A RARE GENTLEMAN'S STAINLESS STEEL FORTIS MARINEMASTER DIVERS CHRONOGRAPH WRIST WATCH CIRCA 1970, REF. 8001 D: Grey dial with luminous markers & blue inlaid silver hands, three silver & blue registers recording hours, minutes & continuous seconds, outer tachymetre scale. M: 17 jewel manual wind movement signed Fortis, Valjoux calibre 72. C: Circular screw back case with black 60 minute rotating bezel, signed Fortis Watch Ltd & numbered, case diameter measures approx. 39mm. S: Blue perforated leather strap. CONDITION REPORTD: Original dial in excellent condition, showing some small signs of age. M: Working at present. C: In very good condition, with some light scratches due to general use and some light wear to the bezel insert. S: In excellent condition. D: Dial / M: Movement / C: Case / S: Strap / B: Bracelet
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A GENTLEMAN’S STAINLESS STEEL DUGENA CHRONOGRAPH WRIST WATCH CIRCA 1970 WITH "CHOCOLATE" DIAL D: Black dial that has turned brown, luminous hour markers, two gold coloured registers recording minutes & continuous seconds, outer tachymetre scale. M: 17 jewel manual wind movement, Valjoux calibre 7733. C: Circular screw back case, case diameter measures approx. 37mm. S: Brown leather strap. CONDITION REPORTD: Original dial in very good "tropical" or "chocolate" condition. M: Working at present. C: In excellent condition, with some light scratches due to general use. S: In excellent condition.D: Dial / M: Movement / C: Case / S: Strap / B: Bracelet
A RARE GENTLEMAN'S STAINLESS STEEL HEUER CAMARO CHRONOGRAPH WRIST WATCH CIRCA 1970, REF. 9220NT WITH FAB. SUISSE SIGNED DIAL D: Brown "chocolate" dial with faceted silver batons & luminous-inlaid silver hands, double register recording minutes & continuous seconds, outer tachymeter scale. M: 17 jewel manual wind movement signed Heuer-Leonidas SA, Valjoux calibre 92. C: Cushion shaped case, signed Heuer-Leonidas S.A., numbered, case width measures approx. 37mm. S: Brown leather strap. CONDITION REPORT D: Original dial in very good condition, showing some small signs of age. M: Working at present. C: In excellent condition, has been polished. S: In excellent condition. D: Dial / M: Movement / C: Case / S: Strap / B: Bracelet
A RARE GENTLEMAN'S STAINLESS STEEL MINERVA DECIMAL CHRONOGRAPH WRIST WATCH CIRCA 1950s D: Silver dial with silver "dagger" batons, triple register recording hours, minutes & continuous seconds, outer red decimeter scale, inner minute track. M: 17 jewel manual wind movement signed Minerva Watch Co, Valjoux calibre 72. C: Circular case, signed Minerva Watch Co & numbered, case diameter measures approx. 37mm. S: Brown leather strap. CONDITION REPORTD: Original dial in excellent condition. M: Working at present. C: In excellent condition. S: In excellent condition. D: Dial / M: Movement / C: Case / S: Strap / B: Bracelet
A RARE GENTLEMAN’S STAINLESS STEEL WITTNAUER PROFESSIONAL CHRONOGRAPH WRIST WATCH CIRCA 1960s, REF. 7004A D: Black dial with luminous markers, hands & "lollipop" seconds hand, double register recording minutes & continuous seconds, outer tachymeter scale. M: 17 jewel manual wind movement signed Wittnauer Watch Co Inc., calibre 14Y. C: Circular screw back case with red rotating MH bezel, signed Wittnauer Watch Co Inc. & numbered, case diameter measures approx. 41mm. S: Brown leather strap.CONDITION REPORTD: Original dial in excellent condition, luminous showing a nice patina. M: Working at present. C: In excellent condition, with some light scratches due to general use, bezel insert nicely faded. S: In excellent condition. D: Dial / M: Movement / C: Case / S: Strap / B: Bracelet
A mixed collection of model locomotives etc, to include, an Athearn HO scale 4924 Canadian National 2507; a Kato HO scale AT & Santa Fe; a Mehano M9650 4828 Pennsylvania; a Fleischmann 4172 loco and tender; a Mainline OO guage class 45 diesel loco; a hornby Eddie Stobart R871; a Rivarossi 1254 Union Pacific; three Klein Modellmahn; three Lima Golden Series boxed sets etc (25) (as found)
A collection of twenty nine 19th century and later egg cups, mostly Spode, to include two early 19th century Spode examples of urn form and decorated in Imari style pallet, a small cup decorated with a double armorial and coronet, an Aesthetic example with blue and white detailing with gilt highlights, a moulded example decorated with flowers against a yellow ground, a floral example retailed by Whiteley Ltd and a green fish scale example retailed by T. Goode & Co (29) (at fault)
Angelica or musical glasses by John Tait, London early 19th century, the case veneered in mahogany with ebony stringing and mahogany crossbanding, containing fifteen graduated glasses (one broken) comprising two diatonic octaves, their feet held in wooden clamps, the bowls projecting through a mahogany frame the pitches inscribed on the frame from the c on to c2, on four spherical feet (two now absent), inscribed on a paper label inside the lid J. Tate, Angelica Maker no. 1 Mary Street, Fitzroy Square, London, length 2ft 115/8", 91.2cm width 117/8", 30cm *Although the glasses are inscribed as producing a scale in the key of C major they are in fact tuned to a scale in the key of F major A tutor entitled 'A Treasure on The Angelica or Musical Glasses Without Water, Arranged in a New and Improved Manner by Daniel Menzies was published by John Tait, circa 1820, from his Fitzroy Square address
Three Corgi Heavy Haulage 1:50 scale articulated lorry models including 17701 Pickfords Scammell constructor and a 24-wheel low loader, with certificate of authenticity, 5166/10400, and mirrors pack; 17602 Sunter Bros Ltd Scammell Constructor and 24-wheel low loader, with certificate of authenticity, 5142/7800, and mirror packs; and 17601 Hills of Botley Scammell Constructor and 24-wheel low loader, with certificate of authenticity, 538/6800, and mirror packs, each boxed. (3)
Magna Graecia, South Italy, Apulian, attributed to the Strotgen Painter, ca. 340 to 330 BCE. A masterful Apulian red-figure volute-krater (mixing bowl) attributed to the Strotgen Painter, the vase of a monumental scale, presenting an elegant form with extensive iconography and elaborate decoration (see extended description below), all expertly delineated in red-figure technique with additional fugitive white, orange, and red pigments. An exceptional and important work displaying mesmerizing artistry and the utmost technique. Size: 17.5" W at widest point x 31.5" H (44.4 cm x 80 cm) Refined vases like this volute krater were not merely utilitarian pottery, but rather works of art in their own right, highly prized throughout the classical world. Furthermore, virtually no ancient Greek paintings have survived the tests of time. This makes the painted compositions found on ceramic vessels like this example invaluable sources of information about ancient Greek visual art. Red figure pieces in particular allowed for the development of more naturalistic imagery than black figure examples. This innovative technique involved creating figures by delineating them in the natural red of the vase, making it possible for the painter to then enrich the figural forms with black lines to suggest volume, perspectival depth, and movement, bringing those silhouettes and their environs to life. Beyond this, fugitive pigments made it possible for the artist to create additional layers of interest and detail. Side A of this volute krater features two figures delineated in added white pigment within a naiskos; the figure on the right sits upon a crimson mantle, and faces right; however his head is turned in three-quarter view, as he plays a kithara (a seven-string instrument of the lyre family) in the nude. Standing to his left is a youth, partially draped in an orange himation with cascading folds billowing over his physique, who leans upon a knobby staff. Surrounding this pair of figures and the naiskos are four offering bearers, three female and one male. Adorning the neck is a helmeted head, depicted in profile to the left, delineated in added white and orange, emerging from a stylized flower (or possibly patera) and flanked by a verdant surround of flowering sinuous vines, with a register of eight-petaled flowers above and a band of frets on the shoulder below. The volutes boast molded relief mascaroons in the form of frontal facing female heads with curly coiffures and gently smiling faces in added white, orange, and red pigments. Side B features four additional offering bearers, three male and one female, sitting and standing around a stele that is adorned with ivy vines on its base, a register of Greek key at the lower end, a ribbon at the center, and a cap of zigzags, striations, and trios of dots, with elaborate palmettes on the neck, framed by registers of wave, egg-and-dart, and laurel leaves above and a band of frets on the shoulder below. The volutes on this side present molded relief mascaroons in the form of frontal facing female heads of the same likeness as those on the obverse, though painted in black. Adding further interest to this impressive iconographic and decorative program are the elaborate palmettes beneath each handle and four plastic (completely in the round) swan heads emerging from the shoulders and flanking the handles - a pair of white swans above Side A, a pair of black swans above Side B, this black-and-white contrast (also seen in the mascaroons) perhaps symbolizing day and night, good and evil, or life and death. In the Classical world, the swan symbolized grace and beauty, and was oftentimes associated with love, poetry, and music - related particularly with lyres and instruments in the lyre family like the kathara featured on this piece. Furthermore, the swan was regarded as sacred to Aphrodite and Apollo. According to Greek mythology, sacred swans circled the island of Delos seven times when Apollo was born, because it was the seventh day of the month. Zeus showered his son with lavish gifts including a chariot drawn by swans and a lyre. Aphrodite also rode a chariot that is sometimes depicted pulled by swans, though oftentimes by doves, and she is commonly depicted riding a swan. Finally, in the story of Leda and the Swan, Zeus, assuming the form of a swan, famously seduced Leda. A remarkable vase of the so-called Ornate Style by the Strotgen Painter of an impressively grand scale, decorated with an ultra fine hand as well as in an elaborate manner with intriguing scenes and figures as well as a great deal of subsidiary ornament in added colors. A comparable volute-krater, with duck heads on the shoulders and a similar elaborate decorative/iconographic program sold at Christie's for $158,500 (7 December 2011, Christie's Special Exhibition Gallery, Lot 128) - http://www.christies.com/lotfinder/Lot/an-apulian-red-figured-volute-krater-attributed-to-the-5509164-details.aspx. Another example from Royal Athena Galleries, attributed to the workshop of the Baltimore Painter and with an arguably less sophisticated painting technique, is listed for $45,000. Follow this link - http://www.royalathena.com/PAGES/GreekCatalog/Vases/SouthIt/GJP0602R.html Provenance: Ex- Collection of James Farmer, Maryland, collected from major galleries and auction houses between 1995 and 2005; Ex-Christie's New York (7 December 1995, Lot 92); Ex-Leo Mavrovitis collection Condition: Restored from fragments, minor losses, repainting along fractures. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #121212
Magna Graecia, South Italy, Campanian, Cumae B, Nicholson Painter's workshop, ca. 325 to 320 BCE. A monumental calyx krater of a graceful form w/ finely executed red-figure compositions; Side A: two draped females surround and try to impress a seated elite male, holding a sceptor and donning a wreath; Side B: a pair of females, in Lady of Fashion style, flank an offering pedestal, one presents a wreath, the other a precious substance in a vessel. Size: 17.375" in diameter x 21.375" H (44.1 cm x 54.3 cm)Adding to the iconographical program are several characteristic decorative motifs including bands of wave and Greek key patterns, and beneath the rim, a graceful band of laurel leaves. Characteristic of Campanian wares, the terracotta is of a comparatively pale shade, and added/fugitive white and yellow pigments are used liberally to highlight jewelry, clothing, feet, handheld objects such as wreaths, and ribbons/details on the pedestal.Unlike in Athens, almost none of the potters and vase painters in Magna Graecia signed their work, thus the majority of names are modern designations. The Cumae designation emerged around the middle of the 4th century. Its founder is regarded as the CA Painter and there are three main stages, Cumae A, Cumae B, and Cumae C. The general understanding is that from 330 onwards, a strong Apulian influence grew more visible. This vase appears to fall into the Cumae B group, its iconographical programs and style most similar to the workshop of the Nicholson Painter. The work of this second generation of Cumaean vase painters continues the traditions established by the CA painter, but is profoundly impacted by the Apulianizing Group - the figures are delineated on an ampler scale and are not disposed at varying levels on the surfaces of the vase. Provenance: Ex- Collection of James Farmer, Maryland Condition: Two pieces reattached to the rim, foot repaired from approximately six pieces. Some re-painting just over the breaklines. Expected chips and areas of pigment loss as shown. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #120494
Roman, ca. 2nd to 3rd century CE. A sizable, translucent green glass jug with a cylindrical body extending to a tubular neck and collared rim, with a particularly well-made and massive trailed ribbon handle joining shoulder to rim. A graceful form of a substantive scale with stunning iridescent highlights. Size: 3.5" in diameter x 7.25" H (8.9 cm x 18.4 cm) Provenance: Ex-private east coast, USA collection Condition: Losses to termini of handle (both old losses) and minor encrustation, but overall excellent with stunning areas of rainbow iridescence. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #120633
South Asia, Indus Valley, Harrapan/Mohenjo Daro, ca. 2800 to 1800 BCE. An enormous wheel-thrown pottery chalice with repeated black striations highlighting the shoulder and upper end of the flared foot and several panels of diagonal bands just beneath the rim, all against a buff ground. The Indus Valley pottery tradition extends back to the Neolithic era with hand-made bowls, jars, and vessels of various earthtone colors such as red, orange, brown, black, and cream. The Harrapan and Mohenjo-Daro cultures introduced wheel-thrown pottery like this example. A special example presenting a grand scale and a gorgeous silhouette. Size: 10.5" W x 9.25" H (26.7 cm x 23.5 cm) Provenance: Ex-private east coast, USA collection Condition: Repaired from several pieces. Chips to rim, expected surface wear, and nicks here and there commensurate with age. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #121130
Pre-Columbian, North Coast Peru, Moche III, ca. 400 CE. A burnished blackware/brownware vessel depicting a seated man with a naturalistic visage most likely representing a portrait of a particular individual, wearing a long poncho, elaborate headdress decorated with seashells at each end, and large round ear ornaments, holding a baby jaguar on his lap as if it were a placid kitty. Given the great contrast in scale between the figure and the jaguar, and the figure's highly decorated state, this gent probably represents a warrior or ruler of high status. Size: 7" L x 5" W x 7.25" H (17.8 cm x 12.7 cm x 18.4 cm)Intriguingly, Pre-Columbian mythology and art oftentimes reflects a close interaction between human and jaguar. The jaguar symbolized power and might throughout the Pre-Columbian world. Warriors, rulers, hunters, and shamans alike associated themselves with this king of beasts, the largest and most powerful feline in the New World. The principal Moche god wears a headdress adorned with a jaguar head and paws and important mortals donned similar headdresses. A nocturnal animal, the jaguar sleeps in caves and dark places and creeps quietly in the forest, evoking great mystery. Oddly enough, few Moche artists would have actually scene jaguars as they are not indigenous to the coast. Jaguars prefer moist forest conditions. However, scholars believe that some cubs were transported over the mountains for Moche rituals and it is also possible that some jaguars wandered down the coast. Provenance: Ex-Dan May collection, 1970's Condition: Expected surface wear commensurate with age. Tiny nick to one toe. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #120253
Pre-Columbian, Costa Rica, Atlantic Watershed, ca. 800 to 1200 CE. A jaguar metate, expertly carved from one piece of volcanic stone with refined dimensions and intricately incised details. Note the details on the head - those gnashing teeth, alert ears, and snarling snout - the wonderful stylized weaving pattern on the head, body surrounding the grinding bowl, and the curling tail. A piece like this would have been used to grind hallucinogenic substances, medicines, etc. for ceremonial rituals. Size: 11.875" L x 5.375" W x 5.125" H (30.2 cm x 13.7 cm x 13 cm)Metates were initially created to grind foods such as corn, certainly a utilitarian purpose; however, they evolved into meaningful ritual objects, replete with strong iconography and intriguing sculptural forms have transformed these objects into much more than a tool. Examples of a larger scale but similar degree of decorative carving and iconographic symbolism were sometimes used to seat a departed lord on his journey to the afterlife. Jaguar imagery symbolized power and might throughout the Pre-Columbian world; hence, warriors, rulers, hunters, and shamans alike associated themselves with this king of beasts, the largest and most powerful feline in the New World. Provenance: Ex-private E. Vaught collection, Atlanta, GA Condition: A few small nicks here and there, though difficult to see. Overall excellent. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #120728
CALLINGTON COMMON : " A Map of Callington Common in the Parish of Callington in the County of Cornwall," large hand coloured tithe map, paper mounted on linen, affected by damp,125 x 84 cms, scale - 3 chains to one inch, G.A. Leach, with rolled sheets of vellum containing much detail of tenants, etc, 1862.
A BOXED SCALEXTIC FORMULA ONE X3 RACING SET, with both cars and track etc, a boxed Tecni Toys SCX McLaren F1 Racing Set, C.2000, with both cars, track and controllers etc, with a boxed SCX Electronic Lap counter and unbuilt Revell 1:24 scale Ferrari F2005 F1 Racing Car (contents not checked), No.07244 (all boxes damaged)
A profusely carved Anglo-Indian hardwood side chair, circa 1860, Bombay region, arched top rail with centralised peacock to front and rear flanked by foliate trails, side uprights bearing scrolling vinery detail and surmounted with figural finials, back splat with male and female costumed dancers to front and foliate carving to reverse, the seat with central panel depicting a rural scene featuring two figures with oxen within a foliate frame with florettes, serpentine form friezes to front and sides bearing conforming carved design, front legs featuring stylised feline heads to upper sections, foliate carved shoulders above scale carved stylistic dolphin feet, 39in. (99cm.) high, 20in. (50.8cm.) wide.
A mid-17th Century English Civil War period Officer's Mortuary hilted broadsword, 84cm blade, indistinctly marked along the medial ridge, characteristic hilt decorated with overlapping scales, plain wooden grip. For swords with similar overlapping scale decoration see page 236 illustration XIII and page 244 illustration IB of British Basket-Hilted Swords by Cyril Mazansky. One side-bar lacking and generally patinated.
A Negretti & Zambra brass aneroid pocket weather foreteller/weather watch, early 20th century, with silvered dial and adjustable inner ring, with fall, steady and rise apertures, the outer case with actimeter scale, the rear annotated with twenty-six sectors of weather forecasts within original red leather and baize-lined case, inset with an ivorine disc replicating the rear of the foreteller,5.4cm
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