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This striking Val St Lambert crystal obelisk sculpture showcases a masterful interplay of form and light, featuring a tall, faceted silhouette with a hexagonal base and sharply cut surfaces. Inside, a precisely engraved design depicts a radiating sunburst and a symmetrical staircase motif, creating a dramatic optical illusion that changes with the viewer's angle. The reverse includes a finely crosshatched cut panel, and the bottom is etched with the Val St Lambert signature. Crafted in Belgium, this piece exemplifies the technical artistry and clarity for which the historic Val St Lambert glassworks is celebrated.Issued: 20th centuryDimensions: 7"HCountry of Origin: BelgiumCondition: Age related wear.

Early 20th century Baccarat crystal three-branch candelabrum, surmounted with a pyramid above a central foliate drip pan and three branches suspending prism cut drops, on a lobed column base and foliate moulded beaded foot, moulded mark to base, 55cm high, together with a cut glass table lamp with tapering hobnail cut removable shade, on baluster domed stem, electrified, 29cm high and a set of seven early 20th century hobnail cut napkin rings in original box (3) Condition Report Candleabrum - slight chipping to tip of central obelisk, one of the pendant drops with further chipping, others with minor light chipping, one of the drops is present but detached and there are three holes which may have suspended drops but two of which are no longer present. It has been used and wax is present and requires cleaning. Overall in good decorative order. Napkin rings - overall ok, one with minute chip. Lamp  - small chip to rim of shade. 

Two mounted stone fossils and various stone obelisks and specimens, amethyst obelisk 15cm tall

William Hogarth (Attributed.) (1697-1764) “Market Scenes,”  O.O.C.,  (a pair) c 1775, each approx. 36cms x 36cms (14” x 14”). (1) Painted around the mid-eighteenth century, this pair of matching canvases depict a street market, with stall-holders chatting, laughing and arguing. In the foreground of the first painting, two women appear to be fighting in front of a fountain, while on the left a man carries, on a yoke, two pails brimming over with liquid. His mouth open, he seems alarmed at what is happening behind him. Other figures gathered at the fountain are talking and gesticulating. Behind them, on a plinth, a statue of Neptune stands holding a trident aloft. In the background can be seen a curved Classical building. This same architectural feature is in the background of the second painting, but this time it is embellished with a slender obelisk, rather than a statue. The second canvas again depicts a street market, with tents made of ragged canvas stretched over poles. In front of the tents, three women are engaged in animated conversation. One, wearing a white bonnet, looks quizzical. Beside her, her head in a scarf, a woman holding her hands up in an attitude of surprise, listens to the story told by a market woman, who sits with clenched fist raised.   Whether or not these two lively paintings are by William Hogarth is open to debate, but in their vivid depictions of street life, they are captivating and skilled works of art. Using the architecture to identify the location is tempting, but the setting may well be a ‘capriccio’, or imagined scene. There are few enough statues of Neptune in British or Irish cities: there was one in Bristol, but not beside a curved Classical arcade. The paintings are ascribed to Hogarth, and certainly the tumult of figures in a street setting accords with his work. However, the bonnets and dresses, and the sharp features of these market women, suggest the scene could well be located in the Netherlands or France. The features of Hogarth’s revellers are generally more rounded. Were the scenes to be set in Ireland, these two delightful paintings could, with reasonable confidence, be attributed to the Cork artist Nathaniel Grogan. Dr. Peter Murray 2025

An Arthur W Simpson's of Kendal oak dressing table mirror in the manner of Charles Francis Annesley Voysey, the arched, rectangular mirror supported on four tapering square obelisk, on arched feet, unsigned, 57cm. high, 56cm. wide ProvenanceThe Cornish CollectionLiteratureHugh Wright The Beautiful Furniture of The Simpsons of Kendal, Bookcase, page 109 figure 40 for a blurry photograph of this design from AW Simpson's catalogue of 1909, reproduced.

A pair of grand tour porphyry and white marble obelisks, 19th century, Italian, each of tapering form on a stepped base, 9cm wide9cm deep55cm high (2)Condition ReportBoth with a repairs to the upper section and lower section of the obelisk, small imperfections present to the white veined marble. One example with an additional repair to the square lower section.

DEDON GARDEN OBELISK FURNITURE

DEDON GARDEN OBELISK FURNITURE

A French grey finished garden sweet pea obelisk - together with a three dial garden clock / thermometer / humidity meter (not tested). (2)

Pair of Green Marble Obelisk, height 16.5".

Metal garden obelisk 

A WROUGHT IRON SQUARE PLANT OBELISK with ball finial, 22" w x 83" h (Est. plus 24% premium inc. VAT) Condition Report: very good

Versace 'Carpe Diem', Rosenthal, an Obelisk Table Clock, Gilt porcelain.Limited Edition 718/999.A table clock in the shape of an obelisk. Gilded decor.With integrated clock and Medusa logo in relief. Mounted with a globe.The clock with a Quartz movement, battery operated.Marked on the bottom 'Rosenthal - Versace Carpe Diem' and numbered 'Limitierte Edition 718/999'(12 x 61.5 x 12 cm)Versace 'Carpe Diem', Rosenthal, eine Obelisk-Tischuhr, vergoldetes Porzellan.Limitierte Auflage 718/999.Eine Tischuhr in Form eines Obelisken. Vergoldetes Dekor.Mit integrierter Uhr und Medusa-Logo im Relief. Montiert mit einer Weltkugel.Die Uhr mit einem Quarzwerk, batteriebetrieben.Gezeichnet auf der Unterseite 'Rosenthal - Versace Carpe Diem' und nummeriert 'Limitierte Edition 718/999'.(12 x 61,5 x 12 cm)

Tom Chambers 1.7 m sage green priory obelisk

A Danish pottery vase, by Herman Kähler, with a crackled lustre glaze, 13cm diameter, 11cm high, a Danish pottery vase, 32.5cm high, and a porcelain deskstand, modelled as an obelisk, 21cm high (3)Condition ReportFair overall. Large vase chipped and restuck.

A grand tour-style fossil marble obelisk, of recent manufacture, of typical form, with a stepped square base, 14cm wide14cm deep54cm highCondition ReportLight wear and very minor nibbles throughout. Overall appears in good structural and condition and is ready to place.

A plant obelisk (21)

A plant obelisk (22)

A metal plant obelisk, approx. 48" high

A plant obelisk (20)

Large stone obelisk

A graduating trio of metal arrow-head garden obelisk plant supports, two with grey painted finish, the other in weathered steel (3)largest 150 cm h x 40 cm diameter

A Pair of Variegated Marble Obelisks, the square bases each inset with four glass classical intaglios, on square stepped bases, 17.5ins high1. There is one slight chip to the lower left corner of the base 2. This obelisk appears to be in good condition with no obvious damage/loss/restoration

Mailer (Norman) The Deer Park, first English edition, ownership name on front free endpaper, original boards, dust-jacket, light nicks to spine ends, otherwise excellent, 1957 § Miller (Henry) Tropic of Capricorn, original wrappers, lightly rubbed and creased at edges, Obelisk Press, Paris, 1957 § Sinclair (Upton) Oil!, first English edition, ownership name on half-title, 1927 § Patchett (Ann) Bel Canto, proof copy, original wrappers, a little faded, 2001; and c.60 others, American authors, 8vo (c.65)

An oriental red lacquer tray, cinnabar lacquer boxes, a copper and another chocolate pot, various figures, a cloisonne dish, a hallmarked silver-backed hand mirror, a tea caddy, scales, a desk blotter and obelisk, tambourines, Chinese white metal figures, a stamp box, a hairpin box, etc.

This elegant Baccarat crystal obelisk sculpture features a sleek, geometric form with clean, faceted lines tapering to a fine point. Standing an impressive 15 inches high, this piece exemplifies Baccarat's mastery in precision-cut crystal. The clear glass is sharply polished to capture and refract light in dramatic patterns, making it a compelling focal point in any display. The obelisk is etched at the base with the Baccarat signature and hallmarked with the circular acid-etched Baccarat France stamp. A striking decorative object that reflects Baccarat's blend of timeless design and meticulous crystal craftsmanship. Ideal for collectors of modernist glass and refined decor.Issued: 20th centuryDimensions: 15"HCountry of Origin: FranceCondition: Age related wear.

Striking contemporary crystal obelisk sculpture by Baccarat, France. This towering form features precision-cut facets with symmetrical, mirrored detailing that reflects light beautifully across its sharply tapered profile. Signed with the acid-etched Baccarat France circular hallmark near the base, this piece embodies the renowned crystal house's craftsmanship and architectural elegance.Issued: 21st centuryDimensions: 18"HCountry of Origin: FranceCondition: Age related wear.

Triangular obelisk sculpture produced by Baccarat Crystal, France. The solid clear crystal form features faceted and undulating vertical edges with a symmetrical geometric pattern. The precision-cut surfaces create angular reflections and optical effects through the transparent body. Marked Baccarat.Dimensions: 2.25"L x 2.25"W x 9.75"HCountry of Origin: FranceCondition: Age related wear.

Late Period, 664-332 B.C. Modelled as a resting duck with its neck curved around the upper body, feather detailing on the wings, tail, and body, and delicately formed head; the underside features a baboon in a posture of adoration before an obelisk, wearing a lunar disc and crescent headdress, with a neb sign below. Cf. Andrews, C., Amulets of Ancient Egypt, London, 1994, p. 53 fig. 54d, for a similar duck scaraboid; Matouk, F.S., Corpus du scarabée égyptien. Vol. 2: Analyse thématique, Beirut, 1976, p. 388, nos. 814-815, for similar-themed scarabs. 2.82 grams, 19 mm (3/4 in.). From the property of a London, UK, gentleman, 1970-2000s. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.Baboons were observed worshipping the rising sun with raised arms, a behaviour that Egyptians interpreted as divine reverence. The scarab's imagery symbolises cosmic harmony and sacred wisdom, with the baboon (a manifestation of Thoth in his lunar aspect) showing reverence to an obelisk (a symbol of the solar god, Ra). Thus, it blends moon and sun symbolism, embodying balance, cyclical renewal, divine order, and the interplay between knowledge (Thoth) and power (Ra). The neb sign indicates lordship or possession over all the celestial forces.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

Blue and white ceramic obelisk raised on a brass stepped plinth. H36cm

A collection of glassware to include: Baccarat crystal Thousand Night vase, a pair of Waterford Marquis candlesticks 25cm h, Waterford obelisk desk clock, a Confetti Murano tumbler signed to base, Caithness Party Balloons paperweight signed to base, a dog paperweight with sticker to base and 2 vases, tallest 21cm h and a Svaja paperweight. Six other paperweights one signed to base, a Wedgwood paperweight clock, a heavy mid century ash tray etc.

Rom - Piazza Santa Maria Maggiore, Obelisk Papst Sixtus V., Kupferstich, 52,5 x 26, N. van Aelst, 1589, mit eingesetzter alter Beschriftung, besch., rest., ungerahmt, selten. Provenienz: Sammlung Wolfgang Salm (verstorben 1972 Tegernsee in Bayern)

​​ Natale Bonifacio (Italian, 1538-1592) after Giovanni Guerra 'Pianta del sito della Piazza fatta per alzare la Guglia' (Fontana’s plan for lowering the Vatican Obelisk)etching, published by Bartolomeo Grassiplate 51 x 57cmProvenance: A private collection, Kensington, London.This etching depicts the architect-engineer Domenico Fontana's technical plan for the 1586 lowering of the Vatican Obelisk, in preparation for moving it from the south flank of St Peter's to its current location as the centrepiece of the Piazza di San Pietro.Condition ReportFramed: 58 x 44cmA vertical fold to the centre. Undulations and rippling to the sheet. In our opinion the print is crisp and presents well overall. Not viewed out of glazed frame.

A 19th century Grand Tour Pietra Dura desk set, comprising an obelisk, height 25.5cm, a pair of short candlesticks, height 6.5cm, base diameter 9cm, and a table paperweight, 14cm x 8.5cm Obelisk in good original condition, candlesticks and tablet all have several minor chips on the edges

Rembrandt Harmensz. van Rijn - nach -- nach. Der Obelisk. Radierung von François Vivares. 9 x 16,1 cm. 1748. Hinterding/Rutgers (New Hollstein) 249 copy a.Seitenverkehrte Wiederholung des gesuchten Motivs in einem prachtvollen, wunderbar akzentuierten Abzug mit gleichmäßigem, feinem Rändchen um die Facette. Minimal fleckig, geringe Montierungs- und Kleberspuren verso, sonst sehr gut erhalten. Aus einer bisher unbekannten Sammlung "Dc" (nicht bei Lugt). - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.

This striking screenprint by Bauhaus and Minimalist artist Josef Albers is from his groundbreaking series Formulation: Articulation, specifically Portfolio I, Volume 4, published by Harry N. Abrams and printed by Albers's Yale colleagues Norman Ives and Sewell Stillman in 1972. Released in an edition of 1000. The work exemplifies Albers' mastery of color interaction and spatial illusion, showcasing geometric abstraction through intersecting planes of gray and yellow with diagonal linear elements. The bold contrasts and layered composition reflect Albers' enduring exploration of perception and structure. The piece is housed in a modern wood frame with white matting, accompanied by a gallery label from Obelisk Gallery in Boston. Formulation: Articulation was a pivotal late-career project for Albers, published by Harry N. Abrams and produced in collaboration with Ives-Sillman Inc., encapsulating his decades of research into color theory and design. Artist: Josef Albers (German-American, 1888-1976)Issued: 1972Dimensions: 24.50"L x 21.25"HCountry of Origin: Germany-USACondition: Age related wear.

Striking modernist obelisk-shaped ceramic vase by Haeger, model 4400, featuring a glossy black glaze with a central textured marbled accent running vertically along each side. American made and dated 1985, this sculptural piece exemplifies the bold, geometric aesthetic Haeger became known for in the late 20th century. The original Haeger sticker is still affixed to the base.Issued: 1985Dimensions: 12"HCountry of Origin: United StatesCondition: Age related wear.

A selection of 1:12 scale dollshouse items to include white wire table, chair, obelisk, two floral displays, office chair and jardiniere stand (Dolls House Emporium). Condition good and some  in original packaging

An White Onyx Obelisk-Form Table Lamp, 33cm including fitting

A Metal Serving Tray and Assorted Collectables, including a carved and polished marble obelisk, lacquered wood novelty model sedan chair, various gilt metal picture stands, various gilt metal photograph frames, a gilt metal and glass topped jewellery casket, Victorian mother of pearl mounted photograph album, amber mounted miniature goblet and four leather bound volumes, Meister (Wilhelm) Vol. I & II Carlyle, Lamartine (Alphonse de) Prose, Hadley's History of Hull (qty)

Minerals Natural History: A Collection of Amethyst Geode and Obelisk Specimens, four various sized Obelisk shaped amethyst specimens, the smallest 7cm by 6cm, the largest 13cm by 10cm, together with three various sized amethyst geodes, (qty). Previously part of a display at a Portsmouth museum

A collection of 51 photographic postcards, all topographical views, the majority the Wood Green area of London, including photographic postcards titled ‘New Tram in Lordship Lane’, ‘Wood Green G.N.R.’, ‘The Electric Trams, Finsbury Park’, ‘Wood Green Empire’, ‘The Exchange, Muswell Hill’, ‘Burford Bridge Hotel, Boxhill’, ‘High Road, Wood Green’, ‘Castlebar Hill, Ealing’, ‘Pelham Road, Noel Park’, ‘Moving the Obelisk, Wood Green… 1906’, ‘Wood Green Salvation Army Band’, ‘Palace Theatre’, ‘Westbourne Grove’, ‘Barratts Factory, Wood Green’, ‘Elite Picture Palace, Kingston’, ‘The Old Forge, Highgate’, ‘London, Smithfield Meat Market’, ‘South Ealing’ and another of Wood Green Railway Station.

A CARVED WHITE MARBLE BUST OF DOMITIAN CAESAR, 18TH CENTURY, head and shoulders, with classical drapery with armour beneath, 86cm hightogether withA 19TH CENTURY STONE PEDESTAL PRESENTED TO ARTHUR MORRISON ESQ. ALDERMAN OF THE CITY OF DUBLIN FROM EDWARD JOSHUA COOPER ESQ. OF MARKREE CASTLE COUNTY SLIGO M.Psquare top, baluster form, leaf carved decoration, with bronze presentation plaque ‘DOMITIAN CAESAR VNDECIMVS/ PRESENTED BY EDWARD JOSHUA COOPER ESQ. OF MARKREECASTLE COUNTY SLIGO M.P/ TO ARTHUR MORRISON ESQ. ALDERMAN OF THE CITY OF DUBLIN/ 1852. 117cm high, 57cm wideArthur Morrisson (1765-1837) was appointed Alderman in 1808 and was later Lord Mayor of Dublin in 1835. Initially Arthur was the proprietor of the Mail Coach Tavern in Dawson Street and subsequently a hotel at 28 Frederick Street. He leased no. 1 Dawson Street in 1817 and converted the building into a hotel. Often referred to as ‘Morrisson’s’, but was actually the Leinster Tavern. It was not until after his death in 1840 that the name officially became the renowned Dublin hotel, Morrisson’s. Arthur and his family lived at Lilliput (Riversdale) in Donnybrook. He was responsible for many improvements in the area such as new roads, pathways and assisting in the building of the Anglesea Bridge. The obelisk erected in his memory still stands today. The presentation was made by Edward Joshua Cooper M.P. (1798-1863) of Markree Castle in Co. Sligo. Edward is best known for his interest in astronomy and the creator of Markree Observatory. The observatory was home to the largest refractor of the early 1830s, which had a 13.3 inch aperture Cauchoix of Paris lens. Notable discoveries include the asteroid 9 Metis in 1848.

A Grand Tour type amethyst quartz library desk obelisk, wooden square base, 28cm high

An alabaster obelisk table lamp, 20th century,16.5cm wide16.5cm deep78cm highCondition ReportPat Test Passed

Antiquarian Prints; 'Obeliscus Constantinopolitanus', by Johann Christoph Volckamer (1644 - 1720) from 'Nuremberg Hesperides', The Continuation, 1714, depicting the obelisk at Constantinople from the time of Thutmosis III (c.1405BC), hand coloured, print mark approx. 530mm x 300mm, framed and glazed.

Ring mit etruskischer Gemme18 kt Gelbgold. Ovaler Ringkopf gefasst mit einem braun-weiß gebänderten Achat (ca. 12,3 x 9,2 mm). Der Intaglio zeigt eine nicht identifizierte mythologische Opferszene mit bärtigem Männerakt, in der Hand eine Binde, vor einem Obelisk (?). Gestempelt: Italienischer Feingehalt 750. Ringkopf 1,7 x 1,4 cm. RW 58. Gewicht 9,72 g.Die Gemme 3./2. Jh. v. Chr. Ringfassung neuzeitlich.

Porcelain obelisk Italy, 20th centurydecorated to simulate marbleh.53 cm.

Obelisk in wood and golden wood Italy, 20th centuryresting on a wood base lacquered to simulate serpentine marbleh. 100 cm.

A PAIR OF FAUX MALACHITE PAINTED SIDE CABINETS (2)Each with open obelisk bookcase top, over single door base, 53cm wide; 40cm deep; 193cm high

OBELISK LAMPS, TWO PAIRS (4). a black pair overall 85cm tall overall includimng shades, and an oxblood pair overall each 71cm t (4).

Große Säule als Tafelaufsatz2-tlg.; Mit Heckenrondell. Aus einer allansichtigen, naturalistisch gestalteten Gebirgslandschaft emporragender, mit Efeu besetzter Obelisk, bekrönt von einem Putto mit Lorbeerkranz. Polychrome Malerei. Entw. Josef Wackerle, 1922. Modell-Nr. 202. Unw. best.; Minim. rest.; Teilw. Manufakturmarke. H. 52 cm. Hecken-D. 24 cm.Wackerle orientierte sich bei dem Entwurf dieser Tafeldekoration an der Frankenthaler Figurengruppe "Sieg der Schönheit über den Neid", die Franz Konrad Linck 1779 schuf. Dabei reduzierte er das allegorisch konnotierte Figurenprogramm, behält aber den Sieg verkörpernden Putto bei.Vgl. Ziffer, Nympenburger Moderne, S. 454.; Linck-Gruppe, Kunstgewerbemuseum Berlin, Inv.-Nr. HF 495.A large 2-piece porcelain column as table decoration modelled by J. Wackerle. Insignificantly chipped. Minor restored. Partly manufacturer's mark.Nymphenburg. 1. Viertel 20. Jh.

A collection of decorative art glass comprising, a clear, blue and yellow tealight holder, a Mdina dumped style conicle paperweight (h-10cm), a Mdina obelisk blue and yellow glass paper weight (marked verso h-20cm) and a Murno venetian green and orange glass vase (h-27cm). (4)

A large granite and pietra dura obelisk, in the Grand Tour manner, the facade inlaid with malachite, stepped square base, 76cm high overall

A 19th century Derbyshire Ashford marble obelisk, inlaid fossil stone, malachite and other specimen stones, stepped base, 26cm high, c.1860

A granite and pietra dura obelisk, the facade inlaid with onyx, marble, red jasper and other specimen stones, stepped square pedestal base, 34cm high overall

A 19thC onyx obelisk, 22cm high.

A WOODEN CANTEEN OF CUTLERY AND A BOX OF ASSORTED ITEMS, the wooden canteen filled with assorted EPNS cutlery, knives fitted with ivorine handles, together with a box including assorted silver cufflinks, each with a full silver hallmark, a silver salt spoon, a drilled Six Pence coin, a silver Cooper Clay Crest brooch, hallmarked Edinburgh, approximate gross weight 66.9 grams, a white metal ring stamped 'Silver', a white metal miniature English Dictionary with magnifying glass, two gold plated Albert chains one with a watch key, a white metal amethyst pendant, tiger eye and a banded agate obelisk pendants, a white metal mounted hardstone pendant stamped 925, a white metal lapis lazuli pendant, a labradorite obelisk pendant, with other assorted items, coins, hunting knife with antler handle and sheath, boxed 'Dr Martins' wristwatch, white metal dish, two napkin rings, carved bone items etc

A PAIR OF 19TH CENTURY PIQUE EARRINGS, obelisk form tortoise shell drop earrings, inlaid with yellow metal, suspended from a spherical tortoise shell bead, inlaid with a yellow metal star, fitted with yellow metal fish hook fittings, unmarked, approximate length excluding fish hook, 46mm, approximate gross weight 3.5 grams, (condition report: abrasions to tortoise shell, all inlay present but lifting slightly in areas, attention required)

Jean-Henri-Alexandre Pernet (French, 1763-1789) A classical capriccio with an obelisk Black ink, grey wash and watercolour on paper Signed 'Pernet' lower right Provenance: Mortimer Brandt Gallery, New York; Private Collection, Madison Avenue, New York Dimensions: (Frame) 19.5 in. (H) x 27.5 in. (W)  (Paper) 11.75 in. (H) x 20 in. (W)