th century AD. A most unusual two-piece silver double personal seal matrix, the body of circular form with hexagonal handle and tiered collar with petal moulding at the base, one petal bearing an orientation mark in the form of a cross pattee, with a second such mark in the form of four pellets set opposite; the perimeter bears the legend '+ S' ThOME * DE * RO[ ]' for the seal of Thomas of Ro[ ]; the inner part showing a circular cell that would have received an intaglio gemstone linked to a shaft passing though the body to allow the central stone to be used either in combination with the inscribed border or separately; the second orientation mark would have been used when impressing the central intaglio alone. 8.85 grams, 22mm (1"). Found whilst searching with a metal detector near Copmanthorpe, close to York, UK, in September 2020, and disclaimed as Treasure under Treasure reference no.2020T10091; accompanied by a copy of the Portable Antiquities Scheme (PAS) report number YORYM-2006DE and the report for HM Coroner. Seals belonging to important personages often provided for their owner to make use of a full seal inscribed with their name paired with a smaller 'secret' seal of simpler form. This particular seal, which allows the owner to adopt either full or secret seal through the same matrix, is extremely unusual and creating the mechanism would have required skills beyond those normally seen used by ordinary seal cutters. The complex mechanism comprised a central shaft passing through the length of the body which is keyed to ensure the orientation between body and intaglio cell remains constant and the two orientation marks of a 'cross' and 'four pellets' allowed the owner to be sure that, when impressed into wax, the design would be correctly positioned for whichever version he desired. A wire spring kept the central element snugly in place until the shaft was pressed down. The seal is secular in type and the name of the owner is complete and reads 'ThOME' for Thomas and continues with the letters 'DE' signifying 'of' and followed by the letters 'RO' being the first two letters of the place name where Thomas was born or resided; from the space available, it is likely that there were originally four or five letters to the name of the place. The matrix was found near Copmanthorpe, Yorkshire. Copmanthorpe, situated a few miles to the south-west of the city of York, is a settlement listed in the Domesday Survey of William I. The place name could be taken from a city, town, settlement or manor and there is no obvious candidate in proximity to the place of finding; indeed place names in England beginning 'RO' are not common, with Rochester (often abbreviated to ROFI or similar in the Medieval period), Kent perhaps being a strong candidate, as the seal is obviously a very costly item that could only have belonged to a wealthy personage and Rochester was an important city that would have artisans capable of its manufacture and suitable as a home to a wealthy and important person. Fair condition, some loss. Extremely rare mechanical type.
Upper Perigordian Culture, Gravettian Period, 25th-20th millennium BC. A stone statuette of a piriform female figure with narrow shoulders and ample teardrop-shaped breasts, hands carved in low-relief descending in arches over the massive rounded belly and large buttocks, short thighs bordering an elongated pubic triangle, lightly sketched knees, the head proportional to the body, no facial features but with an indefinite type of coiffure. Cf. The Venus of Willendorf, NHM Vienna, for similar; see also Grand, P.M., Prehistoric Art: Paleolithic Painting and Sculpture, London, 1967; Gvozdover, M., Art of the Mammoth Hunters: The Finds from Avdeevo, Oxbow Monographs, 1995; Lesure, R.G., Interpreting Ancient Figurines: Context, Comparison, and Prehistoric Art, Cambridge, 2011. 965 grams, 16cm (6 1/4"). From the family collection of a UK gentleman, by descent in the early 1970s; previously acquired before 1960; accompanied by an academic report by Prof. Neritan Ceka and a scholarly note TL05410 by Dr Ronald Bonewitz; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10935-181341. The importance of the Venus statuettes lies in the fact that they are the first three-dimensional artistic creations of man. Most scholars consider them symbols of the cult of fertility and evidence of the existence of a matriarchal society as a form of organization of the earliest human society. The statue belongs to the Venus of Willendorf type of Palaeolithic idols, with obese female characteristics: huge breasts, exaggerated buttocks and genitalia, which have been found from France and Russia. Stylistically, for treatment with rounded shapes, the forward tilted head with non-detailed coiffure, our statue is closest to the Eastern European figures, like the Kostenski, Gagarino or Avdeevo Venuses, belonging to the period of Gravettian art. [A video of this lot is available to view on Timeline Auctions Website] Fine condition. Rare.
Late 2nd-early 3rd century AD. A layered agate cameo portraying a noble lady or an empress in profile, hair falling to just above the nape, where it is plaited. See Popovi?, I., 'Roman cameos with female busts from Middle and Lower Danube' in Pallas, 83, 2010, pp.203-224, figs.15-16. 1.9 grams, 20mm (3/4"). Property of a gentleman from Vienna; from his private collection formed since 1970. Most cameos of this typology originate from the period of rule of the Severan Dynasty, and were made in the first half of the 3rd century AD. A similar cameo in a gold medallion from an unknown site in Hungary, probably from south Pannonia (Popovi?, 2010, Nº 15), portrays a woman with a hairstyle of helmet form (Helmfrisur), characteristic of Julia Domna, the wife of Septimius Severus (160-217"). For this specific lot, 5% import VAT is applicable on the hammer price [No Reserve] Fine condition.
Early 4th century BC. A tinned bronze helmet of Type V, Kunze Group VII, the bowl hammered from a single piece with a blunt central ridge, the lower part of the bowl separated by an indented shoulder; arched cut-outs for ears and eyes, flanged ear protectors and a short neck guard to the rear, short lanceolate nose-guard developing into thick eyebrows with flared edges; the lower edge fitted with hinged cheek pieces; accompanied by a custom-made display stand. See Ohly, D., Die Ägineten, Die Ostgiebelgruppe, Munich, 1976; Pflug, H., 'Chalkidische Helme' in: Antike Helme, RGZM Monographien 14, Mainz, 1988, pp.137-150; Chernenko, E.V., The Scythians 700-300 BC, Hong Kong, 1998; Brinkmann, V., Wünsche, R. (eds.), Bunte Götter. Die Farbigkeit antiker Skulptur. Staatliche Antikensammlungen und Glyptothek, Munich, 2004; Jonovski, Trakits (The Thracians), 7th century BC-1st century AD, Sofia, 2010 (in Bulgarian"). 1.5 kg total, helmet: 32.5cm (12 3/4"). Property of a London gallery; previously in an English private collection 1998-2020; formerly in a private Austrian collection, 1974-1998; accompanied by an archaeological report by military specialist Dr. Raffaele D'Amato; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10871-178854. The Chalcidian type of ancient Greek helmet was essentially a lighter and less restrictive form of the Corinthian helmet. Later Chalcidian helmets had hinged cheek-pieces that were anatomically formed to fit closely to the face. The representation of these helmets with mobile and raised cheek-pieces (type V) appear on Attic vase paintings from the early 5th century BC, although the first four typologies still show fixed elements for the face protection as in their Corinthian prototypes. Contemporary to these representations are the sculptures of the temple of Aphaia in Aegina, where these helmets are widely represented and which represent the first examples of Chalcidian helmets with a short nose-guard. The sculptures of the Temple of Aegina also show how these Greek helmets were often painted: the bowl of the sculpted Chalcidian helmets show traces of dots in blue colour (Ohly, 1976, n.38 pp.94ff.), and the polychrome (which could have different variants) has been restored by German archaeologists (Brinkmann & Wünsche, 2004, p.107"). [A video of this lot is available to view on Timeline Auctions Website] Fine condition, some restoration.
10th-12th century AD. A double-edged Viking or Norman sword of Petersen Type X, well-defined cutting edges and fullers to the blade with traces of pattern-welding and battle nicks; wide lower guard of Oakeshott Style 1, tapering tang and tea-cosy pommel. See Petersen, J., De Norske Vikingsverd, Oslo, 1919; Oakeshott, E., Records of the Medieval Sword, Woodbridge, 1991; Oakeshott, E., The Sword in the Age of the Chivalry, Woodbridge, 1964 (1994); Gravett, C., Medieval Norman Knight, 950-1204 AD, London, 1993; Peirce, I., Swords of the Viking Age, Suffolk, 2002; a very similar sword with a similar hilt, was found in Hagerbakken (Petersen, 1919, fig.124); another parallel is a sword from Tissø, Denmark, today in the National Museum in Copenhagen, a water find; other two excellent specimens of this typology can be seen at the Musée de L'Armée, Paris (Peirce, 2002, pp.118-121); further similar examples are visible in the Tower of London and in the Historisches Museum of Berne (inventory no.840.5, see Oakeshott, 1964, p.95"). 900 grams, 89.5cm (35 1/4"). From the family collection of a UK gentleman, by descent in the early 1970s; previously acquired before 1960; accompanied by an academic report by military specialist Dr Raffaele D'Amato and a positive metal test from an Oxford specialist; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10892-181350. The sword is of Petersen type X of (Petersen, 1919, pp.158ff) and finds good parallels in various similar Viking age specimens. The B type pommel is indicative of the category. According to Petersen, these kind of swords spanned over an extensive temporal period, from the first half of the 10th century until the middle 11th century AD, but we know now that individual swords of type X are considered among the latest of the swords from the Viking age, and were in use in the 11th and 12th centuries. They are represented in the hands of the Norman knights of the Bayeux Tapestry, where even Duke William is armed with such a sword with a tea cosy pommel. Fine condition.
6th-7th century AD. A silver-gilt bird with small carinated head, broad disc body and trapezoidal tail; the centre of the back formed as a male face with large eyes and broad moustache enfolded in the bird's overlapping wings; catch and remains of ferrous pin to the reverse; the face probably that of the god Oðinn (Odin"). See Jaenbert, K. The mania of the time. Falconry and bird brooches at Uppåkra and beyond, in On the Road. Studies in Honour of Lars Larsson, Lund, 2007 for a full discussion of the iconography of bird-brooches in relation to the cult-site at Uppåkra. 9.73 grams, 48mm (2"). From the collection of a Tyne & Wear, UK, gentleman; formerly acquired on the Austrian art market in 1992. Examples of this type of bird-brooch have been found at the important religious site of Uppåkra (southern Sweden) where they evidently formed part of the religious iconography of the community. The symbolism of the bird bearing a human face can be deduced from the myth of the gaining of the Mead of Wisdom (recorded first in writing some centuries later reported by Snorri Sturluson in Skáldskaparmál) in which the god transforms himself into a bird of prey. Having managed to drink the magical mead by subterfuge, Oðinn manages to escape in bird form from the hall under the mountain where the giant Suttung had hidden it. This myth is encoded in many artefacts of the Vendel Period and later. Fine condition.
Uruk Period, c.55th-31st century BC. A sealed spherical clay bulla envelope containing clay tokens which can be heard rattling inside; impressed medial 'chain link' motif and raised-relief zoomorphic designs to the body. 144 grams, 61mm (2 1/2"). Part of a specialised collection of cuneiform texts, the property of a London gentleman and housed in London before 1992, thence by descent to family members; examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s; this small collection is exceptional for the variety of types, including some very rare and well preserved examples; accompanied by an extensive old illustrated cataloguing page. It is believed that there are less than 250, complete and fragmentary, examples of this type of bulla envelope worldwide. The bulla first emerged in Mesopotamia around 8000 BC. The clay envelopes contain a number of pre-baked accounting tokens, which were used in commercial and stock-taking transactions. Placing the tokens inside the bulla greatly enhanced the honesty of the transaction, as the bulla would have to be broken or crushed to reveal its contents. However, the epigraphic and pictorial motifs on the bullae of the Uruk period indicate a possible administrative function. Some scholars also believe that such bullae were the inspiration for the emergence of cuneiform, with the concept of using clay tokens in accounting being the acknowledged origin of the earliest cuneiform scripts. Fine condition. Extremely rare.
3rd millennium BC. A carved stone Kilia 'star gazer' idol head; mounted on a custom-made stand. See von Bothmer, D., Glories of the Past: Ancient Art from the Shelby White and Leon Levy Collection, New York, 1990. 152 grams total, 11cm including stand (4 1/4"). From a private English collection, acquired 1987. In the 3rd millennium BC, female figures were produced throughout the Mediterranean, including the area of modern Turkey previously known as Anatolia. These figures represent a highly stylised standing nude female with flipper-like arms. Her bulbous head, long neck, and flat body are characteristic of the Kilia type of female figurines, named after the village in Turkey where the first examples were found. The facial features are only schematically rendered, but areas such as the eyes would originally have been enhanced by paint; in contrast, the ears and nose are defined in carving. Chalcolithic female figures were probably connected with the cult of a fertility goddess; in a number of examples the pubic area is emphasised. Fine condition.
Late 16th century AD. A painted wooden panel from a diptych with gesso field, raised edges, recessed figural panel showing the Virgin Mary, dressed in a red and brown tunic with a rippling green mantle; legend reading 'Our Lady Mary’ and ‘Magala’; painted in the manner of Nicolò Brancaleone. 13 grams, 70mm (2 3/4"). Ex central London gallery; acquired from a private collection, Nimes, France, 2000; accompanied by a previously researched cataloguing sheet. Brancaleone was one of the first European artists whose arrival revolutionised Ethiopian art at the outset of the sixteenth century. [No Reserve] Fine condition.
c.10th century AD. A gilt-bronze Scandinavian or Eastern Viking horse harness assemblage comprising: twelve piriform plaques each with a central cell; eleven smaller rectangular plaques; a chamfron or bridle cap with running interlace decoration to the rim, reserved images of human and animal figures, central plume-holder; a quantity of smaller fittings. Cf. Petru-Mircea, I., ‘Spar av vikingatid i Rumanien’, in Pilz, E., Bysans och Norden. Akta for Nordiska forskarkursen i bysantinsk konstvetenskap, 1986, Stockholm, 1989, pp.191-202; Gorelik, M., ‘Arms and Armour in South-Eastern Europe in the Second Half of the First Millennium AD’ in Nicolle, D., Companion to Medieval Arms and Armour, Woodbridge, 2002, pp.127-148. 468 grams total, 11-113mm (1/2 - 4 1/2"). From a central London, Westminster, collection; previously in a private collection formed in Europe in the 1980s; accompanied by a detailed report by Anglo-Saxon and Viking specialist Stephen Pollington and military specialist Dr Raffaele D'Amato; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10920-181154. The decoration of the cap indicates that the items were commissioned by a chieftain with Scandinavian taste, although the workmanship is mainly eastern European. There is strong evidence of burning, indicating that the items were deposited after cremation. [74] Fine condition. Rare.
A two row uniform cultured pearl necklace, with a white gold diamond and sapphire cluster clasp, requires restringing. Two rows of cultured pearls, approximately 7 to 7.5mm, strung knotted, to a two row clasp. The floral form clasp with a cluster of brilliant cut diamonds claw set to the centre, to surround of oval mixed cut sapphires, and outer border of brilliant cut diamonds, grain set to a scalloped undulating edge. Tested as approximately 18ct gold. 450mm long, 68.69gCondition report: One string broken. Possibly some pearls deficient.One pearl loose.Type: cultured Akoya (salt water)Shape: roundColour: cream/whiteOvertones: greenNacre: mediumLustre: goodMatching: very good.This necklace does not have its original case, but we can pack it in one of our own 'Sworders' necklace cases.450mm is the longest row, but please be aware that as the necklace requires re-stringing, they are always tight when this is first done, so it will be slightly shorter.Stringers will not just re-string the broken row, both will have to be re-strung.
Edith Tolkein (1889-1971) a hand written postcard by the wife of J. R. R. Tolkien to his official photographer Pamela Chandler, dated August 28th (1966): We are anxious to see the photographs before we go away at the end of the week. Joy Hill phoned to say she'd seen them that morning, & many were extremely good. Rayner Unwin said the same, when he was here a few days ago. So do send them. if you possibly can - All good wishes from us both, Edith W. Tolkien. N.B: Rayner Unwin was the first reader of the manuscript of the Hobbit, aged 10, see lot 1275 in this sale.
Edith Tolkien (1889-1971) a hand written letter by the wife of J. R. R. Tolkien to his official photographer Pamela Chandler, dated Oct. 25th / 67: My dear Pamela, I'm sorry you've had to wait so long for an answer - but my husband has been very ill, with a dreadful virus & he had a Temp. for three weeks. As soon as he could be moved, we came home - & he was still in bed for the first week, but he is much better, & went out yesterday - the first time in nearly five weeks. He is still weak, but he is much better, & went out yesterday. - the first time in five weeks. He is still weak - & easily tired - & the Doctor says the pains in his head will continue for some time -& it's affected his eyes. & don't know when we shall go home: - the Dr. wants him to get much stronger first. He's had wonderful attention and kindness from everybody. & was terribly tired - so am very grateful for the rest & comfort. We are so sorry you haven't a job yet. It must be annoying for you. How are the dogs? - it was too bad we missed you when you went to see Priscilla about the prints. We should much like six of the smallest ones - as several friends will like to have one & it would be nice for a Xmas gift. The family have been delighted with their's - & we had them frame in grey as you suggested. Christopher (the son you met) has just flown back from Canada: he saw the glorious Autumn colours before he left and says they are marvellous. We are now Great. Grandparents! Our grand daughter had a little girl in August. No wonder we feel old!! Love - & many good wishes from us both Edith W Tolkien
Edith Tolkien (1889-1971) two hand written double sided letters, the first dated Nov 18th /67 - 'My Dear Pamela, Thank you very much for writing - we are so glad you are busy and have plenty of work now - As you see, we are at home - we had almost five weeks at Bournemouth - and with lots of kindness and care my husband is wonderfully much better tho' can't do much yet and is easily tired. My arthritis- unfortunately is a good deal worse - and I can scarcely walk at all. As for stairs, - it's good to hear Didon and his child are well and get long walks. We had dreadful gales and heavy rain at Bournemouth- but sunny last week and warm! Now very cold and frosty - but dry. Priscilla is staying at home this year - so we expect to spend Xmas with her. I'm so glad you are going to Somerset. I have a cousin living at Worle near Weston Super Mare. Very many thanks for getting the prints done for us. Our love and good wishes to you - Edith W Tolkien'. Together with a letter dated December 5th /67 - 'Dear Pamela, we are delighted with the photographs - Thankyou very much for sending them. They were beautifully packed - and we were intrigued as to whom the two-piece face was! My husband is much better but easily tired and can't do much work yet. I hope you will enjoy X-mas and have a prosperous New Year. Priscilla will be calling in, I expect, & I will give her your love. Again - very many thanks and our love to you. Edith W Tolkien.' (2)
Of Tolkien Interest: Pamela Chandler (1928-1993): Set of photographic negatives of portraits of Rayner Unwin, first reader of The Hobbit, together with contact sheets of the same. The copyright for the images in the negatives in this lot passes with the lot.N.B. Rayner Unwin secured his place in Tolkien folklore when aged 10, his review for the manuscript of The Hobbit convinced his father Stanley Unwin to publish the book.
Pamela Chandler (1928-1993) collection relating to her Bertrand Russell portrait photography session, circa 1961, including negatives and small 5 x 4inch proof photographs of the period, also colour negatives. Correspondence including typed letter to Pamela Chandler from Bertrand Russell dated 10 August 1961 requesting images from the session, signed 'Russell'. The copyright for the images in the negatives in this lot passes with the lot.N.B. Images from this photographic session are in the National Portrait Gallery Collection. These were Pamela Chandlers first colour negatives and unusual for the period.
Harold Macmillan by Pamela Chandler (1928-1993) collection of materials relating to the photographic session at 10 Downing Street, circa 1959 including negatives, this was the first occasion that a female photographer was invited to photograph a British Prime Minister and was much reported at the time. Included in the lot are six period photographic portrait prints, each 30 x 25cm, correspondence from the Prime Ministers secretary, nine 5 x 4 inch negatives and corresponding proof photographs, also contact sheets relating to photographs of Macmillan and Oscar Nemon inspecting the sculptor's bust of Churchill at Downing Street, also related materials including letters and pages from The Illustrated London News printing Pamela Chandlers portrait of Macmillan. The copyright for the images in the negatives in this lot passes with the lot.N.B. Images of Macmillan from the 1959 photographic session are represented in The National Portrait Gallery collection
Large quantity of archive materials from photographer Pamela Chandler (1928-1993) including diaries, her address books (including notable figures - Tolkien, H.R.H. The Queen (secretary contact), a Rexel card index box which gives details and of dates of appointments for portrait sitters, a period photograph of an exhibition of Pamela Chandlers photography alongside Elisabeth Frink bronzes, correspondence with clients, her first box camera, a personalized number plate (3 PMC), opera glasses, Kodak guides, cinefilms, some photos, correspondence, press cuttings etc, various other materials, very large quantity - 13 boxes
Loading...-
596780 item(s)/page