Ca. 3000–2000 BC. Indus Valley Civilisation. Beautiful set of three terracotta jars. The smallest one is standing on a ring foot. The interior is decorated with black painted running ibexes, surrounded by geometric motifs and concentric black lines. The one on the left is decorated with stylised felines, a tree, geometric motifs and concentric black lines. The largest one is also decorated with stylised felines, trees, geometric motifs and concentric black lines. The Indus civilization, also called the Harappan civilization, is the earliest known urban culture of the Indian subcontinent and was an important Bronze Age culture that arose around ca. 3300 BC and lasted until ca. 1300 BC. It extended from modern-day northeast Afghanistan to Pakistan and northwest India. The nuclear dates of the civilization appear to be about 2500–1700 BC, though the southern sites may have lasted later into the 2nd millennium BC. Large numbers of ceramic vessels decorated with black slip have been found among the sophisticated urban settlements of South Asia's protohistoric Indus Valley civilization. The walls of this jar are so thin that it must have been created on a potter's wheel. Perhaps the best-known artefacts of the Indus civilization are a number of small seals, generally made of steatite depicting a wide variety of animals, both real—such as elephants, tigers, rhinoceros, and antelopes—and fantastic creatures. Sometimes human forms are included. A few examples of Indus stone sculpture have also been found, usually small and representing humans or gods. There is a fair number of small terra-cotta bowls decorated with figures of animals like the present item. To find out more about the Indus civilisation and its material culture, see Possehl, Gregory L., 2002. The Indus Civilization: a Contemporary Perspective. Walnut Creek, CA: AltaMira Press. Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s. Size: L:Set of 3; 70-95mm / W:65-120mm ; 665g
We found 151070 price guide item(s) matching your search
There are 151070 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
151070 item(s)/page
Ca. 300–400 AD. A seated figure of the Bodhisattva Maitreya, the Buddha who is believed to be incarnated in the future for the salvation of mankind. Carved from a fine grained grey chlorite-schist, the figure displays sensitive treatment of the carving, particularly in the details of the robes. The head is turned to the left and is crowned by an elaborate headdress composed of a turban with strings of jewels and a characteristic fan shaped piece gathered to the front. The face is expertly carved with a sensitive, slightly smiling mouth, heavy lidded eyes and a straight nose characteristic of Eastern Roman art, and a moustache more commonly associated with indian art. Between the eyes is an Urna, one of the symbols of a great being that depicts the third eye that enabled the Bodhisattva the ability to see past the mundane world of suffering. The ears are pierced and elongated from the heavy earrings commonly worn by aristocrats of India and Central Asia at the time. Behind the head is a large halo.The body is strongly proportioned and across the chest are three strands of necklaces, one running diagonally across the chest and strung with a series of amulet cases known as Kavacha. These amulets are still worn in India today, and they were popular in the Roman Empire, with examples depicted on the famous Faiyum mummy portraits from Egypt. The left hand rests on the knee, whist the right was originally held up to the face in the so-called “pensive” manner that is a characteristic of Maitreya images. The figure sits on a throne with lattice work panels, and on the seat is a large cushion. The right leg is slightly drawn up in the so-called “royal ease pose”. The throne in turn is supported by a lotus flower, with the petals rendered in exceptionally fine realism.Maitreya is believed to be the future Buddha, who currently resides in the Tushita heaven. As a Bodhisattva he has achieved enlightenment, but not entered Nirvana, instead choosing to help living creatures achieve enlightenment too. His name is derived from the Sanskrit word Maitri, meaning “friend” and this in turn may be derived from the Persian deity Mithras, also known as Mithra or Mitra, whose name also meant friend. Indeed, it is possible that the cult of Maitreya may have been influenced by the Persian deity as Central Asia and parts of India were ruled by the Persian Empire prior to its conquest by Alexander the Great. The pensive pose that Maitreya displays, represents him seated in the Tushita heaven contemplating the suffering of living beings, and waiting until the time when he can enter the world for its salvation. This future time is believed to be when the teachings of the Buddha have disappeared and mankind is living in extreme suffering. Maitreya will then be incarnated in the world to save all living beings.The treatment of the robes, jewellery and headdress show that he is represented as a noble of the time from Northern India and Central Asia, and it would have been members of the elite who would have dedicated these reliefs at monasteries and popular sites of pilgrimage. This would have been a meritorious act in the hope of a better rebirth. The practice of offering reliefs seems to have come from Greece and Rome, where it was one of the primary acts of devotion. The production of devotional images, such as this, probably began in the late second century AD. These images were produced for worship by both the laity and the monastic community, and their production coincides with a decline in the popularity of narrative panels, almost all of which illustrate the sacred biography of the Buddha. This shift has often been seen as marking a transition in Buddhist ideology from the earlier Hinayana school of teaching, which emphasized the veneration of relics, to later Mahayana practices centred on the veneration of images of Bodhisattvas and cosmic Buddhas.Compared to the art of peninsular India, Gandharan art can be described as more naturalistic, both in the rendering of the body and in the movement of the garments. The representations of the Buddha and Bodhisattvas were inspired by the representation of Hellenistic and Roman gods and aristocracy. One of the closest parallels of art from the time of the Roman Empire is that from Palmyra, which was a trading hub between India and the west. Here, the religious and funerary reliefs display close similarities in the rendering of the facial features and carving of the folds of the garments, and especially in the decorative elements, such as the jewellery, to those depicted on Gandharan pieces. This clearly demonstrates the close trading ties between the east and the west that resulted in the sharing of cultural motifs and styles. This was not something new however, as the grey chlorite-schist so popular for the creation of Gandharan sculpture, was employed millennia earlier in the production of vases and small sculpture from Mesopotamia, and which were exported across the Near East and the Indus Valley civilisations.The item was researched by Bret Gaunt. For a similar piece see The Art Gallery of New South Wales, Australia, accession number 7, 1997; Beguin, G. (2009). Buddhist Art. Bangkok: River Books, 212, fig. 23. For more information about Gandharan art, see Jongeward, D. (2019). Buddhist Art Of Gandhara in the Ashmolean Museum. Oxford: Oxford University Press. Provenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection. Size: L:870mm / W:350mm ; 30k+g
Ca. 3000–2000 BC. Indus Valley civilisation. An interesting terracotta storage jar, amber coloured. The exterior is decorated with black painted running ibexes, surrounded by geometric motifs and concentric black lines. The Indus civilization, also called the Harappan civilization, is the earliest known urban culture of the Indian subcontinent and was an important Bronze Age culture which arose around ca. 3300 BC and lasted until ca. 1300 BC. It extended from modern-day northeast Afghanistan to Pakistan and northwest India. The nuclear dates of the civilization appear to be about 2500–1700 BC, though the southern sites may have lasted later into the 2nd millennium BC. Large numbers of ceramic vessels decorated with black slip have been found among the sophisticated urban settlements of South Asia's protohistoric Indus Valley civilization. The walls of this jar are so thin that it must have been created on a potter's wheel. Perhaps the best-known artefacts of the Indus civilization are a number of small seals, generally made of steatite depicting a wide variety of animals, both real—such as elephants, tigers, rhinoceros, and antelopes—and fantastic creatures. Sometimes human forms are included. A few examples of Indus stone sculpture have also been found, usually small and representing humans or gods. There is a fair number of small terra-cotta bowls decorated with figures of animals like the present item. To find out more about the Indus civilisation and its material culture, see Possehl, Gregory L., 2002. The Indus Civilization: a Contemporary Perspective. Walnut Creek, CA: AltaMira Press. Provenance: Private collection of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s. Size: L:80mm / W:110mm ; 285g
Ca. 900–1100 AD. Viking Age. An iron helmet comprising four triangular curved iron plates with bands outside supporting the structure of the helmet; perforated rim and loop at the top. Helmets of this type were once common across Europe in the post-Roman world through to the later Middle Ages. The item was studied by Russel Scott; famous lecturer, reenactor and expert of Viking period and medieval artefacts. His report will accompany the purchase. Provenance: Property of a UK collector; formerly in an old Dannish collection. Size: L:150mm / W:213mm ; 855g
Ca. 1200–800 BC. Greek Archaic Period. A bronze spearhead with a triangular, lentoid sectioned blade, raised midrib and a long tang. This item is mounted on a stand. Bronze weaponry production flourished in western Asia, the Aegean, and Mainland Greece from the 2nd millennium BC to about 700 BC, when it was gradually replaced by iron. Swords, spears, and arrows were important symbols of war in Greek Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it. Provenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s. Size: L:124mm / W:25mm ; 25g
Ca. 600–400 BC. Scythian / Hellenistic. A well preserved short iron sword of the akinakes type (Greek ????????') with a pointed bevelled blade, flat guard, rectangular grip, and circular pommel; custom-made stand included. The item has been professionally restored and conserved. The akinakes, a short straight sword, became very well known to fifth-century BC Greeks, who recognised it as 'the Persian sword' (Herodotus 7.54.2), and collected them as part of their war booty (Herodotus 9.80.2) – inventories show that a good number of akikanes swords were dedicated on the Athenian Acropolis as a votive offering to Athena (Miller 1997, 47). Akinakes swords can be identified on the reliefs at Persepolis, the capital of the Achaemenid Empire, where men in Persian dress can be seen wearing it thrust through the knot of their robes. Akinakes were also used by the Medes, Scythians, the Caspii, and later by the Greeks themselves. Akinakes were made most commonly of iron, but some examples survive in gold, which Herodotus (8.120) tells us were a standard royal gift: Xerxes, for instance, gave a gold akinakes to the Hellespont along with a gold phiale and a bowl (Herodotus 7.54.2). To find out more about akinakes swords, see Miller, M. C. (1997). Athens and Persia in the Fifth Century BC: A Study in Cultural Receptivity. Cambridge: Cambridge University Press, 46–48. Provenance: Private UK collection; Formerly acquired on the European art market from pre-2000 collections. Size: L:525mm / W:70mm ; 355g
Ca. 700-1000 AD. Viking age. An iron sword with ad doubled-edged blade, broken off from the half and a wide, broad, tapering guard and circular pommel, corresponding broadly to Petersen’s Type W. The sword was an elite weapon during the Viking period, and only the most well-off warriors - the cavalry - would have been able to afford one. Such swords were used both by the Vikings and Khazars. The elite status of swords during the Viking age is made clear both by their presence in some of the richest graves as well as a law of Charlemagne, the Holy Roman Emperor, which requires soldiers who could afford to maintain a horse to be equipped with a sword. Excellent condition; on a custom stand. See Petersen, Jan (1919). De Norske Vikingesverd. Kristiania and Oakeshott, R. Ewart (1998). Records of the medieval sword. Boydell Press. The item was studied by Russel Scott; famous lecturer, reenactor and expert of Viking period and medieval artefacts. His report will accompany the purchase. Provenance: Viennese collection 1980s-2000s. Bought by a London private collector in Vienna in 2002. Size: L:457mm / W:165mm ; 725g
Ca. 100–200 AD. A grey chlorite-schist rectangular panel, carved with the impressed footprints of the Buddha. Each footprint is et within its own section, framed by a stylised leaf border with flower motif to the central upper and lower bands. Each foot is deeply carved with the toes appearing long and the ends carved in relief with the Triratna symbol. Below these, each toe has a Sawastika symbol of good fortune. The heel of each foot has a stylised flower that symbolises the Chakra wheel of the Buddhist law. Below this is a high relief Triratna symbol with stylised flower motif below.Prior to the arrival of the Greeks into India and Central Asia the depiction of the Buddha was forbidden. This was in accordance with the wishes of the Buddha who expressly forbid his followers to worship him, only to honour him as an enlightened teacher. Thus it was, that the Buddha was usually represented either by the Chakra wheel, an empty throne, the Triratna or the footprints of the Buddha. The use of the footprints as an object of veneration find their origins in Hinduism, the difference with Buddhist examples, being the inclusion of the Chakra wheel and other symbols.In that form they are found on Ashokan pillar capitals, as well as earlier carvings at Amaravati. the Dharmachakra form developed from a solar disc image and that it was a recognised holy symbol prior to the Mauryan period, when it became associated with Buddhist art. Here, the lotus at the centre is a development on the solar disc form, the lotus symbolising the Buddha’s purity of spirit. This appears to be a Gandharan innovation. Another Buddhist symbol, the Triratna, symbol of the Threefold Way, appears close to the heel and this incorporates the same lotus. A single lotus appears between the feet. On the toes, as well as the repeated Triratna, Swastika forms appear below, another long established and auspicious solar symbol which became incorporated into Buddhist and Jain art in this period.Sometimes the feet have two female figures to either side, which have been recognised as Yakshis, celestial maidens who have their origins in Hinduism. This Buddhapada slab is surrounded by a crossed border, an ornament frequently seen in Gandharan art, in narrative friezes, on the throne of the Buddha. This border effectively sanctifies the area within. Otherwise, the slab is smooth and unornamented, underlining the essential simplicity which characterises the Gandharan style and provides such a contrast with the crowded, energetic forms which featured in artworks from India.The veneration of the feet of gurus or deities was commonplace in ancient India, placing one's head at or under their feet being a ritual gesture signifying a hierarchy. These were made during the pre-Greco-Buddhist phase of Buddhist art at Sanchi, Bharhut, and other places in India, along with other symbols, such as the Bo-Tree and the Dharmachakra. Later, the footprint-making tradition became prominent in Sri Lanka, Cambodia, Burma, and Thailand. The Triratna is the symbol of the Three Jewels of Buddhism, being the Buddha, the teaching of the Buddha and the community of Buddhist practitioners. In early, pre-figurative Buddhist art, the Triratna is often seen as the principle image of veneration, taking the place of the Buddha.The footprints of the Buddha symbolize the Buddha's presence, as they are believed to be the imprints where the Buddha actually touched the ground. At the same time, the Buddhapada signify the Buddha's absence now that he has entered nirvana, and thus are a reminder of the Buddhist ideal of non-attachment.The item was researched by Bret Gaunt. For a similar example see The Yale University Art Gallery, accession number 2015.141.1. For more information about Gandharan art, see Jongeward, D. (2019). Buddhist Art Of Gandhara in the Ashmolean Museum. Oxford: Oxford University Press. Provenance: London private collection; formerly acquired in the 1990s in London; formerly in 1960s/70s British collection. Size: L:640mm / W:560mm ; 30k+g
Ca. 200–300 AD. Roman. A beautiful gold ring with a hollow circular band, flared shoulders, and an ellipsoidal bezel inset with a carnelian stone depicting a left-facing profile bust of Fortuna (or Tyche) wearing a turreted crown and a scarf tied over her chignon. In Roman religion, Fortuna was the goddess of chance or lot who became identified with the Greek Tyche; the original Italian deity was probably regarded as the bearer of prosperity and increase. As such she resembles a fertility deity, hence her association with the bounty of the soil and the fruitfulness of women. Her iconography was known to the whole ancient classical world due, among other things, to the famous monumental statue of Tyche made for the city of Antioch by Eutychides of Sikyon in about 296 BC. In Italy, Fortuna was worshipped extensively from the earliest times. At Praeneste (near Rome) her shrine was a well-known oracular seat, as was her shrine at Antium. For a gem with a similar intaglio depicting Tyche sold at Christie's, see https://www.christies.com/lot/lot-5004613. To find out more about Roman jewellery production, see Higgins, R. (1980). Greek and Roman jewellery. London: Methuen. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Provenance: Private UK collection; From an old British collection formed in the 1990s. Size: D: 210mm / US: 4 / UK: U; 1.56g
Ca. 3000–2000 BC. Indus Valley Civilisation. A shallow terracotta bowl in a deep amber colour standing on a ring foot. The interior is decorated with concentric panels featuring linear decoration and moon-shaped motifs near the rim; two stylised fish encircle the central panel decorated with concentric squares, circles, and further linear motifs. The exterior is decorated with two concentric black lines near the ring foot and vertical lines of dots. The Indus civilization, also called the Harappan civilization, is the earliest known urban culture of the Indian subcontinent and was an important Bronze Age culture that arose around ca. 3300 BC and lasted until ca. 1300 BC. It extended from modern-day northeast Afghanistan to Pakistan and northwest India. The nuclear dates of the civilization appear to be about 2500–1700 BC, though the southern sites may have lasted later into the 2nd millennium BC. Large numbers of ceramic vessels decorated with black slip have been found among the sophisticated urban settlements of South Asia's protohistoric Indus Valley civilization. The walls of this jar are so thin that it must have been created on a potter's wheel. Perhaps the best-known artefacts of the Indus civilization are a number of small seals, generally made of steatite depicting a wide variety of animals, both real—such as elephants, tigers, rhinoceros, and antelopes—and fantastic creatures. Sometimes human forms are included. A few examples of Indus stone sculpture have also been found, usually small and representing humans or gods. There is a fair number of small terra-cotta bowls decorated with figures of animals like the present item. To find out more about the Indus civilisation and its material culture, see Possehl, Gregory L., 2002. The Indus Civilization: a Contemporary Perspective. Walnut Creek, CA: AltaMira Press. Provenance: Private collection of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s. Size: L:100mm / W:290mm ; 1.2kg
Ca. 3000–2000 BC. Indus Valley Civilisation. A shallow terracotta bowl in a deep amber colour standing on a ring foot. The interior is decorated with a lion, two stylised birds and linear motifs. The central panel is decorated with concentric squares and further geometric motifs. The exterior is undecorated. The Indus civilization, also called the Harappan civilization, is the earliest known urban culture of the Indian subcontinent and was an important Bronze Age culture that arose around ca. 3300 BC and lasted until ca. 1300 BC. It extended from modern-day northeast Afghanistan to Pakistan and northwest India. The nuclear dates of the civilization appear to be about 2500–1700 BC, though the southern sites may have lasted later into the 2nd millennium BC. Large numbers of ceramic vessels decorated with black slip have been found among the sophisticated urban settlements of South Asia's protohistoric Indus Valley civilization. The walls of this jar are so thin that it must have been created on a potter's wheel. Perhaps the best-known artefacts of the Indus civilization are a number of small seals, generally made of steatite depicting a wide variety of animals, both real—such as elephants, tigers, rhinoceros, and antelopes—and fantastic creatures. Sometimes human forms are included. A few examples of Indus stone sculpture have also been found, usually small and representing humans or gods. There is a fair number of small terra-cotta bowls decorated with figures of animals like the present item. To find out more about the Indus civilisation and its material culture, see Possehl, Gregory L., 2002. The Indus Civilization: a Contemporary Perspective. Walnut Creek, CA: AltaMira Press. Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s. Size: L:95mm / W:220mm ; 710g
Ca. 3000–2000 BC. Indus Valley civilisation. A shallow terracotta bowl in a deep amber colour standing on a ring foot. The interior is decorated with concentric panels featuring stylised birds below the rim (perhaps roosters) interspersed with branches; three concentric lines encircles a floral motif with a hatched pattern. The exterior is undecorated. The Indus civilization, also called the Harappan civilization, is the earliest known urban culture of the Indian subcontinent and was an important Bronze Age culture that arose around ca. 3300 BC and lasted until ca. 1300 BC. It extended from modern-day northeast Afghanistan to Pakistan and northwest India. The nuclear dates of the civilization appear to be about 2500–1700 BC, though the southern sites may have lasted later into the 2nd millennium BC. Large numbers of ceramic vessels decorated with black slip have been found among the sophisticated urban settlements of South Asia's protohistoric Indus Valley civilization. The walls of this jar are so thin that it must have been created on a potter's wheel. Perhaps the best-known artefacts of the Indus civilization are a number of small seals, generally made of steatite depicting a wide variety of animals, both real—such as elephants, tigers, rhinoceros, and antelopes—and fantastic creatures. Sometimes human forms are included. A few examples of Indus stone sculpture have also been found, usually small and representing humans or gods. There is a fair number of small terra-cotta bowls decorated with figures of animals like the present item. To find out more about the Indus civilisation and its material culture, see Possehl, Gregory L., 2002. The Indus Civilization: a Contemporary Perspective. Walnut Creek, CA: AltaMira Press. Provenance: Private collection of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s. Size: L:85mm / W:210mm ; 630g
A mixed collection of pottery to include Crown Ducal George VI coronation tankard, Basil Matthews horse and a pair of Rudolstadt porcelain figures (4). Each item is generally in sound condition though each has slight damage. There is a chip to the rim of the tankard, a repaired leg to the horse and various chips / breaks to the figures.
A Royal Worcester cabinet plate decorated with scenes of Windsor Castle, signed by D Wilson, together with a Minton pierced plate with hunting scenes (2). 27cm diameter largest. In good condition with no obvious damage or restoration. Surface wear apparent. We suspect the Minton plate may have been a blanche china item that has been since painted with a high quality design.
Early 20th Century Japanese Pale Blue Silk Kimono, embroidered to the lower part of the robe with coloured silks and gilt threads depicting flower heads with a red silk lining; Late 19th Century Theatrical Dress of Blue Silk Bodice with Similar Blue Silk Kimono Mount, the boned bodice has long sleeves and bears the label 'Court Dress Makers, Madame Alford, London' also another label stating that the bodice/costume has been altered, the kimono is off similar design to the proceeding item embroidered and printed to the lower part with floral motifs and coloured silks and silvered threads; Japanese Silk Kimono in pale blue stripes with cream silk lining (3)
A large Victorian salt glaze stoneware strawberry planter, in the form of a naturalistic tree stump, attributed to W Hudspith South Tyne Works, Haltwistle, Northumberland, 92cm high, 42 cm diameterCondition reportThis item does not appear to have the lozenge shaped Victorian registration mark, however it seems likely to have been made by this firm, as many were produced for use in Northumberland at the time. This company grew from employing 20 workmen in 1861 increasing to 44 by 1881, making bricks, tiles and troughs.The tree stump planters were well known in the area and it appears that it was quite a popular to own one and have it displayed in your garden in and around Haltwhistle.One of the lowest three ‘branches’ has a section of the rim missing, however this clearly was lost some time ago and the damaged rim is now is hard to spot as it look similar to the ragged tops of the original piece.
A 19th century Swiss musical box (for restoration), with 31cm barrel, the case length 50cm (af). PROVENANCE: The Raymond Rush Collection. Mr Rush was an engineer, farmer and lay preacher who lived at Golden Cross Farm in Siddington, Cheshire. He was also a historian, broadcaster, author and speaker who regularly gave talks on local history, agricultural history and historic curios. In addition, he was also an accomplished maker of corn dollies. PLEASE NOTE: This lot is being sold in-situ from a local farm house in Siddington. Collection within the week by Friday 26th. Full collection and payment information will be emailed with invoice following the sale Additional InformationThis item is in need of restoration. It currently does not work and there are five other teeth lacking from the comb. The lid is detached and general wear throughout.
A collection of 19th century and later treen items including a shovel shaped scoop, wormed, a treen ladle, a clamp, a four pronged winding fork, three dumbbell shaped implements, darning mushrooms, etc.PROVENANCE: The Raymond Rush Collection. Mr Rush was an engineer, farmer and lay preacher who lived at Golden Cross Farm in Siddington, Cheshire. He was also a historian, broadcaster, author and speaker who regularly gave talks on local history, agricultural history and historic curios. In addition, he was also an accomplished maker of corn dollies.PLEASE NOTE: This lot is being sold in-situ from a local farm house in Siddington. Collection within the week by Friday 26th. Full collection and payment information will be emailed with invoice following the sale.Additional InformationAll with general age wear to the surface throughout. The light wood shovel shaped item has worm holes that have been treated but may need further treatment. In-house postage with Adam Partridge Ltd is available on this lot.
Two vintage treen and wrought iron carding tools, the smaller with carved detailing, the larger 65cm, also a small ash rake, and a vintage metal and wood food slicer (4).PROVENANCE: The Raymond Rush Collection. Mr Rush was an engineer, farmer and lay preacher who lived at Golden Cross Farm in Siddington, Cheshire. He was also a historian, broadcaster, author and speaker who regularly gave talks on local history, agricultural history and historic curios. In addition, he was also an accomplished maker of corn dollies.PLEASE NOTE: This lot is being sold in-situ from a local farm house in Siddington. Collection within the week by Friday 26th. Full collection and payment information will be emailed with invoice following the sale.Additional InformationAll with general age wear throughout with tarnishing to the metal, etc. The large combed item is heavily worn.
A treen slug exterminator, longest 20cm (2).NOTE Mr Rush responded to an advertisement in a national newspaper to purchase this item. Block A is used as a base to place the slug on and block B is to exterminate it.PROVENANCE: The Raymond Rush Collection. Mr Rush was an engineer, farmer and lay preacher who lived at Golden Cross Farm in Siddington, Cheshire. He was also a historian, broadcaster, author and speaker who regularly gave talks on local history, agricultural history and historic curios. In addition, he was also an accomplished maker of corn dollies.PLEASE NOTE: This lot is being sold in-situ from a local farm house in Siddington. Collection within the week by Friday 26th. Full collection and payment information will be emailed with invoice following the sale.Additional InformationIn-house postage with Adam Partridge Ltd is available on this lot.
A vintage treen ox yoke, with wrought iron clamp to the centre, length 120cm.PROVENANCE: The Raymond Rush Collection. Mr Rush was an engineer, farmer and lay preacher who lived at Golden Cross Farm in Siddington, Cheshire. He was also a historian, broadcaster, author and speaker who regularly gave talks on local history, agricultural history and historic curios. In addition, he was also an accomplished maker of corn dollies.PLEASE NOTE: This lot is being sold in-situ from a local farm house in Siddington. Collection within the week by Friday 26th. Full collection and payment information will be emailed with invoice following the sale.Additional InformationExpected colour and patination throughout as this is a vintage item. Old worm holes evident throughout although none of them appear to be currently living.
A vintage galvanised kidney shaped seed drill container, length 59.5cm, also two iron soil sieves and a circular garden planter (4).PROVENANCE: The Raymond Rush Collection. Mr Rush was an engineer, farmer and lay preacher who lived at Golden Cross Farm in Siddington, Cheshire. He was also a historian, broadcaster, author and speaker who regularly gave talks on local history, agricultural history and historic curios. In addition, he was also an accomplished maker of corn dollies.PLEASE NOTE: This lot is being sold in-situ from a local farm house in Siddington. Collection within the week by Friday 26th. Full collection and payment information will be emailed with invoice following the sale.Additional InformationThe galvanised item has general light age wear and some worm holes to the handle. The two soil sieves have breaks in the piercing of the sieve sections. The planter with rusting throughout.
A Victorian stained pine breakfront wardrobe, height approx. 210cm, width 194cm (for restoration).PROVENANCE: The Raymond Rush Collection. Mr Rush was an engineer, farmer and lay preacher who lived at Golden Cross Farm in Siddington, Cheshire. He was also a historian, broadcaster, author and speaker who regularly gave talks on local history, agricultural history and historic curios. In addition, he was also an accomplished maker of corn dollies.PLEASE NOTE: This lot is being sold in-situ from a local farm house in Siddington. Collection within the week by Friday 26th. Full collection and payment information will be emailed with invoice following the sale.Additional InformationThis item is in poor condition and attention will be needed.
A late 17th/early 18th century elm chest; the figured top opening to reveal iron strap hinges and blacksmith made iron escutcheon block plate, incised front panel (61cm wide x 31cm deep)Condition Report: It is noted that this item has been re-polished at some stage and then elm top is of a very nice figuring although it does have some dark burn marks to the top. There is evidence of historic wood worm although this is not live, also in the Auctioneer's opinion the moulded plinth base is a later edition, the original ring hinges have been replaced probably in the 18th century with blacksmith made strap hinges. The interior looks reasonable although the original lock is no longer there. The batons to the underside of the lid also look to have been replaced. The underside looks good and the back is 'dry and untouched' as it should do. The lid also has a couple of minor original cracks and been repaired to the underside when a crack runs the full length. In conclusion - the restorations have been done by a competent restorer and looks attractive with good colour.
An usually large Lladró porcelain figure group, 'Sleigh Ride'. Finely hand-decorated and with impressed dark blue Lladró mark to the underside. Conforming velvet-topped tiered mahogany plinth base (approx. 46.5cm wide)Condition Report: The item appears a little dirty, some cleanable brown stains, otherwise in very good condition with no problems noted, all in excellent original condition.
An Edwardian mahogany two-tier oval occasional table, 66cm wide; a reproduction mahogany tripod table, with scalloped moulded edge, 63cm; an Edwardian mahogany three-tier folding cake stand, 94cm high; an early 20th century turned mahogany three-tier cake stand of graduated form, 85cm high; and a pair of reproduction mahogany wine tables, with scalloped tops, turned supports and three cabriole legs with carved feet, 55cm high (6)Footnote: Item with another lot an early 20th century mahogany torchere JB 111121
MERRYTHOUGHT GARFIELD GOLLY, 16" tall, limited edition 3/60, Originally handmade by mothers in Africa for their children from old fabric and cloth, the golly doll was adopted as the mascot and trademark for the Robertson's confectionery brand around 1910 after the company's founder John Robertson visited the US and noticed children playing with them. Gollies have been collected by people across the UK and around the world for generations but garnered a contentious image in the 1980s because of links to racism. These items are listed on the basis they are illustrative of by a gone culture in which there were different social norms. We understand the potential controversy surrounding this type of item but believe that providing transparent information about historical context fosters greater understanding of our complex cultural history.
Estate of Dave Prowse - Ronald Reagan & White House Invitation - a thank-you letter from Reagan to Prowse, which reads ' Dear Mr Prowse, I appreciate your bringing me the inscribed copy of Have Mask Will Travel when you came for a White House tour. Although I missed the pleasure of meeting the infamous Darth Vader, I now have a memento of his special thoughtfulness. Many thanks. Nancy joins me in sending you our best wishes '. Reagan's signature in black ink, follows. Framed along with Prowse's invitation to the White House for Nov 1983 as part of the signing ceremony for The Decade Of The Disabled Persons Proclamation. Further framed with a State Of Florida Office Of State Attorney card certifying Prowse as an Honorary State Attorney. Framed and glazed, to a total size of; 34cm x 45cm. A unique and special item from Prowse's estate. The President of the United States writing to Prowse just over a month after release of Star Wars Return Of The Jedi.
Estate of Dave Prowse - Star Wars - a Darth Vader helmet, face mask and shoulder armour arrangement. Unknown origin, and likely a post-production made piece or similar. Well made from fibreglass, in gloss black. The hood section removes, to reveal the face appliance mounted on a metal stand for display. With a separate shoulder armour section, with a single detached shoulder cup. Red plastic moulded eye pieces, and a tall cup mount to the top of head. Signs of glue, and some signs of damage (notably to the side of the hood, and a small section of the chest armour). Possibly a personal appearance costume, or similar, as the quality and detail is good, although Prowse never wore this exact costume during his personal appearances as Vader - of which he reputedly made only six. This costume was displayed in Prowse's home office for some time, and it can be seen in some press interviews in the late 1990s / early 2000s. A photograph of Prowse in his armchair wearing the hood is supplied (the photograph also signed by Prowse in silver ink). Unique item, with an interesting - if unknown - history.
Estate of Dave Prowse - Star Wars - a large format Birthday card for Prowse, sent to him from Sci Fi South Collector's Convention some years ago. Signed by all those guests present (many Star Wars colleagues), and many writing messages with good wishes. Autographs / messages include; Jeremy Bulloch (1945-2020) 'Have A Good One Dave!', Gerald Home (1950-2021) 'Keep going strong - you ARE Darth Vader', Tim Rose, Caroline Blakiston 'Good to share the space with you again,' Colin Baker (Dr Who) 'Happy Birthday Dave! Who's counting?' Peter Davison (Dr Who), Mike Edmonds - ' To Dave - May The Beers Be With You!', Pam Rose, Peter Roy, Richard Bonehill (1948-2015), Shane Rimmer (Thunderbirds - 1929-2019), Chris Barrie (Red Dwarf), John Chapman 'To The Main Man!', Alan Flying, Vicki Michelle (Allo Allo), and others. A unique item from Prowse's estate. Measures approx; 45cm tall.
Estate of Dave Prowse - Star Wars - a custom made carded MOC action figure based on the Kenner Darth Vader, but with a custom head sculpt of Prowse himself. Sealed on a custom card back titled ' Special Production For A Super Friend ' and features images of Prowse to front and reverse. Some crushing to the bubble, and waving to card, but figure remains 'sealed'. Unique fan-gifted item from Mr Prowse's estate.
Estate of Dave Prowse - Star Wars - Return Of The Jedi - a multi-signed large re-issue poster for the film, autographed by various original cast, comprising: Dave Prowse (1935-2020 - adding 'Thanks for a great show!), Jeremy Bulloch (1945-2020), Alan Harris (1938-2020), Gerald Home (1950-2021), and Femi Taylor. All signed in silver ink, most with character names added. Poster measures approx; 61cm wide. Unique item from Prowse's estate. Unframed.
Estate of Dave Prowse - Bodybuilding - Prowse's personal Workout diary circa 1950s / 1960s. The small brown book filled in Prowse's hand with copious notes on his workouts, body building goals and achievements. The book includes several illustrations, all drawn by Prowse. The notes often make reference to Gym locations - including 'Empire', Kingswood etc. They largely list either what Prowse accomplished that day, or what he wanted to train for. Several references to World Championships / British Championships are made. A fascinating personal document from his estate which not only shows how dedicated Prowse was to his craft, but also depicts him at the very start of his career. Unique item.
Estate of Dave Prowse - an original Norfolk Fire Service presentation Chief Officer's helmet. Notation to front ' Thank You Dave Prowse - July 1989 '. The white helmet of typical form, with black stripes and Norfolk Fire Service emblem to front. 1983 dated helmet, complete with liner and strap. Generally good condition, a few marks and scratches from display. Unique item from Prowse's estate.
Estate of Dave Prowse - a pair of Mr Prowse's personally worn daily spectacles / glasses. Typical 1970s thick-rim design, of black plastic construction and clear glass lenses. No maker's marks present. Prescription lenses. Worn during production on Star Wars, and most other projects during the time. A unique item from Prowse's estate.
Estate of Dave Prowse - a 501st Legion ' Red Stick Rebellion Collectors Club ' custom Kenner type carded MOC action figure ' David Prowse - Darth Vader '. Featuring a standard Kenner Vader action figure, mounted on a custom card back featuring an image of Prowse to the front. Typed message to the reverse. Unique fan-gifted item from Prowse's estate.
Estate of Dave Prowse - Mr Prowse's personal ' Cuttings Book ' filled with newspaper clippings c1999-2001 featuring Prowse, or his relevant work. Includes several high profile interviews in national newspapers, clippings related to his work as the Green Cross Man and others. Many photographs also included from various publications. A unique item from his estate.
Estate of Dave Prowse - Star Wars - a vintage 1/1 scale replica Darth Vader costume helmet. Fibreglass construction, with metal mesh mouthpiece and lightly darkened lenses to the eyes. Two pieces, the upper section removable from the face piece and originally attached via magnets (now come loose). Well made, and was displayed in Mr Prowse's home office for many years. Originally believed to have been gifted to Mr Prowse by a fan c1980s / 90s. A well made display piece, with a silvered finish mask and black gloss finish to helmet. Special item, with a wonderful history and link to one of the greatest cinema villains. Some damage - one chin spoke missing to front, chip to nose and magnets have come loose from head.
Estate of Dave Prowse - Jeremy Bulloch (1945-2020) and Kenny Baker (1934-2016) - autographed A3 comical artwork print showing Prowse, Bulloch and Baker as their respective Star Wars characters, atop a Speeder Bike ' Stargate One '. Autographed by both in blue ink, Bulloch adding ' Why is the youngest always in the middle - from your arch villain ally, Jeremy Bulloch,' and Baker adding ' Bleep! Bleep! Bloop!!! Kenny Baker, R2-D2'. Undedicated, but signed personally for Prowse. Unknown artist. Folded centrally, but would display well. Unique item from Prowse's estate - two of his best friends from the franchise were Baker and Bulloch.
The Cyril Kempshall Fairground Collection: A working 1/17th scale model of the Chairoplanes 'Skyriders', hand-built and painted by Cyril Kempshall, father-in-law of the vendor, built in the 1980s over a period of years. The mechanisms within the ride are similar to that of a full size model upon base. Measuring approx. 60cm x 60cm at its widest points, and 45cm at its highest point. The item also comes with a fitted wooden box.
Loading...-
151070 item(s)/page