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A Chinese late 19th Century circular table, with variegated marble revolving top within a hardwood border, the base with brass collar, vase-shaped column and four scrolling mounts, on a square carved base, 88.5cm high, the top 72cm diameter Condition Report: One of the joints of the wooden border to the top has started to open up slightly. The top rotates rather unsteadily. There is considerable cracking and restoration to the marble insert. The pierced scrolling mounts to the base of the column have been broken and reglued in places. There is some veneer missing to the wood strips on the base.
Amarna Period, 18th Dynasty, 1353-1336 BC. A rectangular limestone relief fragment depicting a profile head facing left with full lips, heavy jawline and lentoid eyes, hatched ties to the rear, six rays terminating in elongated hands extending from the upper edge, the upper part of a frieze of lotus flowers beneath. 7 kg, 56cm overall (22"). Fine condition; repaired. Property of a London gentleman; acquired Bonhams, New Bond Street, London, UK; 1 May 2008, Lot 43; with a print-out of the catalogue entry and a copy of the purchase invoice. The head is that of Nefertiti, queen and Great Royal Wife, of the Pharaoh Akhenaten, and whose name means the beautiful one is here. Nefertiti and her husband were known for a religious revolution, in which they worshipped one god only, Aten, or the sun disc. Akhenaten and Nefertiti were responsible for the creation of a whole new religion which changed the ways of religion within Egypt. With her husband, she reigned at what was arguably the wealthiest period of Ancient Egyptian history. Some scholars believe that Nefertiti ruled briefly as Neferneferuaten after her husband's death and before the accession of Tutankhamun. Her husband abandoned the old royal capital of Thebes due to its association with the old gods, particularly the state deity Amun. Akhenaten issued a ban on the worship of the gods and had the temples closed down, thus marginalising the wealthy and powerful priesthood. As part of his religious revolution Akhenaten built a new capital several miles north of Thebes at a site called Akhetaten, meaning the Horizon of the Aten, now modern Amarna. The new capital had a number of important open air shrines dedicated to the Aten which were profusely decorated with scenes depicting the royal family making offerings to the sun disc. The architects employed a new way of constructing and decorating the temples by using small stones that were carved with sections of the larger friezes, which are known today as talatat, of which this is an example. The scene on this relief depicts Nefertiti standing before an altar table, the top part of which is visible as a line, and offering lotus flowers to the Aten. The Aten was depicted as a disc from which descend beams of light that end in hands; these hands hold the ankh, hieroglyph for life to the noses of the royal family. In scenes found on the talatat, Nefertiti appears almost twice as often as her husband. She is shown appearing behind her husband the Pharaoh in offering scenes in the role of the queen supporting her husband, but she is also depicted in scenes that would have normally been the prerogative of the king. After the death of Akhenaten it is believed that Nefertiti may have started the process of abandoning the worship of the Aten and a return to the old gods, a move that was essential for the political stability of Egypt that had started to disintegrate under the rule of her husband, particularly diplomatic contacts with neighbouring kingdoms. This scene clearly displays the so-called Amarna style in art which broke with long-established Egyptian conventions. Unlike the strict idealistic formalism of previous Egyptian art, it depicted its subjects more realistically. These included informal scenes, such as intimate portrayals of affection within the royal family or playing with their children, and no longer portrayed women as lighter coloured than men. The art also had a realism that sometimes borders on caricature, but which had a lasting effect on Egyptian art.
Neolithic, 3rd-2nd millennium BC. A knapped axe with rounded butt and polished to a slightly convex cutting edge; in grey/brown banded 'table' flint with typical green-tinged cortex showing both sides; showing wear polish to edge. 93 grams, 11cm (4 1/4"). Very fine condition. Property of a gentleman, by descent from the vendor's father, who formed his collection in the 1990s.
A good quality contemporary Gloster teakwood D-end pull out extending garden table with a single additional fold away leaf and slatted top, raised on four rectangular cut supports united by stretchers, together with a set of eight stacking chairs with low horse shoe shaped backs over nylon rush style seats, raised on simple turned tapered supports
One lot of miscellaneous items to include an oak three tier drop leaf tea trolley, a foot stool of rectangular form with hide upholstered seat, a simple pine side table of rectangular form raised on four square tapered legs, a portable cased Singer sewing machine, barometer, two painted bedroom chairs a brass helmet shaped coal scuttle, further brass fender with pierced grill, a steel yard, etc
An Edwardian walnut occasional table of oval form raised on four square cut and moulded supports with pierced fretwork corner brackets united by a pierced x framed stretcher together with an oak bedside cupboard of square cut form enclosed by a fielded panelled door with chamfered detail beneath a frieze drawer and shallow raised three quarter gallery
A modern stripped pine kneehole single pedestal dressing table fitted with an arrangement of four drawers, a further stripped pine three drawer bedside chest in the Georgian style raised on bracket shaped supports, a beechwood stool with circular seat, a pine towel rail and a Lloyd Loom style box ottoman with upholstered double hinged lid
A mid-20th century G-Plan teak D-end pull out extending dining table with a single additional fold away leaf, raised on four simple turned tapered legs, together with a set of six curved and upholstered bar back dining chairs with further circular upholstered pad seats, raised on turned tapered supports united by X-framed stretchers
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