We found 186097 price guide item(s) matching your search
There are 186097 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
186097 item(s)/page
Lot 159
Dated 2042 BC. A substantial rectangular clay cuneiform tablet fragment with columns of Sumerian cuneiform script to both faces; supplied with a copy of a three-page (five-sides) report, typed and signed by W.G. Lambert, late Professor of Assyriology, University of Birmingham, 1970-1993, which includes the following details: 'Large Clay Tablet with Sumerian Inscription 194 x 198 mm. This tablet was originally written with 6 columns of Sumerian cuneiform on each side, but as now preserved parts of five columns remain on the obverse, three substantially complete, on the reverse some of all six remains, four substantially complete. This is an administrative document from the town of Umma, from the period of the Third Dynasty of Ur, c. 2070-2020 B.C. It comes from the state textile industry in the town and is an account of the materials and labour used up in this industry presumably over one year. The very end of the document would have had a note explaining such matters, but now it is lost. However, the surviving text gives abundant evidence of the large scale of this industry at the time.'; there follows Lambert's detailed translation of the quantities of various commodities (e.g. wool, guzza cloth, nilam cloth, etc.) and quantities (shekels, grains, minas, talents, etc.) as well as the labour input of the workforce and notation of the year (the great exalted high priestess of heaven was installed); the note concludes 'As will have been observed, in the middle of column X there is a year name, alluding to the installation of a high priestess. This is the fifth year of Amar-S?n, third king of the Third Dynasty of Ur, c.2042 B.C. That seems to mean that what precedes is referring to that year, while what follows must refer to the following year. While much of this tablet is quite clear, there is also much in need of further research. It is clear that the slave girls (abbreviated here to 'girls') used in the textile industry also worked in the fields at some time of year such as harvest when the male labour was insufficient. A tablet of this size is extremely rare, and it is a major document for the social history of the period. The girls were not in fact slaves in the full sense, but were female serfs: tied to their jobs, but free in the time off work.' 1.7 kg, 19cm (7 1/2"). The Signo collection, the property of a West London businessman, formed in the late 1980s-early 1990s; academically researched and catalogued by the late Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s; and accompanied with a copy of a three-page (five-side) report, typed and signed by the Professor; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10145-166086. Very fine condition, fragmentary. Extremely rare. [A video of this lot is available to view on Timeline Auctions website.]
Lot 83
1st-5th century AD. A glazed wooden display case with mounted bronze military fittings comprising: two panels of squama scale armour; two buckles with openwork plates and a fitting of the related belt; a large belt buckle with scrolls; an amphora belt strap end; five propeller belt stiffeners; a lorica segmentata lobate hinge; a belt buckle with embossed emperors; a double buckle fastener; reputedly from Germanic provinces. See Bishop, M. C., Coulston, J.C.N., Roman military equipment, from the Punic wars to the fall of Rome, London, 2006; Radman Livaja, I., Militaria Sisciensia, Finds of the Roman military equipment in Sisak in the holdings of the archaeological Museum in Zagreb, Zagreb, 2004; Miks, C., Studien zur Romischen Schwertbewaffnung in der Kaiserzeit, I-II Banden, Rahden, 2007; Appels A., Laycock S., Roman buckles and military fittings, Witham, 2007; D'Amato, R., Arms and Armour of the Imperial Roman Soldier, London, 2009. 955 grams total, 30 x 21cm (11 3/4 x 8 1/4"). From the private collection of Antony John Scammell (1937-2019); one item acquired from Saxby's Coins, Tamworth, UK, in 2015; and for the armour from H. Vincent McCarthy, Bournemouth, UK, in 2001; accompanied by copies of two original invoices. A superb collection of military kit ranging through all periods of the classical and late Roman military equipment: the lobate hinge of a Corbridge type segmentata introduces the defensive protections of the 1st century AD, while the later protection is represented by the 2nd-3rd century semi-rigid scale armour wide fragments, constructed from scales wired to each of their four neighbours, above and below as well to either side. The pieces of intricate belt openwork mounts well exemplify the Antonine and early Severian belt styles, while the belt stiffeners and the beautiful massive buckle and amphora shaped pendant give us a wonderful idea of late Roman military belts, as well as the decorative double fastener and the magnificent buckle with the image of the West and East Emperors. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. [15] Very fine condition.
Lot 312
Tang Dynasty, 618-906 AD. A group of ceramic figures comprising: one standing female dancer, one arm raised above her head, the other by her side, wearing a floor-length robe with long sleeves, her hair dressed in a bun; a male figure standing on an integral base, head turned to his right, arms held against chest, hands clasped together, wearing a tunic, boots and a cap; red, green and black painted pigment surviving on both figures. 990 grams total, 28.5cm each (11 1/4"). From the collection of an American lady living in London; acquired before 2000. There is a long recorded history of various forms of dance in China. Some Chinese dances today, such as dancing with long sleeves have been recorded since the very early periods, dating from at least as early as the Zhou Dynasty. The most important dances of the early period were the ritual and ceremonial music and dances called yayue, and these dances were performed at the imperial court until the Qing dynasty, but only survive today as performances in Confucian ceremonies. The art of dance reached a peak in the Tang Dynasty, and the dances of the period were highly diverse and cosmopolitan, dances from Central Asia in particular were popular. A great number of dances were recorded in the Tang dynasty, for example there are over sixty Grand Compositions alone which are large scale performances from the Tang court, and there were tens of thousands of musicians and dancers at the Imperial palaces. The art of dance however declined after the Tang dynasty. This is due in part to the increasing popularity of the practice of footbinding, which may have first arisen from dancers themselves, but later tighter binding limited their movements, and greater social restriction placed on women may have also led to a virtual elimination of female dancers. [2] Finely modelled, observer head repaired.
Lot 23
Saite Period, 664-525 BC. A bronze lioness-headed figure of Wadjet seated on a square-section throne, wearing tripartite wig surmounted by Atef crown consisting of ostrich feathers, horned sun disk and fronted by rearing uraeus; her clenched hands resting on the knees with ankle-length kilt, feet on a square footrest, throne with lateral panels of low-relief scale pattern with incised hieroglyphs representing the Union of the Two Lands; mounted on a custom-made wooden stand. Cf. similar figure in the British Museum (accession number 1992,1110.1) with less elaborate headdress than here. 2 kg total, 33cm including stand (13"). Ex V.G.F. collection, Shelby Township, Michigan; acquired from Royal-Athena Galleries, New York, USA, in 1986; previously with Christie's, London, 13 July 1983, lot 468; formerly in a European private collection, prior to 1983; on loan to Ohio State University, Picker Art Gallery, Colgate University, and Fitchbury Art Museum, between 1986-2015; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10119-167436. Wadjet 'the green one' was known to the Greeks as 'Uto'. She was originally the tutelary goddess of the city of Dep which eventually became part of the conurbation called Per-Wadjet (House of Wadjet"). Wadjet was considered the matron and protector of Lower Egypt, and later the joint protector and patron of all Egypt. Very fine condition. [A video of this lot is available to view on Timeline Auctions website.]
Lot 60
A Worcester blue-scale cabbage-leaf moulded mask jug and a pair of Worcester blue-scale ecuelles, covers and stands, circa 1770Painted with panels of colourful flowers within gilt-edged panels, jug 21cm high, ecuelle stands 19cm diameter, square marks (5)For further information on this lot please visit Bonhams.com
Lot 63
A group of Worcester blue-scale and wet-blue ground teawares, circa 1770Including a large leaf-shaped dish, 34cm, square mark, a large shallow circular dish, 29cm diameter, two plates, two teabowls and saucers, a teacup and saucer, a coffee cup and saucer, two further coffee cups and a twin-handled cup and saucer (16)For further information on this lot please visit Bonhams.com
Lot 84
A pair of Worcester dessert baskets, circa 1770Of oval shape with twisted handles applied with flowers and leaves at the terminals, the pierced basketweave sides applied with florets at the intersections, the interiors painted with colourful flowers within gilt cartouche reserved on a blue scale ground, 24cm long, crescent marks (2)For further information on this lot please visit Bonhams.com
Lot 89
A Worcester chestnut basket, cover and stand and a sauce tureen, cover and stand, circa 1770-75The basket of lobed oval shape, painted with colourful garlands of flowers reserved within gilt scrolled borders on a blue scale ground, the crabstock handles with foliate terminals, stand 29cm, square marks, the sauce tureen painted with flowers within gilt edged panels on a wet-blue ground, stand 23cm, script W mark (4)For further information on this lot please visit Bonhams.com
Lot 113
Three Worcester butter tubs, circa 1770Comprising one of oval form with cover and stand, painted with colourful foliate sprays within gilded cartouches, reserved on a scale blue ground, the stand 20cm wide, square marks, and a pair of cylindrical tubs and covers with one stand, similarly decorated, crescent marks (5)For further information on this lot please visit Bonhams.com
Lot 115
A group of Worcester teawares, circa 1770Comprising a teapot and cover, 16cm high, two milk jugs and covers, 14cm and 16cm, and a mug, 8.5cm, all with blue-scale ground, and an ovoid canister with wet blue ground, 12.5cm, all painted with exotic birds and insects within gilt edge panels (5)For further information on this lot please visit Bonhams.com
Lot 118
A group of Worcester blue-scale teawares, circa 1770Comprising a pair of leaf-moulded dishes, 25cm long, square marks, a canted rectangular dish, 29cm, a deep fluted dish, 24.5cm diameter, six various plates and stands, a tea bowl and saucer and two teacups and saucers (16)For further information on this lot please visit Bonhams.com
Lot 209
Anthony VieyresAn early 19th century mahogany and brass inlaid bracket clock, the cream-enamelled convex Roman dial inscribed A. Vieyres, 40 Pall Mall, London, the case having a stepped superstructure with podium surmount and pineapple finial, over a fluted frieze, the sides with cornucopiae-cast ring handles over brass 'fish-scale'-pierced sound frets, raised on gilt bun feet (brass lifting) 39.5cm highFor further information on this lot please visit Bonhams.com
Lot 254
A George III mahogany, harewood and fruitwood marquetry demi-lune tablePossibly attributed to William Moore of DublinThe top inlaid with a shaded fan and bellflowers enclosed by a ribbon tied garland of shamrocks above a fluted inlaid frieze on square tapering legs inlaid with trailing bellflowers, 117cm wide x 47cm deep x 82cm high, (46in wide x 18 1/2in deep x 32in high)Footnotes:Whilst associated with Ireland, William Moore (d.1815) was a London cabinet maker who served his apprenticeship with the celebrated London firm of Ince and Mayhew where he specialised as a 'marqueteur' prior to the establishment of his own firm in Dublin in 1782. Ince and Mayhew's work from the late 1760s was increasingly in the emerging Neo-Classical manner which was filtering through to Britain from France through the published works of such architects as Delafosse and Gilles-Marie Oppenord. Although it was not until the publication of Robert and James Adam's Works in Architecture in 1773 (featuring Robert Adam's neo-Classical interiors at Kenwood, 1768-71 and Osterley Park, 1767-80) that the transition was completed. Ince and Mayhew were best known for their skilled and innovative use of marquetry and were able to put themselves at the vanguard of the new fashion and it is within this environment that Moore's work must be considered. Ince and Mayhew's mature Neo-Classical marquetry depended upon a vocabulary of large scale motifs, such as urns, tripods and swags 'coloured and boldly inlaid upon contrasting fields (and) subtle foliage inlaid in different woods', often fruit woods such as pear, holly, plum and harewood.Moore's apprenticeship with Ince and Mayhew provided him not only with the finest skill as a cabinetmaker and marquetry specialist but also with an education in contemporary taste and design that enabled him to set up on his own in 1782. Keen to open his own firm and with the high end of the London market saturated with firms, Moore moved to Dublin and this proved to be well timed and profitable due to the birth of Dublin's Georgian New Town and the massive increase in demand for fashionable cabinet makers. A situation closely comparable to that in Edinburgh and the sudden success of cabinet makers such as William Trotter. Moore's first known premises were in Abbey Street, 1785-90 and subsequently larger premises in Capel Street, where he remained until his death in 1815.A comparable pair of of demi-lune pier tables with an inlaid shaded fan, radiating veneers and ribbon tied shamrock garland top attributed to Moore of Dublin can be seen at the Cooper-Hewitt Museum in New York (item number 18459929). This pair of pier tables are also referenced in Irish Furniture by The Knight of Glin and James Peil, page 165, Fig. 223. A demi-lune table sold by Bonhams, Fine Furniture Sale, New Bond Street, 19 October 2011, lot 109 which had a similar riband tied garland, with laurel leaves instead of shamrocks.This lot is subject to the following lot symbols: TPTP Lots denoted with a 'TP' will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 207
BILLY BRAGG AND THE BLOKES POSTERS. Seven Billy Bragg posters, chiefly in NM condition. To include: BB and the Blokes Forum, BB and the Blokes March 2002 tour poster, two England, Half English tour posters, two posters for German dates on the England, Half English tour. Sizes to vary, images not to scale.
Loading...-
186097 item(s)/page