Fibula. Celtiberian culture, 5th-1st centuries BC.Bronze.Provenance: Private collection of the Berenguer family.Measurements: 3 x 5,5 x 2 cm .Celtiberian bronze fibula, known as the "turret" fibula because of the way in which its foot ends. This shape evolved from the "turned foot" type and is characterised by the prolongation of the foot towards the area of the bridge.The origin of turret fibulae can be traced back to Central European Celtic culture, extending to the rest of the continent by two means of penetration into the Iberian Peninsula, one through Mediterranean maritime trade contacts and the other through the inland passes of the Pyrenees. The La Tène models, in particular, were widely accepted throughout the Iberian Peninsular Plateau, imported through Iberian culture, and which led to the creation of their own models.They are metal pieces used to hold garments. In addition to this functional factor, they also served as objects of adornment, becoming luxury products and exponents of wealth.
390032 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen
390032 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnieren- Liste
- Galerie
-
390032 Los(e)/Seite
Roman fibula, 3rd-4th century AD.Bronze.Provenance: Private collection of the Berenguer family.Measurements: 4,5 x 4,5 x 0,2 cm .Curious Roman fibula with a zoomorphic shape, representing a deer, made of bronze with hammered punch decorations.Roman fibulae come in a wide variety of shapes and decorations, which proves the importance of this type of object for personal adornment. In the Roman Empire the fibula was both functional and ornamental, as men and women wore them to fasten their peplums and cloaks. Similar functions were fulfilled by pins, designed to hold heavy garments such as cloaks.
Osiris. Egypt, Saita period, Dynasties XXVI to XXX (663-341 BC).Bronze with green oxidised patina.In a good state of preservation. The lower part of the god is missing. The marble base is damaged.Attached is a report issued in the 1970s by Ricardo Batista Noguera, former director of the Archaeological Museum of Barcelona, the Archaeological Museum of Olérdola (Barcelona), the Archaeological Museum of Catalonia and the municipal archaeologist of Tossa de Mar.Attached is a photocopy of the purchase invoice from 1984.Provenance: Private collection in BarcelonaMeasurements: 10.5 cm (height of the sculpture); 15 cm (height with the base).Mummiform figure of the god Osiris in hieratic position. On his head he wears the "white" headdress, flanked by ostrich feathers, and on his forehead the "ureus". His arms folded over his chest and holding in his hands the scourge and the sceptre, which were the symbols of power attributed to Osiris. These figures were considered to be votive offerings and were deposited in shrines near the most important temples in Egypt, where they have been found. Osiris is the Egyptian god of resurrection, symbol of fertility and regeneration of the Nile; he is the god of vegetation and agriculture, and also presides over the court of judgement of the dead. Osiris is almost always depicted mummified, with the crown Atef, the staff and the whip or sceptre uas.
Figure of Isis. Egypt, Saita period, Dynasties XXVI to XXX (663-341 BC).Bronze with green oxidised patina.In good state of preservation.Attached is a report issued in the 1970s by Ricardo Batista Noguera, former director of the Archaeological Museum of Barcelona, of the Archaeological Museum of Olérdola (Barcelona), of the Archaeological Museum of Catalonia and municipal archaeologist of Tossa de Mar.Attached is a photocopy of the purchase invoice from 1984.Provenance: Private collection in BarcelonaMeasurements: 18.5 cm (height of the sculpture); 23 cm (height with base)Representation of the goddess Isis seated and in the act of suckling the god Horus. She is wearing the Hathorica diadem. The hairstyle is tripartite with horizontal striations on the top of the head. The goddess holds, seated on her knees, the little god Horus, identified by the braid on his head. These bronzes had exclusively a votive value and have been found in large numbers near the most important temples in Egypt. Pilgrims carried and deposited these votive offerings to give thanks to the gods.Isis is part of the Osirian triad together with her husband Osiris and her son Horus, called the great magician, great mother goddess and queen of the gods, considered the fertilising force of nature and goddess of motherhood and birth. Her main iconographic symbol is the throne, although she can also be represented with a headdress with the solar disc, as she is the daughter of Ra, and with the wings of a dove. She can also take the form of a tree, as a nurturing goddess. From the beginning of the 18th Dynasty she will also be depicted with the horns and moon of Hathor, the Ankh and other symbols. A widespread iconography of Isis depicts her with Harpocrates, the infant form of Horus, on her lap. Harpocrates symbolises the weak sun of dawn or the winter sun, naked and unprotected. Just as this sun is transformed into a powerful star, the weak child will become the adult Horus, armed and warlike, who will avenge the death of his father, Osiris.
Axe. Atlantic Bronze Age, 2nd millennium BC.Bronze.Provenance: private collection Q.M. Barcelona, acquired in the 1970s. Acquired from heirs.Conservation: intact.Measurements: 20 cm. long.Bronze axe belonging to the Atlantic Final Bronze Age culture. This is a time phase or group of chronocultures characterised by metal deposits. In the Iberian Peninsula it dates from 1250 BC to 850 BC and extends from the Algarve and Huelva to the Bay of Biscay and links up with the continental Atlantic Late Bronze Age. It is divided into three stages: Atlantic Final Bronze Age I (1250-1100 BC), II (1100-940) and III (940-850). This historical process is parallel to the cultures of the first urn fields, Cogotas I, the southwestern stelae and the Phoenician colonisation. Its end coincides with the beginnings of Tartessos.
Horus on a falcon sarcophagus. Ancient Egypt, Late Antiquity, 26th Dynasty, 664-525 BC.BronzeProvenance:- Adam A. Weschler & Son, auction of 27 February 1971.- Private collection, Maryland (USA), since 1971.Publications:- Adam A. Weschler & Son. 27 February 1971. Lot 403.In good condition, intact. It has lost the curly protuberance, which curls out from inside the Red crown, probably representing the antenna of a bee, symbol of northern Egypt. It would have been made as a separate piece to be inserted into the quadrangular recess in the crown. The sarcophagus is empty and lacks a lid to close it at the back. Due to the passage of time, the back of the sarcophagus has been displaced inwards, losing some of its straightness.Bibliography:- Animals and Pharaohs. The animal kingdom in ancient Egypt. Somogy Editions D'art. -2015.- BLEIBERG, E. BARBASH, Y. BRUNO, L. Soulful Creatures: Animal Mummies in Ancient Egypt. Brooklyn Museum. Giles. 2013.- WILKINSON H. R. The Complete Gods and Goddesses of Ancient Egypt. London. 2003.Parallels:- Falcon Sarcophagus. Bronze. Late Antique - Ptolemaic, 664 - 30 BC. 12.2 cm high. Metropolitan Museum of Art, New York. Inv. 15.6.2.-Ibis sarcophagus. Bronze. Dynasty XXVI, 664 - 525 BC. Brooklyn Museum, New York. Inv. 37.417E.- Falcon mummy. 4th - 1st century BC. Height 52 cm. Szépm?vészeti Múzeum, Budapest. Inv. 98.4-E.- Narmer's palette (detail). Slate. c. 3050 BC. 61 cm high. Discovered in 1897 in the Great Temple of Horus at Hierakompolis. Egyptian Museum, Cairo. Inv. JE32169.- Amulet of the Eye of Horus with wing and falcon's foot. Fayenza. Third Intermediate Period - 26th Dynasty, 1070-525 BC. 5 cm long. British Museum, London. Inv. EA29222.Measurements: 16.3 cm high and 19 cm long.Sculptural representation of the falcon god Horus in a standing position with his wings folded backwards and wearing the double crown of Egypt, a royal crown that symbolises the union of Lower and Upper Egypt, and emphasises the role of Horus as the legitimate ruler of the whole earth. The different elements of the crown are clearly visible: the red crown of Lower Egypt, which lacks its curled spiral on the front, and the white crown of Upper Egypt. It is richly decorated with the anatomical details of the animal, worked by means of incisions. The hooked beak, two large globular eyes that focus the attention on the face, and the identification of each of its feathers on the wings and tail stand out. The thick heavy ridges on the legs and the rough skin of the talons contrast with the delicacy of the feathers, showing the power and majesty of the falcon.The deity stands on a rectangular box in the shape of a shrine or truncated pyramid, identified by temple architecture, wide at the base with walls sloping towards the centre and an exvesseled cornice. The interior is hollow, with an opening at the back that would have contained an animal mummy or skeletal remains as a reliquary. Once the mummy was inserted, it was sealed with a simple inlaid plate. The falcon and the box were made separately using the lost-wax technique and then joined together.Such falcon mummy boxes, or sarcophagi, would have been offered for deposit in animal necropolises, in chapels dedicated to the god, or in the quintessential temple of Horus itself at Edfu (see the specimen housed in the Metropolitan Museum of Art, New York, inv. 15.6.2). Although not only in relation to the cult of Horus, but also in more general terms related to the solar cult.In ancient Egypt, the practice of mummifying animals became widespread in the first millennium BC. Animals were given a post-mortem treatment similar to that given to humans, and hundreds of mummified animals were found in the great necropolises.
Applique; Celtiberian culture, 3rd century.Bronze.Provenance: Private collection of the Berenguer family.Measurements: 11.8 x 4 cm.The term Celtiberian groups together a series of pre-Roman Celtic or Celticized peoples who inhabited the area of the Iberian Peninsula known as Celtiberia in classical sources from the end of the Bronze Age (around the 13th century BC) until the Romanisation of Hispania (2nd-1st century BC). One of the main sources of information on the material culture of the Celtiberian peoples are the funerary trousseaus, with metal objects (generally bronze and iron, but also silver), including weapons, ornaments and tools, and also ceramic pieces, ranging from the cinerary urn itself to beads and fusayoles. These grave goods were made up of functional objects from everyday life as well as others of purely symbolic and social value, indicating the status of the deceased. The important role of weaponry and, in particular, swords is particularly noteworthy, as they speak of the privileged place occupied by warriors in Celtiberian society.
Pendant amulet. Celtiberian culture, 3rd-2nd century BC.Bronze.Provenance: Private collection of the Berenguer family.Measurements: 1,8 x 6 x 2,3 cm .Pendant amulet from the Celtiberian culture made in bronze, representing an eagle hunting a rabbit.The term Celtiberian groups together a series of pre-Roman Celtic or Celticized peoples who inhabited from the end of the Bronze Age (approx. 13th century BC), until the Romanisation of Hispania (2nd century BC to 1st century BC), the area of the Iberian Peninsula called Celtiberia by classical sources, which could include the current areas of Burgos, Soria, Zaragoza, Guadalajara, going down to Cuenca, in other words the central-western area of the peninsula, where the peoples settled. Arevacos, pelendones......., all with a common language.
Miscellaneous pens, Parker ink pen with 14k nib, Tower pen with 14ct nib, black roller ball, Conway Stewart with 14ct "Dinkie 550", Parker ink with 14k nib, Parker navy 17" lady ink pen with 14k nib, a bronze medallion commemorating the restoration of the Cologne Cathedral 1851, approx 60 mm diameter and a bronze mortar engraved with a feathered motif, approx 6 x 7 cms.
A 1950's 18ct gold gentlemans manual wind wristwatch, the bronze and silvered 32mm dial signed GLADIADOR and with Arabic quarter hours and dot markers with subsidiary seconds dial, unsigned 15 jewel movement, the stamped ARGENTINE 18ct .750., weight of case back 10.38g.Winds and runs. This is 18ct gold. Gross weight 27.65g.
A late 19th century Japanese brass box with hinged cover, decorated in high relief with various objects and flowers and the lid with open-winged bird upon a branch with chrysanthemums and leaves etc. (5.5cm wide). Also to include a 19th century circular turned tortoiseshell and pewter inlaid box-and-cover, a pair of early-style bronze crotal bells and four carved Chinese cinnabar lacquer beads (small selection)
An early Egyptian original patinated bronze: the figure in seated position, with long Pharaoh-style headdress and with a child supported on the knees, the figure with a left arm supporting the child's head, mounted / glued within late 19th / early 20th century unassociated carved wooden picture frame (the bronze 10.5cm)
GILL PARKER (British b.1957) - a late 20th century bronze of a racehorse with jockey up. The base signed and dated Gill Parker 1989/1984?, upon conforming polished wooden oval base (18cm high x 15.5cm wide)Condition Report: The felt to the underside of the moulded wooden plinth base is a little rubbed. It is noted that one side of the plinth base is darker than the other (sun damage). The bronze itself has nice patination and is in good original untouched condition with no problems noted, from a solicitor's estate clearance.
A large and extremely heavy cast gilt-bronze sculpture of a chariot scene with cherubic figures. (Probably mid-20th century.) The charioteer with headband and seated on a rose-filled chariot, one further figure attending and aiding the right-hand wheel of the chariot while a further figure falls from the back of a long-horned goat which looks down upon him. The lower section cast with flowerheads, branches and further foliate-style decoration, mounted upon a multi-coloured rectangular onyx base (full depth crack to underside and one further smaller spandrel-shaped crack to front right). The onyx base within a conforming gilt-metal frame and raised on four squat circular feet engraved with a continuous laurel-leaf-style design. (64.5cm wide foot to foot x 26.5cm deep x 44cm high)
A large and heavy pair of limited edition (marked 1-20 and 2-20) modern bronze figural sculptures by RUSTY PHELPS (American, b. 1936): each depicting a female subject in long flowing cape and headdress (one decorated in oils) and reaching up to four open-winged birds in flight, each bronze full signed and numbered and on conforming moulded oak plinth base (damage to one wrist, hand now away and requiring re-fixing upon original pinion) (each approx. 68cm high including plinth)
An interesting patinated bronze spout modelled as a mythical animal (17cm highest, 18th/19thcentury), together with a seated silver-plated decorative cherubic figure (previously mounted), a hinged set of six knife blades and other similar upon a round brass suspension ring (one blade marked SaLah, 17cm) and a pair of early style pewter dishes together with a similar diameter lead lid (small selection)
A late 19th / early 20th century elongated baluster-shaped Art Nouveau-style vase (possibly bronze): decorated in high relief with two blooming irises and vertical leaves with small frog climbing, mounted on later, turned wooden plinth base (now fitted for electricity).(Condition commensurate with age - small knocks and dents and later solder and repair to base of vase with a horizontal crack at the bottom still visible), (36cm not including base or fitting)
A pair of Art Deco period patinated bronze sculptures of dancing female nudes by Lorenzl (Josef) (1892-1950): each dancer on a spreading green onyx base, both bronzes signed 'Lorenzl - Made in Austria' (each approx. 25.5cm high)Condition Report: Good dark patination to the bronzes which have been entered privately. One figure (right leg behind her) exhibits some rubbing to the front area but no cracks, breaks or restorations to either piece. Otherwise good original condition save some very minor scratches on close inspection to extremities. Brown striped green onyx bases also appear good.
Chiffoniere mit Sekretär, Napoleon III. Schwarz gelacktes Holz (Eichenkorpus) mit Bronze-Zierbeschlägen und Fadeneinlagen aus Messing (wenige lose bzw. fehlend). Vierschübiger Korpus mit Schreibklappe, innen mit Rosenholz-Furnier (1 Ecke besch.) und vier kleinen Schüben. Auf Balusterfüßen. Passige, schwarze Marmorauflage (l. best.). Schlösser mit Schlüssel vorhanden. Rest.-bedürftig. Frankreich, um 1860-1870. 131x 62x 40 cm.
Chiffoniere, Napoleon III. Schwarz gelacktes Holz (Eichenkorpus) mit Bronze-Zierbeschlägen und Fadeneinlagen aus Messing (wenige lose bzw. fehlend). Sechsschübiger Korpus, auf Balusterfüßen. Passige, schwarze Marmorauflage (gebrochen und l. best.). Schlösser ohne Schlüssel. Rest.-bedürftig. Frankreich, um 1860-1870. 131x 62x 40 cm.
Kommode Louis XV. Wurzelholz mit Fadeneinlagen, auf Nadelholz furniert. Bombierter, dreischübiger Korpus mit profilierten Frontecken, in kurze Beine übergehend. Passige Deckplatte. Schlossblenden und Griffe in Rocaillenform aus vergoldeter Bronze. Zwei (von 3) Kastenschlössern mit Schlüssel vorhanden. Rest., Alters- und Gebrauchsspuren. Um 1760. 86x 110x 52 cm.
Kleine Rokoko-Kommode. Nussbaum mit Fadeneinlage aus Mahagoni, auf Eiche furniert, vergoldete Bänder und geschnitzte Sockelzarge mit Füßen. Dreischübiger, bombierter Korpus mit passiger, aufgelegter Marmorplatte (min. best.). Griffe und Schlossblenden in Rocaillenform aus Bronze. Schlösser und Schlüssel erg. Alters- und Gebrauchsspuren, rest. Dänemark, 18. Jh. 85x 74x 47 cm.
Loading...-
390032 Los(e)/Seite