We found 653685 price guide item(s) matching your search
There are 653685 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
653685 item(s)/page
Lot 783
13th-6th century BC. A bronze sceptre in the form of a male wearing a headdress, prominent nose and round eyes, rearing animal heads to either side, wide hips and animal feet below; attached to a vase shaped base with narrow neck and bulbous body; mounted on a custom-made stand. 451 grams, 25.5cm including stand (10"). Fine condition. Property of North West London gentleman; acquired from a London collector in the late 1990s; previously in a private collection formed in the late 1980s-early 1990s.
Lot 807
Early Dynastic III, 2900 BC-2350 BC. A white fine grained stone macehead with vase-shaped body and pierced through the centre; to one side the lion-headed bird deity Imdugud with wings outstretched; to the other a male figure facing front wearing a tall headdress and kilt, holding two rearing bulls by the head. For a similar mace head with the image of Imdugud see The British Museum accession number 23287 490 grams, 90mm (3 1/2"). Fine condition. Rare.Property of a London gentleman; acquired from a major Mayfair gallery; acquired on the London art market before 1999. In Sumerian and Akkadian mythology, Imdugud, also known as Anzû, is a divine storm-bird and the personification of the southern wind and the thunder clouds.This demon stole the Tablet of Destinies from Enlil and hid them on a mountaintop. Anu ordered the other gods to retrieve the tablet, even though they all feared the demon. According to one text, Marduk killed the bird; in another, it died through the arrows of the god Ninurta. Anzu also appears in the story Inanna and the huluppu tree, which is part of the Akkadian story of Gilgamesh in the section called 'Gilgamesh, Enkidu and the Nether World.'
Lot 112
4th century BC.A restrung set of gold elements comprising: rosette plaques with beaded wire to the outer petals, hollow piriform vase pendants with filigree and granule detailing; pairs of lotus blossoms with beaded wire and granule detailing, hollow ribbed pendants with filigree loop and granule finial. Cf. the Taranto necklace in Despini, A. Greek Art. Ancient Gold Jewellery, Athens, 1996 item 138-9. 71 grams, 36cm (14 1/4"). Very fine condition, some restoration.Ex an important American collection from Chicago, Illinois, USA; disposed of in 1995; previously in the Mansees collection; formed 1950s-early 1990s.Supplied with a positive X-Ray Fluorescence metal analysis certificate. Gold occurs rarely in Central Greece, but resources in Thrace, Asia Minor, Egypt and Spain were all exploited. Herodotus mentions Hyperborean sources, in the far north, which might indicate deposits in the Urals; he also writes of gold obtained by the Carthaginians who sailed beyond the Pillars of Herakles, known to us as the Straight of Gibraltar, to the Atlantic coast of Africa. Most famous in ancient literature is the gold of Asia Minor, where the mythical king Midas of Phrygia and the historical king Croesus of Lydia became synonymous with vast wealth. In Greece itself, Herodotus saw gold mines on the north Aegean island of Thasos, as well as the Cycladic island of Siphnos. The style of this necklace is in keeping with the tastes of the Eastern Greeks and the Hellenistic kingdoms. The pieces that come from the Black Sea region show the taste for gold, rendered beautifully by immigrant Greeks and local goldsmiths, was indulged in by both chieftains grown rich from the trading of grain, timber and other natural resources and Greek merchants and settlers, who may have adopted local customs. While some of their treasures are clearly the work of local craftsmen, others, like this piece, are highly refined works of unadulterated Greek style, suggesting that they were either imports or the products of Greek craftsmen who settled abroad in order to profit from serving wealthy foreign clients.
Lot 133
Campania, South Italy, 330-310 BC. A large ceramic black glazed bail-amphora with a pierced and ridged stirrup-shaped handle to the top, rolled and angled rim with long tapering neck and rounded shoulder, both painted with series of vertical lines in black; the body decorated to one side with a seated female in a robe, hair tied in a headscarf and holding a pair of dishes towards a second, standing female, also in long robes and hair tied in a headscarf, to the centre a disc with X-pattern, behind the seated female a crooked staff; to the other side a group of three female figures, two seated and one standing, all in loose robes and hair arranged in a bun, the standing figure holding forward a dish to the seated figure holding a tympanum , small altar to the feet of the lower seated figure; below and encircling the vase is a black wave pattern on a reserved band; tapering pedestal foot with band of black paint. [A video of this lot is available on the TimeLine Auctions website] 2.86 kg, 60cm (24"). Fine condition, painting degraded.From an old British private collection; formed between 1975 and 1985.Cf. Mayo, M. The Art of South Italy: Vases from Magna Graecia, Virginia, 1982 p. 207; for a similar example see The Cleveland Museum of Art, accession number 1967.245.The bail-amphora was one of the innovative new forms of pottery that was developed by Greek settlers in South Italy and Sicily. The form bears some similarities to the loutrophoros and probably had a similar function for holding water used in ritual bathing. The scenes on such pieces indicate the nature of these rituals which would appear to be associated with marriage and religious customs reserved for women. The institution of marriage in ancient Greece encouraged responsibility in personal relationships. Marriages were usually arranged by the parents; professional matchmakers were reluctantly used. Each city was politically independent, with its own laws affecting marriage. For the marriage to be legal, the woman's father or guardian gave permission to a suitable male who could afford to marry. Wintertime marriages were popular, and a common month in which Greeks married was Gamelion or January, which was sacred to the goddess Hera; note the two females on this vase wrapped in heavy robes against the cold. The couple participated in a ceremony which included rituals such as veil removal but the couple living together made the marriage legal.
Lot 134
4th century BC. An Apulian red-figured ceramic epichysis with a profile female head between volutes, with a diademed sakkos and chignon to the rear; reel-shaped body with a tall angled handle showing two human headed rotelles at the join to the beak; glazed tongues at the base of the neck, radiating strokes on the upper lip; to the body, a white laurel wreath along an incised line. 208 grams, 15.5cm (6"). Fine condition.Property of a Swiss collector; acquired HannoVerum GmbH Auktions - und Handelshaus, Hanover, Germany; formerly in a private German collection; previously acquired on the German art market.Cf. Gorny & Mosch Auktionen Munich, June 2016 sale, lot no. 204; see also Edinburgh, National Museums of Scotland, 1964.1; Beazley vase no. 1000850; CVA Edinburgh, National Museum of Scotland, 32 pl. (749) 32.7-8.
Lot 2297
13th-14th century AD. A discoid bronze mount with strap to the reverse, central lion rampant within a double border, Lombardic script legend to the border 'CRAS DABOR NON O[D]I[E]' and means 'I will be given tomorrow not today' (the object itself is speaking), this is the form of the legend with the verb in the passive mood – dabor [I will be given], it is also found with the verb in the active mood – dabo [I will give (you it)]. 2.20 grams, 22mm (1"). Fine condition. Rare.Property of a Canadian lady; acquired 1970s-1990s.Malcolm Jones, Sheffield University, Dept. English Language & Linguistics, Senior Lecturer 1994-2009 and advisor to the British Museum and Portable Antiquities Scheme, says: 'The legend reads CRAS DABO NON HODIE. This is inscribed on nine other late medieval objects -- the most relevant parallels are a French annular brooch reported in the late 19C archaeological manuals but seemingly first by M.H. Bordier in his Notes sur les affiques in Memoires de la soc nat des antiquaires de Fr vol.36 (1875), 248f. (this example further inscribed on the reverse), and two finger-rings found in England, one in Coventry in 1830 [see Joan Evans English posies p.5 -- apparently now in Birmingham Mus) and a recent Nottinghamshire find reported in the Trans Thoroton Soc of Nottm vol 97-8 (1993), 138 [CRAS DABOR NON HODIE]. The others are on one of the engraved bindings of an abbot's staff in Salzburg of 12/13C date; a vase dated 1253 made for Thiebaut de Bethune (d.1289 at the siege of Tripoli); a commander's ivory baton of early 15C date (now in Pesaro) belonging to Niccolo Trinci; and a 15C drinking-horn in the Royal Danish Kunstkammer. But there is also a fascinating anecdote involving the four words CRAS DABOR NON HODIE being inscribed on knives in the (English) 14C Fasciculus Morum. The phrase was proverbially used -- of bad payers, for example -- and in one gloss on corvus in the Physiologus, is given to the crow as an elaborated version of his usual cras cras. In the DABO version as here, it 'ought' to mean Tomorrow I will give [?it ?this] not today -- but quite what is to be given -- I'm assuming we are in an amatory context -- is open to debate!'. [No Reserve]
Lot 2375
14th-15th century AD.A silver ring with round section shank with pellet to the base; expanding shoulders with relief floral decoration to the top and underside; tiered oval bezel engraved with vase with scrolling plant coming from the top. 15 grams, 28.63mm overall, 23.76mm internal diameter (approximate ring size Z+4 1/2 USA 14 3/4 Europe 34.71 Japan 33) (1 1/2").A large wearable size.From the family collection of a London gentleman; formed in the late 1940s-1950s; thence by descent. [No Reserve] Very fine condition.
Lot 246
Later 2nd century AD.A D-section gold hoop with flared shoulders, flat elliptical plaque with central cell, inset carnelian cloison with intaglio image of a two-handled vase. Cf. Chadour, A.B. Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994 item 305 for type. 5.44 grams, 22mm overall, 19.60mm internal diameter (approximate size British T, USA 9 1/2 Europe 21.26 Japan 20) (1"). Very fine condition.Property of a Surrey collector; acquired in the early 1970s.
Lot 3187
236-237 AD. Rome mint. Obv: MAXIMVS CAES GERM legend with bare-headed, draped, cuirassed bust right. Rev: PIETAS AVG legend around with sacrificial implements: lituus, knife, patera, vase, simpulum, and sprinkler; SC in exergue. RIC 11; BMCRE 204; Cohen 7; Sear 8409. 14.48 grams. With old collector ticket. [No Reserve] Fine.
Lot 137
A Whitefriars glass 'Lobed Vase' 1950s, James Hogan, smoked olive green glass, of compressed quatrefoil form, 7¾in. (19.75cm.) high. * Condition: Ground chip to rim. Scratches to underside commensurate with use and age.* Please Note: A further 500 lots from this sale (which are not available for live bidding) can be viewed on our website: www.martelmaidesauctions.com
Lot 37
A collection of Royal Albert Old English Rose pattern tea wares comprising five cups and five saucers, together with a Royal Albert Lavender Rose pattern tea pot and cover and matching coffee pot (no cover) various 19th century and later tea wares, a Royal Worcester miniature vase in the form of a cornucopia with encrusted floral detail, etc
Lot 61
A substantial 19th century vase with painted blackberry and bramble decoration within an ornate relief moulded gilt framework and with the remains of applied cherub figures to the neck, with indistinct green mark to base (further broken pieces from the vase displayed in box adjacent) 82cm high approx
Lot 5
A late 19th century Zsolnay Pecs vase with polychrome painted and gilded trailing floral decoration and pierced base and with printed mark to base, 17 cm tall, together with a Royal Doulton Shakespeare series ware dish of oval form showing Shylock, a Adams blue ground jasper ware biscuit barrel with plated mount and cover, a set of three graduated Victorian jugs of hexagonal form with printed chinoiserie decoration, pair of brass candlesticks, lacquered clock and brass teapot
Lot 117
A 19th century wedge shaped cheese dish and cover with floral decoration, a 19th century four sided bottle and stopper with painted floral decoration against a blue and gilt ground, a Sylvac buff glazed jug in the form of a squirrel and an acorn, an Art Deco amber tinted glass vase in the form of a sailing yacht, Wade animals etc, together with a set of Lakeland Studios relief moulded plaques showing cottages and other buildings, etc., including a scene at Godshill, Selly Manor, etc.
Lot 43
Two Royal Crown Derby Imari pattern paperweights in the form of a Scottish Teddy - Fraser and a recumbent tabby cat both with stoppers to base together with a similar Royal Crown Derby figure in the form of a Teddy holding an open book inscribed 'With Love', an Imari pattern table bell and matching vase, both pattern number 1128
Lot 708
A 20th century oil painting on board study of a vase of chrysanthemums, painted with thick impasto, signed bottom right Deakins dated 79, with label verso George Deakins (United Society Artists) with Dunster, Somerset address details and further biographical details, 40 x50cm in cream coloured frame
Lot 794
An early 20th century watercolour and bodycolour still life study of a copper vase containing apple blossom and pussy willow, 60 x 48 cm approx in carved oak frame with gilt slip together with a large coloured reproduction print of an 1806 map of London after Edward Mogg, 83 x 124 cm approx in wooden frame.
Loading...-
653685 item(s)/page