A rare late 15th century carved oak roundel, circa 1500Carved with very high relief with fine detail, designed with Jesus enthroned under a canopy at the top of a staircase, three attendants, wearing secular dress, to either side, all within a crown of thorns, diameter 44cm, depth 7cmThe scene probably refers to 'The Boy Jesus at the Temple', Luke 2.41-52. At the age of twelve Jesus visited Jerusalem for the Festival of the Passover. After the festival his parents returned home, unaware Jesus had stayed. After three days Jesus was found in the temple courts, sitting among the teachers, listening to them and asking questions.
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A rare William III carved sandstone mortar, dated 1696Of square section architectural from, the rear corners stop-chamfered, the front corners with quadrant pilasters flanking the carved initials 'MM' over the date '1696', a carved letter 'J' to the left-hand side, height 16.5cm, width 14.2cm, depth 14.2cm
A rare William & Mary pewter OEAS quart domed-lidded straight-sided Royal commemorative tankard, Circa 1700The drum with low narrow fillet, a medallion above designed with a double Royal bust profile of King William III and Queen Mary II, below a crown, all within an oval, the edge inscribed 'LONG*LIVE*PRINCE*AND*PRINCESS*OF*ORANGE', solid chairback thumbpiece and hollow handle with hooded-ball terminal, hallmarks of Thomas Clarke, (fl.1671-1715), (PS1700) to rim, 41 fl.oz, height 18.4cmProvenance: Former Cyril C. Minchin CollectionLiterature: Illustrated 'The Antique Collector', February 1971, p. 22, where it is noted the tankard commemorates the marriage, in 1734, of Prince William of Orange and Princess Anne daughter of George II, however, this would now appear incorrect as the tankard is too early in date. A mug with the same medallion, in the Worshipful Company of Pewterers Collection is illustrated Carl Ricketts, 'Early English Pewter Drinking Mugs' (2018), p. 67, no.184
A rare and highly impressive Elizabeth I oak tester bed, Gloucestershire, circa 1570Having interlaced nulled and stiff-leaf carved frieze rails, a tester with two nulled-carved panels and four large central panels, each with diagonal-dentil and egg-and-tongue carved frame, and centred by a bold lozenge-shaped boss, the headboard carved with a pair of dragons, centred by a shield-shaped cartouche, atop a pair of arcaded panels, spaced by carved figural terms, and flanked by highly unusual human-face mythical beast ears, baluster and cup-and-cover end-posts on plinths, height 208.5cm, depth 213.5cm, width 165cmProvenance: Doughton Manor, Doughton, Gloucestershire
An extraordinary James I joined oak double panel-back open armchair, probably Welsh, dated 1624Having a magnificent and tall fan-carved cresting, with tight-scrolls to the top edge and a group of three carved initials and/or dates to the lower edge, reading from the left, 'I H STP', '1624 MC', '1624' [it would appear an initial after 'STP' has been historically removed], the back with a deeply carved panel, unusually designed with a geometric-filled arch, with cusped lower edge, and raised on reeded pillars, enclosing one large and two small trident motifs or stylized angular fleur-de-lys, with leaf-and-berry upper spandrels, and all framed by radiating bands, above a narrow panel carved with bold nulling, between two matching carved horizontal back rails, the uprights with full-length scrolled 'ears', the horizontal arms with a shallow curve, and each with an eccentric superstructure, carved as a stylized female with naked torso, and square stepped finial, the rear return rail carved with matching arch motifs, on turned and double-fluted carved front supports, the boarded seat with ovolo-moulded edge, with matching null-carved seat rails, on multiple-turned front legs, joined by plain stretchers all round, 76cm wide x 53cm deep x 153cm highArmchairs featuring carved figural secondary supports above traditional arms are exceptionally rare. Presently only two further examples are known. One in the Burrell Collection, Glasgow, [no. 14.70], and the other, formerly at Cold Overton Hall, Leicestershire, sold Sotheby's London, 10th October 1986, Lot 138.The statuesque proportions of this lot, combined with the use of unfamiliar motives and iconography, ensure the chair takes on a throne-like appearance, suggesting it was intended for a specific function. Conversely, it could be argued that the chair's main unique feature, the additional arm supports, merely act as 'wings', to provide extra support for cushions when placed around the sitter and secured in place by ties or ribbons. See Victor Chinnery Oak Furniture: The British Tradition (2016), p. 206. Indeed, this use of 'wings' is found on two related chairs, one dated 1659 in the Burrell Collection [no. 14.202], and the other formerly in the Clive Sherwood Collection, dated 1656, and sold Sotheby's, Olympia, London, 22 May 2002, Lot 405. Attributed to Lancashire, these two dated chairs are thought to have been made for William Stanley (1640-1670) a younger son of the Earl of Derby [ibid., 398]. However, apart from the obvious additional arm support neither of the Stanley chairs bares any true resemblance to this lot. The arm superstructure is merely a scaled-down version of the main arm, and as a result their use for cushion support seems more likely, whilst the impractical carved extra arm supports found here suggest an elaborate and grandiose statement of authority, rather than a simple practical use.Unfortunately, the unusual combination of dates and initials to the chair's cresting rail are difficult to decipher. However, they may indicate the chair had a ceremonial function, possibly in a church, as the initials 'STP' are known to stand for 'Sacrae Theologiae Professor' or Doctor of Sacred Theology, and are found elsewhere on monuments in English and Welsh churches to denote holders of the degree of Doctor of Divinity. For instance, a monument to Stephen Hales (1677 – 1761), eminent botanist and inventor of ventilators, was raised by Princess Augusta, George III's mother, in the south transept of Westminster Abbey: the letters 'S.T.P.' follow his name. A ceremonial function for the chair might account for the fact that at least two pairs of initials are present, the second pair added when the incumbent or office-holder changed.For related chairs see Victor Chinnery, Oak Furniture: The British Tradition (2016), p.211, figs. 3:59 & 3:60 and p. 300, figs. 4:54 & 4:55, and Tobias Jellinek, Early British Chairs and Seats 1500 to 1700 (2009), p. 84, pl. 76. Michael Dann, The English Smile (2005), pp. 123-127, [item 21], illustrates a chair with a similar fan-cresting and nulled-carved rails. The back panel is also framed with 'slanted strips' as found here. This chair is dated to circa 1550-60 and described as English.Provenance:Private collection, Vale of Neath, West Glamorgan, Wales, where the chair was photographed and the image held at the National Museum of History, St. Fagans, CardiffSold Sotheby's, London, 10 September 2007, Lot 124Pelham Olive Collection. Sold Bonhams, London, 31st January 2019, Lot 136
16th Century boarded pine and iron-bound chest with three ornate iron lock plates and hasps, the body with strapwork and iron carry handles. 159cm x 52cm x 56cm highEx Huntington Antiques, ‘Rare late 15th Century gothic coffer with superb iron bindings and handles, three large plates and hasps’
Oak aumbry, in the English manner of circa 1500, of three registers, the uppermost with pierced roundel to door flanked by quatrefoils and eagle, central register of three twin wheel panels, lower with pierced eagle to door between further rondels, the sides four-panelled, 136cm x 51cm x 123cm highFormer collection of C.K. Binns and William H. Stokes, Cold Overton Hall, RutlandEx Huntington Antiques, sold as ‘Most rare late 15th/early 16th Century gothic oak standing cupboard’
A rare Swiss polychrome painted tinplate figural `clock pedlar` timepiece, unsigned, mid to late 19th century. The miniature spring-driven movement with long pendulum and circular white enamel Roman numeral dial set into a case modelled as a wall clock with foliate spandrels and cottage scene painted break-arch dial supported on the chest of a figure in broad-brimmed hat, dark coat, red waistcoat and breeches, and carrying a bundle of pendulums in his left hand, with further dummy clock movement on his back (the sliding front concealing the winder), standing upon a wooden base, 37cm highBy repute - given to Thomas Henry Dallow, Chief Superintendent of Herefordshire Police, the great, great grandfather of the current owner, in the 19th Century, as a retirement gift (ex inf. vendor).
A rare and unusual First War Royal Naval sailor's uniform, unissued and still with original maker's label of Johnson & Sons Ltd dated 1918 comprising canvas top with blue and white attached trim, two pairs of trousers with original laces, First War lifebelt with rubber pipe, two cap covers, gloves and related items formerly the property of RJ Hunt of Buller Downs, Cornwall with original service book showing service on board HMS Sentinal and Eaglet and son's Naval Certificate named to LS Hunt of Redruth for service onboard HMS Malines in 1940 and note of service with the Lady of the Isles Steamship Company Penzance in 1942, Lloyds calendar 1914 and other related items
A rare Imperial German group of seven medals awarded to Field Lieutenant Otto Schlenvogt, 254 Infantry Reserve Regiment for service in WW1 and with the Turkish Army as an interpreter with the Mediterranean Division beginning on SMS Goeben :- Turkish "Iron Half Moon" silver and enamelled Gallipoli Star of German manufacture, the pin marked "silber", (small repair to reverse); German 1914-18 Cross of Honour with swords; Wilhelm 1 Centenary medal; Prussian medal for 12 years long service; Saxe Meiningen War Merit Cross with award document dated 1915; General Honour decoration Hesse Darmstadt with original award document dated 1915; German First War Iron Cross, 2nd class, with both preliminary and formal award documents dated 1915, mounted as worn
A rare First War 1914/15 star trio of medals awarded to Chaplain F.A. O'Flynn Royal Navy (Chapn F.N. O'Flynn B.A. R.N.) together with original bronze First War Naval Chaplain's badge, various original documentation relating to service on board HMS Edgar and other ships, various photographs including ship's crew, portraits and Eastern scenes, etc, and a religious gilt medallion and 1887 Jubilee medallion, etc
Highlander, one of the great sci-fi movies, this 8x10 photo is from the very first one and is signed by actress Beatie Edney (Heather), rare signature. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.
Star Wars Revenge of the Sith 8x10 photo signed by Ross Beadman with rare quote Master Skywalker there are too many of them. What are we going to do. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.
Rare Quote Caroline Munro James Bond actor signed 10 x 8 inch colour 007 Photo. Inscribed Mr Stromberg prefers not to shake hands Naomi 007. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.
Gerry Anderson signed 2011 Captain Scarlett Fanderson FDC, rare. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.
Dr No Charles Edgehill James Bond actor signed 10 x 8 inch colour 007 Photo. One of the three blind men in Dr. No 1962. Rare autograph. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.
VIKING GOLD BRACELET EASTERN SCANDINAVIA OR THE BALTIC, EARLY 2ND MILLENNIUM A.D. formed of solid gold, the exterior stamped with alternating bands of circular and triangular decoration, terminating in dual loopsDimensions:8.2cm diameterProvenance:Simon Bendall, London, United KingdomThe Hall Family Collection, acquired from the aboveFortuna Fine ArtsPrivate collection, United Kingdom, acquired from the above, a copy of the original invoice to be included with the itemNote: Note: Please note that this item has been studied and assessed by experts at the Jorvik Viking Museum, York. During the Viking era, both men and women wore jewellery, typically made from bronze or silver, with gold being reserved for the elite. At the onset of the Viking era in 800 A.D., the jewellery was characterized by minimalistic designs. However, as techniques evolved and Vikings encountered new cultures through exploration and raiding, jewellery became increasingly intricate, incorporating designs from these cultures. Certain families of high social standing began to use ornamentation that was exclusive to their clan, and not to be replicated by others.Beyond their decorative function and status symbol, jewellery served as a form of currency during this period. Pieces were often broken up into smaller parts to accommodate transactions, resulting in complete pieces becoming rare.
VIKING GOLD FINGER RING EASTERN SCANDINAVIA OR THE BALTIC, EARLY 2ND MILLENNIUM A.D. gold, formed of six interwoven bands tapering into a thinner, solid sectionDimensions:UK size: V, US size: 11Note: Note: Please note that this item has been studied and assessed by experts at the Jorvik Viking Museum, York. During the Viking era, both men and women wore jewellery, typically made from bronze or silver, with gold being reserved for the elite. At the onset of the Viking era in 800 A.D., the jewellery was characterized by minimalistic designs. However, as techniques evolved and Vikings encountered new cultures through exploration and raiding, jewellery became increasingly intricate, incorporating designs from these cultures. Certain families of high social standing began to use ornamentation that was exclusive to their clan, and not to be replicated by others.Beyond their decorative function and status symbol, jewellery served as a form of currency during this period. Pieces were often broken up into smaller parts to accommodate transactions, resulting in complete pieces becoming rare.
VIKING GOLD FINGER RING EASTERN SCANDINAVIA OR THE BALTIC, EARLY 2ND MILLENNIUM A.D. gold, formed of three interwoven bands tapering into a thinner, solid sectionDimensions:UK size: V, US size: 11Provenance:Private collection, CaliforniaThe Hall Family Collection, acquired from the aboveFortuna Fine ArtsPrivate collection, United Kingdom, acquired from the above, a copy of the original invoice to be included with the itemNote: Note: Please note that this item has been studied and assessed by experts at the Jorvik Viking Museum, York. During the Viking era, both men and women wore jewellery, typically made from bronze or silver, with gold being reserved for the elite. At the onset of the Viking era in 800 A.D., the jewellery was characterized by minimalistic designs. However, as techniques evolved and Vikings encountered new cultures through exploration and raiding, jewellery became increasingly intricate, incorporating designs from these cultures. Certain families of high social standing began to use ornamentation that was exclusive to their clan, and not to be replicated by others.Beyond their decorative function and status symbol, jewellery served as a form of currency during this period. Pieces were often broken up into smaller parts to accommodate transactions, resulting in complete pieces becoming rare.
VIKING GOLD BRACELET EASTERN SCANDINAVIA OR THE BALTIC, EARLY 2ND MILLENNIUM A.D. gold, formed from eight braided strands hammered into elegant solid finials with looped ornamentDimensions:8.6cm diameterProvenance:Provenance:Christian Blom, New YorkThe Hall Family Collection, acquired from the aboveFortuna Fine ArtsPrivate collection, United Kingdom, acquired from the above, a copy of the original invoice to be included with the itemNote: Note: Please note that this item has been studied and assessed by experts at the Jorvik Viking Museum, York. During the Viking era, both men and women wore jewellery, typically made from bronze or silver, with gold being reserved for the elite. At the onset of the Viking era in 800 A.D., the jewellery was characterized by minimalistic designs. However, as techniques evolved and Vikings encountered new cultures through exploration and raiding, jewellery became increasingly intricate, incorporating designs from these cultures. Certain families of high social standing began to use ornamentation that was exclusive to their clan, and not to be replicated by others.Beyond their decorative function and status symbol, jewellery served as a form of currency during this period. Pieces were often broken up into smaller parts to accommodate transactions, resulting in complete pieces becoming rare.
VIKING GOLD TORC EASTERN SCANDINAVIA OR THE BALTIC, 900 - 1100 A.D. gold, formed of strands of thick gold braided together in the lower half and hammered into a single strand in the top halfDimensions:14.2cm diameter, 105gProvenance:Provenance:BA Seaby Ltd, 11 Margaret Street, London, United KingdomPrivate collection, Kansas City, United StatesThe Hall Family CollectionPrivate collection, London, United KingdomNote: Note: Please note that this item has been studied and assessed by experts at the Jorvik Viking Museum, York. During the Viking era, both men and women wore jewellery, typically made from bronze or silver, with gold being reserved for the elite. At the onset of the Viking era in 800 A.D., the jewellery was characterized by minimalistic designs. However, as techniques evolved and Vikings encountered new cultures through exploration and raiding, jewellery became increasingly intricate, incorporating designs from these cultures. Certain families of high social standing began to use ornamentation that was exclusive to their clan, and not to be replicated by others.Beyond their decorative function and status symbol, jewellery served as a form of currency during this period. Pieces were often broken up into smaller parts to accommodate transactions, resulting in complete pieces becoming rare.
VIKING BRAIDED GOLD PENNANULAR BRACELET EASTERN SCANDINAVIA OR THE BALTIC, EARLY 2ND MILLENNIUM A.D. gold, formed of a series of interwoven strands combining and tapering at the edges to form solid flat terminals stamped with triangular decorative elementsDimensions:7.5cm diameterProvenance:Provenance:Freeman and Sear, Los AngelesThe Hall Family CollectionFortuna Fine ArtsPrivate collection, United Kingdom, acquired from the above, a copy of the original invoice to be included with the itemNote: Note: Please note that this item has been studied and assessed by experts at the Jorvik Viking Museum, York. During the Viking era, both men and women wore jewellery, typically made from bronze or silver, with gold being reserved for the elite. At the onset of the Viking era in 800 A.D., the jewellery was characterized by minimalistic designs. However, as techniques evolved and Vikings encountered new cultures through exploration and raiding, jewellery became increasingly intricate, incorporating designs from these cultures. Certain families of high social standing began to use ornamentation that was exclusive to their clan, and not to be replicated by others.Beyond their decorative function and status symbol, jewellery served as a form of currency during this period. Pieces were often broken up into smaller parts to accommodate transactions, resulting in complete pieces becoming rare.
EXCEPTIONAL VIKING GOLD TORC EASTERN SCANDINAVIA OR THE BALTIC, 900 - 1100 A.D. gold, formed of strands of thick gold braided together and hammered into a single strand at the finialsDimensions:15cm diameter, 79.32gProvenance:Provenance:BA Seaby Ltd, 11 Margaret Street, London, United KingdomPrivate collection, Kansas City, United States, acquired 1981 from the aboveThe Hall Family CollectionFortuna Fine ArtsPrivate collection, United Kingdom, acquired from the above, a copy of the original invoice to be included with the itemNote: Note: Please note that this item has been studied and assessed by experts at the Jorvik Viking Museum, York. During the Viking era, both men and women wore jewellery, typically made from bronze or silver, with gold being reserved for the elite. At the onset of the Viking era in 800 A.D., the jewellery was characterized by minimalistic designs. However, as techniques evolved and Vikings encountered new cultures through exploration and raiding, jewellery became increasingly intricate, incorporating designs from these cultures. Certain families of high social standing began to use ornamentation that was exclusive to their clan, and not to be replicated by others.Beyond their decorative function and status symbol, jewellery served as a form of currency during this period. Pieces were often broken up into smaller parts to accommodate transactions, resulting in complete pieces becoming rare.
Introducing the exquisite Hublot Big Bang set with diamonds—a true symbol of luxury and sophistication. This stunning timepiece features diamonds meticulously set on its stainless steel case and bracelet. With Swiss precision and a self-winding movement, it combines impeccable craftsmanship with exceptional performance. Accompanied by its original box, papers, and certificate of authenticity, this rare watch is a must-have for collectors and discerning individuals. Place your bid now to elevate your style with the Hublot Big Bang set with diamonds!
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209761 item(s)/page