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Lot 65
A COLLECTION OF SILVER MINIATURE ITEMS To include: a German bird box, post 1886 .800 standard, with a hinged cover, embossed with C-scrolls, applied with two birds, a twisted stem and on a cross foot, 9cm (3 1/2in) high; a Dutch bird cage, sponsor's mark for Samuel Boyce (or Boaz) Landeck, import mark for London 1901, with a loop handle, a domed wirework cage and on a shaped circular base, 6cm (2 1/4in) high; a Dutch set of seven fire tools and stand, .833 standard, circa 1916, 15.5cm (6in) high; a Dutch wheelbarrow with chest, sword mark, embossed with putti and a seated figure, 9cm (3 1/2in) long; a wash basin; and other items 312g (10.05 oz) gross Condition Report: There is no condition report available for this lot and is sold as foundCondition Report Disclaimer
Lot 1066
A VINTAGE METAL TRAVELING TRUNK CONTAINING A SELECTION OF TOOLS, to include a power craft AGM6010 disk grinder, with spare disks (PAT pass and working) a black and decker staple gun, two calk guns, some cub wood working tools, screwdrivers, light bulbs, two unbranded drills (one with battery, no charger) etc
Lot 3
A PAIR OF SILVER CANDLE STICKS AND OTHER ITEMS, candle sticks on round weighted bases, hallmarked 'Mappin & Webb LTD' London, approximate height 19cm, a cased set of four white metal salts, unmarked missing spoons, together with five silver manicure tools with light blue guilloche enamel detail, hallmarked Birmingham, and two white metal rings one stamped 925
Lot 277
Ca. 11th-12th century AD.An iron skull-cap of hemispherical form, crafted with precision to fit the contours of the human head. This marvelous piece of history boasts a lower edge, meticulously riveted for attachment and a smooth exterior with a median ridge that adds to its overall appeal. The iron used to create this skull cap was a precious commodity during the Viking Age, and its production was a closely guarded secret. Iron ore was mined from the earth and smelted in furnaces, with skilled craftsmen carefully controlling the temperature to achieve the desired results. The iron was then shaped using various tools, including hammers and anvils, before being finished with precision. Size: L:250mm / W:200mm ; 540g Provenance: Property of a European collector; ex. German collection formed between 1990-2010.
Lot 127
Late Period to Ptolemaic Period, ca. 664-30 BC.This ushabti of its characteristic mummiform style stands atop a petite and flat base. The hands are elegantly folded across the chest, firmly grasping agricultural tools. The meticulously crafted head showcases intricate details, including a wig. Notably, the reverse side remains unadorned, exhibiting a flat and unworked surface. Ushabtis, derived from the ancient Egyptian term "swabty" signifying "answerer," were miniature figurines with profound funerary significance. Customarily positioned within tombs, often in large quantities, these ushabtis played an integral role in the burial practices and belief systems of ancient Egypt. Their purpose was to serve their deceased owners in the realm of the afterlife, with the prevailing belief that they would spring to life and undertake various manual labor and tasks on behalf of the departed. Size: L:70mm / W:25mm ; 15g Provenance: Private London collection, ex. B. Kickx and J. Peeters collections, pre 1978, Belgium.
Lot 405
Ca. 2nd millennium BC.A bronze axe head, characterized by its round-section shaft and blade flaring to a cutting edge. Bronze axes were versatile tools utilized for various purposes during Bronze Age. This meticulously crafted artifact played a crucial role in agricultural activities, allowing for efficient clearing of land, felling trees, and shaping timber for construction. Additionally, the sturdy and sharp blade facilitated hunting and butchering of animals, providing sustenance and raw materials for a growing society. The bronze axe head's significance extended beyond practical applications, as it also held symbolic value, signifying power and authority within the social hierarchy of Bronze Age communities. Size: L:100mm / W:135mm ; 255g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market since the 1970s.
Lot 337
Ca. 900-1100 AD.An iron axe head with curved cutting edge that slightly extends below the width of the butt, exhibits a design that offers unique functional advantages. The curvature of the cutting edge grants the axe head increased efficiency and effectiveness in cutting and chopping tasks. By extending the cutting edge below the width of the butt, the axe head allows for deeper and more forceful strikes, facilitating the penetration of materials and maximizing the impact of each blow. The tapering cheek of this axe head contributes to its overall balance and maneuverability. The tapered shape also optimizes the weight distribution of the axe head, ensuring that it remains stable during use and minimizing the risk of slippage or mishandling. The butt features a wide opening to accommodate the attachment of a pole or handle. Iron axes served as indispensable tools in various aspects of Viking life. Beyond their practical applications in activities such as woodcutting, crafting, and agriculture, these axes played a pivotal role in Viking warfare. Size: L:110mm / W:195mm ; 630g Provenance: Private Oxfordshire collection; Formerly acquired on the European art market from pre-2000 collections.
Lot 366
Western Asiatic/Aegan, ca. 1200-700 BC.A bronze spearhead boasts a double-edged blade with parallel sides, skillfully tapering to a finely honed point. One notable feature of this spearhead is the presence of a thick and flattened midrib that intricately adorns both surfaces of the blade, enhancing its structural integrity and visual appeal. The tang of the spearhead is characterized by a flat-section shank, gradually tapering towards its termination. Bronze spears played a pivotal role during the Bronze Age, serving as essential tools for warfare, hunting, and ceremonial purposes. The introduction of bronze as a primary material for spearheads marked a significant technological advancement, as it provided superior strength, durability, and sharpness compared to earlier materials like stone or copper. These bronze spears revolutionized combat strategies, enabling warriors to engage in close-quarter battles with increased efficiency and precision. Size: L:290mm / W:40mm ; 195g Provenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s.
Lot 364
Western Asia, ca. 1200-700 BC.A rare pair of bronze amulets, each characterized by a round-section shank with ribbed features on one end and a claw-shaped hook on the other, and a suspension loop in the mid-section. Western Asiatic metallurgy during this period was marked by the use of bronze, which was created by alloying copper with a small amount of tin. This process allowed for the production of hard, durable objects that could be cast or hammered into a variety of shapes. The skilled artisans of this region created a wide range of objects, including weapons, tools, and decorative items, using techniques such as casting, hammering, and engraving. Size: L:80-80mm / W:45-45mm ; 25g Provenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 32
Ca. 900-1000 AD.An iron forged sword featuring a broad blade with parallel edges, tapering to a sharp point, ideal for piercing armor and delivering devastating blows in battle. A deep fuller runs nearly through the whole length of the blade, reducing its weight and increasing its balance and agility. The guard of this sword is of simple form, yet highly effective, providing protection for the hand. The hilt is flat-sectioned, tapering towards the lobed pommel, allowing for a comfortable and secure grip, even in the midst of combat. Swords were weapons of great power and significance, symbols of the warrior ethos that defined the Viking culture. These swords were used in battle, in raids and expeditions, and in everyday life, serving as both tools and weapons. Size: L:740mm / W:85mm ; 505g Provenance: Property of a European collector; ex. F. Hausbau collection, Germany, 1970s-1980s.
Lot 406
Ca. 525-330 BC.A group of five bronze arrowheads represents an intriguing assemblage of projectile points. These arrowheads showcase a distinctive trilobate and bilobate shape, characterized by three and two lobes respectively, which contribute to their aerodynamic efficiency and lethal potential. Crafted from bronze, a highly valued material during the Bronze Age, these arrowheads exhibit remarkable craftsmanship and metallurgical knowledge. Each arrowhead features a rounded socket that facilitated its attachment to an arrow shaft, allowing for swift and accurate release. The blades of these arrowheads taper gracefully to culminate in sharp points, enabling piercing penetration and maximizing their efficacy as hunting and warfare tools. Size: L:28-45mm / W:45214mm ; 25g Provenance: Private London collection; formerly acquired in the US in the 1990s.
Lot 367
Western Asiatic/Aegan, ca. 1200-700 BC.A bronze spearhead crafted with exceptional skill, it features a double-edged blade in a distinct leaf shape, gradually tapering to a finely honed point. A prominent and meticulously crafted thick midrib adorns both surfaces of the blade, not only enhancing its structural strength but also adding an exquisite aesthetic quality. Notably, the midrib extends along the length of the blade, seamlessly integrating into the shank and forming an integral part of the spearhead. The tang, relatively short, showcases a tapering profile. Bronze spears held great significance during the Bronze Age, serving as vital tools in warfare, hunting, and ceremonial contexts. These spears represented a pivotal technological advancement, as bronze, with its superior strength and durability, revolutionized the effectiveness and versatility of these weapons. The mastery demonstrated in the design and production of bronze spears reflects the profound influence they held within the societal and cultural framework of the time, ultimately shaping ancient civilizations' military strategies and cultural practices. Size: L:297mm / W:35mm ; 280g Provenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s.
Lot 201
Late Period, 30th Dynasty, Ca. 332 BC.A group of three ushabtis, fashioned from the light blue glazed composition. These small funerary figurines were specifically created to fulfill a vital role within the ancient Egyptian beliefs and practices surrounding the afterlife. Each figurine represents a miniature embodiment of the deceased, meticulously adorned and imbued with spiritual purpose. Dressed in the customary attire, the ushabtis are adorned with intricately designed wigs, meticulously fashioned to emulate the hairstyles of the elite in ancient Egyptian society. These wigs, carefully sculpted and often tripartite in structure, cascading elegantly down the figures' backs, adding an element of regal sophistication to their appearance. Standing firmly on small integral flat bases, the ushabtis exhibit a balanced and poised stance, denoting their readiness to fulfill their assigned tasks. Evidencing their significance and dedication to service, the ushabtis feature their arms crossed firmly over their chests, clutching agricultural tools in their clenched fists. These tools, commonly represented as hoes or picks, symbolize the deceased's commitment to labor in the afterlife. Ushabtis held a central role in ancient Egyptian funerary beliefs and practices. As part of the elaborate burial rituals, these figurines were placed within the tombs to ensure the deceased's well-being and prosperity in the afterlife. It was believed that the ushabtis would magically spring to life when summoned, answering the call to perform the tasks required of them. These tasks often encompassed a range of duties, including agricultural labor, construction, and general service to the deceased. The presence of ushabtis in the tombs exemplified the Egyptians' enduring faith in the continuity of life beyond death and their desire for eternal comfort and assistance. Size: L:68-70mm / W:23-25mm ; 32.76g Provenance: Private London collection, ex. B. Kickx and J. Peeters collections, pre 1978, Belgium.
Lot 354
Chuck Close was an American artist known for his remarkable photorealist and large-scale portrait paintings. He was born on July 5, 1940, in Monroe, Washington, and passed away on August 19, 2021, in Oceanside, New York. Close's distinctive style involved creating highly detailed portraits using a grid system. He would break down an image into a grid and meticulously transfer each section onto a larger canvas or surface. Close's paintings were often close-up portraits of his family, friends, fellow artists, and himself. His works were characterized by a meticulous attention to detail and a focus on capturing the individuality of his subjects. In addition to his use of the grid technique, Close experimented with various mediums and materials throughout his career. He initially gained recognition for his large-scale airbrushed black-and-white portraits in the late 1960s and early 1970s. Later on, he incorporated other techniques such as finger painting and the use of handmade paper pulp to create texture and depth in his works. Close's art was not limited to painting. He also explored printmaking, photography, and collage, constantly pushing the boundaries of his creativity. Despite facing physical challenges, including partial paralysis due to a spinal artery collapse in 1988, Close continued to produce artwork using adaptive techniques and tools. He became an inspiration for many with disabilities and an advocate for accessibility in the arts. Chuck Close's work has been exhibited extensively in major museums and galleries worldwide. He received numerous awards and honors throughout his career, including the National Medal of Arts, presented to him by President Clinton in 2000. Close's contribution to the art world is widely celebrated, and his portraits remain iconic examples of contemporary American art. Measures 8 x 9.27 Verso is blank.Mounted to archival quality paper.
Lot 404
Chuck Close was an American artist known for his remarkable photorealist and large-scale portrait paintings. He was born on July 5, 1940, in Monroe, Washington, and passed away on August 19, 2021, in Oceanside, New York. Close's distinctive style involved creating highly detailed portraits using a grid system. He would break down an image into a grid and meticulously transfer each section onto a larger canvas or surface. Close's paintings were often close-up portraits of his family, friends, fellow artists, and himself. His works were characterized by a meticulous attention to detail and a focus on capturing the individuality of his subjects. In addition to his use of the grid technique, Close experimented with various mediums and materials throughout his career. He initially gained recognition for his large-scale airbrushed black-and-white portraits in the late 1960s and early 1970s. Later on, he incorporated other techniques such as finger painting and the use of handmade paper pulp to create texture and depth in his works. Close's art was not limited to painting. He also explored printmaking, photography, and collage, constantly pushing the boundaries of his creativity. Despite facing physical challenges, including partial paralysis due to a spinal artery collapse in 1988, Close continued to produce artwork using adaptive techniques and tools. He became an inspiration for many with disabilities and an advocate for accessibility in the arts. Chuck Close's work has been exhibited extensively in major museums and galleries worldwide. He received numerous awards and honors throughout his career, including the National Medal of Arts, presented to him by President Clinton in 2000. Close's contribution to the art world is widely celebrated, and his portraits remain iconic examples of contemporary American art. Measures 8 x 9.25 Verso is blank.Mounted to archival quality paper.
Lot 454
Chuck Close was an American artist known for his remarkable photorealist and large-scale portrait paintings. He was born on July 5, 1940, in Monroe, Washington, and passed away on August 19, 2021, in Oceanside, New York. Close's distinctive style involved creating highly detailed portraits using a grid system. He would break down an image into a grid and meticulously transfer each section onto a larger canvas or surface. Close's paintings were often close-up portraits of his family, friends, fellow artists, and himself. His works were characterized by a meticulous attention to detail and a focus on capturing the individuality of his subjects. In addition to his use of the grid technique, Close experimented with various mediums and materials throughout his career. He initially gained recognition for his large-scale airbrushed black-and-white portraits in the late 1960s and early 1970s. Later on, he incorporated other techniques such as finger painting and the use of handmade paper pulp to create texture and depth in his works. Close's art was not limited to painting. He also explored printmaking, photography, and collage, constantly pushing the boundaries of his creativity. Despite facing physical challenges, including partial paralysis due to a spinal artery collapse in 1988, Close continued to produce artwork using adaptive techniques and tools. He became an inspiration for many with disabilities and an advocate for accessibility in the arts. Chuck Close's work has been exhibited extensively in major museums and galleries worldwide. He received numerous awards and honors throughout his career, including the National Medal of Arts, presented to him by President Clinton in 2000. Close's contribution to the art world is widely celebrated, and his portraits remain iconic examples of contemporary American art. Measures 7.52 x 9.27 Verso is blank.Mounted to archival quality paper.
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82067 item(s)/page