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390032 Los(e)/Seite
Los 317A
After Paul Gasq (French, 1860-1944), a bronze bust of Diana, on a rouge marble socle,together with a conforming rouge marble stand modelled as a column,bust 61cm high including soclestand 28.5cm wide, 110.7cm highCondition report: Bust) Minor chips to base, some pitting and oxidisation to bust.Column stand) The top is loose and heavily marked and scratched. Large chip to one corner of the base and further nibbles.
Los 342
A pair of life size bronze lions,20th century, standing with curled tails and open mouths,154cm long105cm highCondition report: Weathering, traces of verdigris and other weathered defects.Unable to weigh. Hollow cast and able to lift one side with one hand. Would presume between 100-200 kg each.They are hollow inside. Weight cannot be measured due to the size of the lions. Please see images.
Los 104
2nd-3rd century AD. A substantial bronze statuette of a youthful female, possibly a goddess, standing wearing a peplos dress tied beneath the bust and covered by a loose mantle over the left shoulder; diademed and dressed in a chignon; right hand extended holding a patera, left hand absent. 1.66 kg, 23.5cm (9 1/4"). UK art market. Anonymous sale; Sotheby's, New York, 4 June 1998, lot 145. Acquired by the present owner at Sotheby's, New York. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.11053-183997. [A video of this lot is available to view on Timeline Auctions Website.] Very fine condition.
Los 105
1st century BC-1st century AD. A bronze statuette in the form of a youthful female herm figure, a Greek short cap (kausia) upon the head, a long chiton tunic adorning the midsection, socket to base. See similar miniatures Herms in the National Museum Budapest, inventory 93.19.A; see also Mattusch, C.C., 'Two Bronze Herms,' in Art Journal, 54:2, 1995, pp.53-59. 83 grams, 90mm (3 1/2"). German collection before 2000. Collection of Mr D.H., formed in UK, from the EU art market. Property of a Surrey gentleman. Hermes (Roman Mercury), the messenger god, who was also the protector of travellers, communities and houses, entrances and exits, as well as flocks, gave the name to this type of monuments. Large herms were typically set up along thoroughfares and boundaries, at gates, and also at tombs. Small herms like this one were probably used for domestic use (Lares) or offered to the gods as votive gifts. Very fine condition.
Los 106
2nd century AD. A bronze figure of Hercules standing nude with lionskin mantle to the left shoulder, club supported on the left arm, right arm held forward with hand absent, short hair with fillet to the brow and thick beard; twisted silver torc to the neck; standing on a rectangular tiered base with stub legs. Cf. Rolland, H., Bronzes Antiques de Haute Provence, Paris, 1965, item 105, for type. 500 grams, 16.5cm (6 1/2"). English art market 1983. Bonhams, Knightsbridge, 14 May 2003, lot 313. Cahn Auktionen AG, Basle, Switzerland, 5 November 2011, lot 208. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.11038-183986. [A video of this lot is available to view on Timeline Auctions Website.] Very fine condition.
Los 107
1st century BC-2nd century AD. A bronze statuette of god Mercury (Greek Hermes), standing naked, the right arm outstretched holding a sack of gold, mantle (chlamys) to the left shoulder, wearing a petasos cap fitted with wings, the feet closed in his winged shoes (talaria"). Cf. Rolland, H., Bronzes Antiques de Haute Provence, Paris, 1965, items 40ff., especially 45 and 47. 116 grams, 10cm high (4"). European art market in the 2000s. UK private collection. Property of a Surrey gentleman. After his identification with the Greek Hermes, Roman artists retained Hermes’ attributes (the petasos cap, the face and body of a beardless young man, the caduceus staff, the winged shoes (pteróenta pédila)) and popularised Mercury’s own attribute, the money bag. The bag had been seen on some, but not all, Greek depictions of Hermes. Very fine condition.
Los 108
2nd-3rd century AD. A bronze figure of the river god Potamos or Flumen, modelled as a mature, bearded figure reclining on his couch, a cornucopia leaning against his left arm, water-pitcher in hand, a plumed staff against his right arm, nude except for the cloak wrapped around his waist. See Durham, E., Metal Figurines in Roman Britain, Vol.I-II, Reading, 2016, pl.163. 175 grams, 63mm wide (2 1/2"). European art market in the 2000s. UK private collection. Property of a Surrey gentleman. Potamoi, Flumina, and Amnes were the Greek and Roman river gods, sons of the great earth-encircling river Okeanos (Oceanus), or of Zeus-Jupiter. The veneration of waterways and rivers had ample space in the worship and legends among the Greeks and Romans. For Homer, rivers were immortal like other gods and participated at the assemblies of Olympus. They were honored as givers of food and healers, and received sacrifices, initially even human sacrifices. Among their symbols were the water jug and the cornucopia, often associated with the Nile.[A video of this lot is available to view on Timeline Auctions Website.] Fine condition.
Los 109
2nd-3rd century AD. A bronze chariot fitting in the form of a satyr bust with the head turned to the left; the thick hair arranged in undulating locks with large ears protruding between the curls and two small horns emerging from the centre of the forehead, expressive facial detailing with large eyes and incised pupils; a panther skin covering the chest and tied over the right shoulder, leaving the left shoulder exposed in the manner of Greek exomis tunic; a rectangular socket in an angle for attachment to the chariot on the reverse; mounted on a custom-made display stand. See Boucher, S., Inventaire des Collections Publiques Françaises - 17 Vienne: Bronzes Antiques, Paris, 1971; Ratkovi?, D., 'Wagon and Harness Bronzes from the Roman Collection of the National Museum in Belgrade' in Thiasos, Festschrift fur Erwin Pochmarski zum 65. Geburtstag, Wien, 2008, pp.793-815, figs.3-7-8, for similar items; compare also with decorated chariot fittings in Menzel, H., Die römischen Bronzen aus Deutschland III, Mainz am Rhein, 1986, pp.164-177, nos.458-485, especially pls.142-144, for those with the bust of gods; for another possible bust of Bacchus or part of his retainers as a chariot decoration see Humer, F., Kremer, G., Pollhammer, E., Pülz A., AD 313 Von Carnuntum zum Christentum, Bad Voslau, 2014, no.84. 1.1 kg, 16.5cm high (1.1 kg total, 22.5cm including stand) (6 1/2 (9)"). UK private collection before 2000. UK art market. Property of a London gentleman. Accompanied by an archaeological report by Dr. Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.11092-184034. Bronze figurative decorations on funerary wagons are very often of Dionysiac character and related to Dionysiac mysteries. Hitherto it was a standard approach for the scholars to consider the decoration of funeral wagons as exclusively associated with the cult of Dionysus and various themes related to this cult, considering that many of the chariot fittings excavated to date were busts of the god himself, Maenads, satyrs, young men with vine-leaf crowns, or animals, like panthers, linked to his cult. One example similar to this sculpture is the bust of a Maenad in the collection of ancient bronzes of Vienne (Boucher, 1971, cat.42) which is most probably a chariot decoration, together with a bust of Dionysus in the same collection (Boucher, 1971, cat.43"). [No Reserve] [A video of this lot is available to view on Timeline Auctions Website.] Fine condition.
Los 110
c.1st-2nd century AD. A bronze bust of god Mercury (Greek Hermes), possibly from a steelyard weight, modelled facing with slender wings emerging from short, wavy hair, semi-naturalistic detailing to the face, and a slashed garment with shallow v-neckline; reverse plain below the neck. Cf. The Portable Antiquities Scheme Database, id. LEIC-DD278D, which dates the bust to between 43-410 AD; cf. WILT-AA5277 and ESS-4E1CC7, for comparable. 3.71 grams, 34mm (1 1/4"). Found whilst searching with a metal detector in Cambridgeshire, UK, by Robert Ward. Accompanied by a copy of Portable Antiquities Scheme (PAS) report number LEIC-DD278D. The lower part of the reverse is flat and plain, suggesting this may have been a handle for a vessel. Very fine condition.
Los 111
1st-3rd century AD. A bronze statuette modelled in the round as winged Cupid standing nude on a circular pedestal base, holding a bunch of grapes in his right hand, left hand outstretched with hand in a gripping posture, detailing to the wings, hair, face, torso, genitals, buttocks and feet, base with scalloped band. See Stead, I., Excavations at Winterton Roman Villa and other Roman Sites in North Lincolnshire, Department of the Environment Archaeological Reports 9, in HMSO, 1976, for similar; see Humer, F., Kremer, G., Pollhammer, E., Pülz, A., AD 313 Von Carnuntum zum Christentum, Bad Voslau, 2014, p.91, item 16, for similar. 195 grams, 10.2cm (4"). European art market before 2000. Acquired on the UK art market. Collection of a Surrey, UK, gentleman. Fine condition.
Los 112
2nd-3rd century AD. A hollow-formed bronze balsamarium formed as an African bust with tiered hairstyle, tightly-coiled curls of hair extending to the neck, soft facial features with exaggerated eyes and small mouth, the tunic covering the left shoulder, lateral lugs to the crown of the head for the attachment of a drop handle. Cf. similar balsamarium in Gifty Ako-Adouvno, B.A., Study of iconography of blacks in Roman Art, Hamilton, 1999, fig.10, from Sammanud, Egypt; Musta??, S., ‘The Roman Anthropomorphic bronze vessel from Strâmba (Turceni, Gorj County"). Typological, functional and chronological aspects’ in Oltenia. Studii ?i comunic?ri. Arheologie-Istorie, Muzeum Olteniei Craiova, Vol. XVII, 2010, pp.51-56, Pl.1a-1b. 290 grams, 12cm (5 3/4"). German art market before 2000. European gentleman living in UK. Property of a Surrey gentleman. The iconography of the anthropomorphic vessels displays a quite diverse repertoire. Similar themes can appear on vessels with or without pedestals. There are some categories of themes which generally occur and the most frequent image represented is that of the so called 'ethnographic' types in the literature. Fine condition, cracked, base and lid absent.
Los 114
3rd-4th century AD. A bronze octagonal lamp of squat profile, three splayed feet and long handle with small thumb-guard; the spout formed as an elephant's head with raised hollow trunk, ears pulled back; domed hinged lid surmounted by an eagle with spread wings, strong hooked beak and pellet eyes, feather detailing to the wings and legs. 1.2 kg, 27cm (10 1/2"). Acquired in the 1990s. Private US collection. Pierre Bergé & Associés, Archéologie, Paris, 29 November 2014, lot 239. Private New York collection. Northern Ireland collection. Accompanied by copies of the relevant Pierre Bergé catalogue pages. Oil lamps in antiquity were made from a variety of materials, including gold, silver, lead, bronze, and ceramics. In Rome, an oil lamp was originally called a lychnus, from the Greek ??????, with the oldest Roman lamps dating back to the 3rd century BC. In the age of the Roman Empire, it became customary to use lamps at funeral ceremonies and for public purposes. Over time, the manufacture of lamps increased in volume as a result of their wide variety of domestic applications. The variety of decorative motifs also increased, influenced primarily by the shape and size of any given lamp.[A video of this lot is available to view on Timeline Auctions Website.] Fine condition.
Los 117
1st-3rd century AD. A bronze handled surgeon's knife comprising a leaf-shaped blade, handle with grid decoration to one face, narrowing at one corner, coiling around to the reverse, forming a snake with scale detailing and a head with recessed circular eyes. See Milne, J.S., Surgical Instruments in Greek and Roman Times, Oxford, 1907, pls. XI, no,2,4, for medical tools with identical snakes. 59.4 grams, 19.5cm long (7 3/4"). North American collection, 1990s-2000s. Property of a Surrey gentleman. The snake, symbol of Asklepios, god of health and medicine, was often embossed and represented on medical instruments and tools. In the Mainz Museum there is a medicine box on the lid of which is inlaid a snake coiled round a tree, the tree and the snake’s body being outlined in copper and the snake’s head in silver. The serpent is sometimes represented on medical implements. A uterine dilator from Pompeii is also decorated with it. A probe surmounted by a double serpent (caduceus form) was found in the Roman Hospital at Baden. Fine condition.
Los 118
117-138 AD. A bronze rectangular diploma fragment of Hadrianic period with, on the extrinsecus, five lines of partial text, pierced through the upper edge, and six lines of partial text on the intus: the five lines reading '[PA]RTHICI F[ILIVS] DIVI NE [RVAE NEPOS TRAIANVS HADRIANVS/ AVG PONTIF MA[X] / TR[IBUNICIA] P[OTE]ST[ATE]/[IIS QUI MILITAVERUNT IN] ALA VNA ET/[QU]A[E...M]; and the other side reading 'ELL / TVA / R V P / F/AE/ET M RAFIE/ET SALONIO'. See Balbo, M., ‘Diploma militare di Adriano’ in Pantò, G., Carlo Alberto archeologo in Sardegna, Torino, 2016, pp.153-156; Opreanu, C.H., ‘A new military diploma recently found at Parolissum (Dacia Porolissensis)’ in Ephemeris Napocensis, February 2021, pp.295-308. 25 grams, 54mm wide (2"). North American collection, 1990s-2000s. Property of a Surrey gentleman. The expression 'PARTHICI FILIUS' refers to the Emperor Hadrian, adopted son and successor of Trajan, (who also bore the name Pathicus in reference to his successful campaign against Parthia) and allows a partial reconstruction of the external part extrinsecus. The diploma is giving 'HONESTA MISSIO' (honourable discharge) and Roman citizenship to the veterans of a cavalry unit (Ala) and probably of another unit (cohors). The text of the internal side or intus should report the names of the soldiers and witnesses. Fair condition.
Los 119
1st century BC-3rd century AD. A group of three miniature bronze statuettes comprising: a male youth modelled sitting with one leg at a right angle, the other tucked beneath the body, hands reaching upwards, detailing to the face, hair and buttocks; a small figure modelled with legs held out in front of the body, arms out to the sides, detailing to the hair and face; a male figure, possibly Hercules, standing nude with muscular torso and semi-naturalistic detailing to the face, holding a club in one hand, a cloak draped over the other arm. 40.8 grams total, 21-42mm (1 - 1 1/2"). Ernest Brummer collection, circa 1960s. Important North West London collection. [3] Fine condition.
Los 125
3rd century BC. A bronze ring with carinated hoop and conical shoulders decorated with deep volutes ending in scrolls around the bezel, set with an oval jasper intaglio gemstone bearing image of a warrior figure walking right, holding down sticks used to struck onto or beside an upturned vase. Cf. Ruseva-Slokoska, L., Roman Jewellery, Bulgaria, 1991, items 210-212 and 254-256, for the type; Chadour, A.B., Rings. The Alice and Louis Koch Collection, Leeds, 1994, item 46, for the typology of marching warrior; see also for discussion in Boardman, J. and Vollenweider, M.L., Catalogue of the Engraved Gems and Finger Rings I, Greek and Etruscan, Oxford, 1978. 20.74 grams, 33.86mm overall, 21.68mm internal diameter (approximate size British M 1/2, USA 6 1/4, Europe 13.09, Japan 12) (1 1/4"). From the late Alison Barker collection, a retired London barrister; from her collection formed 1960s-1990s. This typology of late Etruscan ring bezels was especially widespread, with slight variations, in the area of Todi. Boardman and Vollenweider identified a similar (but not identical) figure in carnelian with the image of Hercules (1978, no.230 p.55"). Fine condition, cleaned. A large wearable size.
Los 126
2nd century AD. A bronze ring with D-section hoop, expanding at the shoulders to an ellipsoidal bezel and set with an oval chalcedony gemstone engraved 'FILHTOU', 'of Filitos', over two lines in Greek. 8.99 grams, 26.24mm overall, 20.73mm internal diameter (approximate size British N 1/2, USA 6 3/4, Europe 14.35, Japan 13) (1"). Ex London, UK, collection, 1990s. Accompanied by an old cataloguing ticket. The inscription identifies the original owner. It was worn to convey the wearer's wealth and social standing, but also served a practical purpose; signet rings were used as seals to authenticate legal documents or letters. Very fine condition. A large wearable size.
Los 135
5th-6th century AD. A stone bust edge carved in high relief on a roundel with beaded border, representing an imperial magistrate wearing a mantle (chlamys) fastened at the right shoulder and folded over the left shoulder leaving a long sleeved tunic visible, shaven face with almond-shaped eyes and incised pupils, long parted hair curled with the use of the Roman calamistrum. Cf. Daim, F., Ladstätter, S., Bizans Döneminde Ephesos, Istanbul, 2011, for the typology of sculptures; see Vermeule, C., ‘A Greek Theme and its survivals: the Ruler’s shield (tondo image) in Tomb and Temple’ in Proceedings of the American Philosophical Society, vol.109, No.6 (Dec.10, 1965), pp.361-397; Various, Il Museo delle civilta’ Anatoliche, Ankara, 1988; cf. Scrinari, V.S.N., Sculture Romane di Aquileia, Roma, 1972, figs.606-610. 490 grams, 10.7cm high (4 1/4"). From the late Alison Barker collection, a retired London barrister; from her collection formed 1960s-1990s. The representation of mythological characters and of high officials of the state inscribed in roundels (imagines clipeatae) was well-known in Roman art, originally derived from the Greek theme of the ruler’s shield in the tombs and temples. Splendid funerary imagines clipeatae of Roman Magistrates and citizens are preserved in the Museo Ostiense (Inv. 56), dated to the 1st-2nd centuries AD. Roundels with portrait busts are well known from Palmyra (MFA Boston, inv. no.10.78; Budapest, Fine Arts Museum, inv. no.8431), but wonderful specimens in bronze are also known from Banias (Syria, in Damascus Museum) and from Ankara (Trajanic bronze tondo from Roman Ancyra, see Various, 1988, p.157, fig.224"). These images were even more abundant in the late Empire: it is worth remembering the early Theodosian imago clipeata of a warrior in the Staatlichen Kunstsammlungen Dresden (Hm 305, late 4th century AD) or the 4th century sculptures of gods from Aquileia. Our imago clipeata could come from a sarcophagus or from a public or funerary monument on which the owner was represented, maybe together with his wife or family. Fine condition.
Los 153
5th-8th century AD. A bronze amuletic circlet comprising a flat section bar and four roundels; each roundel with an impressed image or text including a nativity scene, nimbate figure between alpha and omega, and others; the bar with impressed lozenge motifs and rectangular panels with text 'A?IOC' (holy), 'Y?IA' (healthy) and others. 20 grams, 82mm wide (3 1/4"). Acquired in the late 1980s-early 1990s. Important North West London collection. Fine condition.
Los 2
Saite Period, 26th Dynasty, 664-525 BC. A bronze cat modelled seated, its tail wrapped around one side of its body and resting on a front paw, wearing a pendant collar featuring a large udjat amulet, the sacred Eye of Horus, two socketted tenons below; mounted on a 1920's custom-made displayed stand. 445 grams total, 10.5cm high (15cm high including stand) (4 / 6"). Hagi Hessein, Cairo, Egypt, circa 1920s; said to be from Bubastis, the ancient Egyptian city in the Nile River delta north of Cairo. Accompanied by the printed business card (1920s) of 'Hagi Hessein Abd-el-Salaam. Address: Heret El-Zahar Opposite Shepheard’s Hotel Cairo. By Permission from the Egyptian Museum Cairo. Licence No 27. Everything Guaranteed', written description on reverse: 'One bronze Goddess of Baskt in the form of a cat, Goddess of Peace Truth Happiness this is the guarantee that the above object found at Bubastis on the Delta from 18th Dyn 11350 BC [sic] Price P.T. 1000 = £10', signed by the dealer H H Abd-el-Salam; also with descriptive note on Shepheard’s Hotel headed notepaper reiterating 'found in temple'. Private collection, 1976. Christie's, London, 25 October 2006, lot 180. Private collection of the late David Miller, a prominent Hertfordshire collector and numismatist. Accompanied by an old colour photograph and copies of the relevant Christie's catalogue pages. Accompanied by a cataloguing sheet by Egyptologist Peter Clayton. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.11041-182588. The cat was the most sacred animal in ancient Egypt and associated with the cat-headed goddess Bastet, daughter of Re. When represented in human form as a cat-headed female she usually holds a sistrum (a musical rattle) in her right hand with a supine cat on its top, and an aegis in her left. Small kittens are often shown at her feet. Her most important cult centre was at Bubastis (Tell Basta) in the north-east Delta. The site today is heavily ruined and the temple destroyed. Sir Flinders Petrie excavated at Bubastis and other nearby Delta sites in the 1880s. Tombs of some of the temple officials have been found nearby and vast cemeteries of mummified cat burials left as votive offerings; so many thousands were found that they were used locally as fuel. Since Petrie’s investigations the site has been abandoned and only in recent years have excavations begun to be undertaken. In painted nobles’ tombs at Thebes, a cat is often represented seated beneath the chair of the noble’s wife. In the 5th century BC, the Greek historian Herodotus wrote that the festival of Bastet at Bubastis was the most elaborate of all those in Egypt. The Roman geographer Strabo wrote that the cat was so revered in Egypt that an Egyptian dashed into his burning house to save the cat, then returned to rescue his family.[A video of this lot is available to view on Timeline Auctions Website.] Fine condition.
Los 216
6th-7th century AD. A bronze finger ring with part of the D-section hoop remaining, large disc bezel bearing an incised central rectangle with saltire and chevron, surrounded by an inscription of twelve characters in Samaritan script. Cf. Guilhou, E., Catalogue of a Collection of Rings formed by the late E. Guilhou, Paris, 1912, item 841, for type. 2.66 grams, 20mm (3/4"). Acquired in the late 1980s-early 1990s. Important North West London collection. The Samaritans are an ethnic and religious sect whose traditions trace their origins in a northern Israelite kingdom which was overrun by the Assyrians in 722 BCE. Samaritans claim descent from Abraham through the biblical tribes of Ephraim and Manasseh. Their schism with mainstream Judaism took place at the end of the 4th century BC. Fair condition.
Los 224
2nd millennium BC. A bronze harness ring comprising: a substantial D-section hoop with two radiating stag-heads with prominent antlers facing away from as canine modelled in the round with curled tail and pricked ears; two bulbs each with a bovine head displaying prominent recurved horns and bulging eyes; mounted on a custom-made display stand. Cf. Godard, F., The Art of Iran, London, 1965, item 18, for similar hoop with radiating animals. 149 grams, 11.7cm wide (180 grams total, 12cm including stand) (4 1/2 (4 3/4)"). London art market 1979. Property of a gentleman living in central London. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website.] Fine condition.
Los 225
13th-7th century BC. A bronze whetstone finial formed as a short socket with loop and ribbed panel above the lip, three curved necks ending in animal heads with gaping mouths; mounted on a custom-made stand. 85 grams, 72mm (116 grams total, 90mm including stand) (2 3/4 (3 1/2)"). London art market 1979. Property of a gentleman living in central London. [No Reserve] Fine condition.
Los 226
2nd millennium BC. A bronze terminal for a whetstone in the form of an ibex with small triangular head, long recurved horns, large discoid eyes and lanceolate ears; the neck extending to a cast socket with everted rim to the mouth, forelegs folded back along the underside of the socket; the socket pierced for attachment; mounted on a custom-made display stand. Cf. Moorey, P.R.S., Ancient Bronzes From Luristan, London, 1974, pl.IV(C"). 78 grams, 96mm high (110 grams total, 11.5cm including stand) (3 3/4 (4 1/2)"). London art market 1979. Property of a gentleman living in central London. [No Reserve] Fine condition.
Los 227
2nd-1st millennium BC. A bronze statuette modelled in the round as a stylised standing bull, crescentic horns tapering to a sharp point and detailing to the genitals, domed eyes and muzzle, the head held in a defensive position; mounted on a custom-made display stand. 128 grams, 99mm wide (185 grams total, 12cm wide including stand) (4 (4 3/4)"). Acquired before 1990. From an old German collection. With a UK gallery. Property of an English gentleman. [No Reserve] Fine condition.
Los 228
7th-6th century BC. A hammered bronze fragment, possibly from a helmet, with an incised war scene depicting two victorious bearded soldiers in charge of four bound prisoners in front of a city with imposing Levantine style palatial structures; the first soldier leading the prisoners carrying a spear, bow, a short sword and a circular embossed shield on his back, the waist protected by a wide belt and wearing a long sleeveless garment, pulling the rope that the prisoners are bound with; the second soldier depicted in a similar fashion, holding the end of the rope; the four prisoners marching in pairs, dressed as dignitaries in full length fringed tunics, fillet with earflaps to the head; mounted on a custom-made display stand. See Parrot, J., Gli Assiri, Milano, 1961; Directorate General of Antiquities, Assyrian Costumes, Les Costumes Assyriens, Baghdad, 1971; Healy, M., The Ancient Assyrians, London, 1991; Barron, A.E., Late Assyrian Arms and Armour, Art versus Artefact, Toronto, 2010; Curtis, J., An examination of late Assyrian metalwork with special reference to Nimrud, Oxford, 2013. 11.6 grams, 10.5cm wide (40 grams total, 10.5cm wide including stand) (4 (4)"). Private family collection formed in London, mid 1980s to early 1990s. Accompanied by an archaeological report by military specialist Dr. Raffaele D'Amato. Fair condition.
Los 263
Northern Wei Dynasty, 386-534 AD. A gilt-bronze figure, influenced by the Gandharan style or that of the neighbouring Uddiyana region, depicting two Buddhas (Shakyamuni and Prabhutaratna) kneeling on a tiered base with flaming aureole behind. See Dr. Naiki, S., Similarities and Differences in Gandharan Sculptures Among Regions, Thursday 22nd to Friday 23rd March 2018, The Geography of Gandharan Art: 2nd Workshop of the Gandhara Connections Project, Classical Art Research Centre, University of Oxford. 341 grams, 14.5cm (5 3/4"). Buckingham Collection, early 1960s to 1970s. Late Nik Douglas (1944-2012), renowned author, curator and Asian art expert. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.11075-184861. Gandhara was the principal gateway through which Buddhism spread to China. Academic research conducted after the death of Nik Douglas (above) explains that Gandharan sculpture has been found in neighbouring regions, such as in Uddiyana. Sculpture from the Gandharan and Uddiyana regions has similar characteristics and as a result has often remained undifferentiated. As a result of this recent research however, it is becoming more feasible to identify distinctions between the sculpture of these different regions.[A video of this lot is available to view on Timeline Auctions Website.] Fine condition.
Los 264
Northern Wei Dynasty, 386-534 AD. A gilt-bronze figure, influenced by the Gandharan style or that of the neighbouring region of Uddiyana, of Shakyamuni Buddha modelled with hands clasped together in dhyana mudra and seated in dhyanasana posture on a throne flanked by two roaring lions with flaming aureole; robes with U-shaped folds in the Mathuran style and the head with a prominent ushnisha, incised inscription to the reverse in four columns, translating approximately as: a 'dedication by Kang Shen requesting a peaceful life for his family', with Sutra on front legs of four-legged podium. See Dr. Naiki, S., Similarities and Differences in Gandharan Sculptures Among Regions, Thursday 22nd to Friday 23rd March 2018, The Geography of Gandharan Art: 2nd Workshop of the Gandhara Connections Project, Classical Art Research Centre, University of Oxford. Exhibited at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September - 20 October 2010, extended to 16 November and again to 7 January 2011, Buckingham collections, exhibit TB007, p.59 & 160. 211 grams, 14cm (5 1/2"). Buckingham Collection, from the early 1960s to 1970s. Late Nik Douglas (1944-2012), renowned author, curator and Asian art expert. Accompanied by copies of the relevant exhibition catalogue pages. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.11132-168638. Gandhara was a principal gateway through which Buddhism spread to China. Academic research conducted after the death of Nik Douglas (above) explains that Gandharan sculpture has been found in neighbouring regions, such as in Uddiyana. Sculpture from the Gandharan and Uddiyana regions has similar characteristics and as a result has often remained undifferentiated. As a result of this recent research however, it is becoming more feasible to identify distinctions between the sculpture of these different regions.[A video of this lot is available to view on Timeline Auctions Website.] Fine condition.
Los 265
Later Yan Dynasty, 384-407 AD. A gilt-bronze statuette, with Gandharan stylistic influence, featuring Buddha standing against an aureole and lotus-flower nimbus, on a lotus podium with flared legs, flanked by attendants or donors; hatched ornament to the podium, incised text here and to the reverse of the flaming aureole which translates approximately as: 'A disciple of Buddha had this made to keep his family safe', and the 'Buddha Disciple' with the years for Later Yan (384-407 [389]) to the right. Exhibited at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September - 20 October 2010, extended to 16 November and again to 7 January 2011, Buckingham collections, exhibit TB011, p.161; accompanied by copies of the relevant exhibition catalogue pages which dates the piece on artistic grounds to the Early Wei period, circa 5th century AD, and a transcription of the Chinese characters inscribed on the piece; recent translation of the previously undeciphered inscription suggests a more precise date range of 384-407 (389), Later Yan era. 235 grams, 13.4cm (5 1/4"). Buckingham Collection, from the early 1960s to 1970s. Late Nik Douglas (1944-2012), renowned author, curator and Asian art expert. Accompanied by copies of the relevant exhibition catalogue pages. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.11049-168637. Gandhara was a principal gateway through which Buddhism spread to China, with the connection to Gandharan Buddhist statuary and sculpture evident in the style of this piece.[A video of this lot is available to view on Timeline Auctions Website.] Fine condition.
Los 276
c.5th-6th century AD. A substantial bronze figure of Buddha Shakyamuni standing facing on a hollow-formed bell-shaped podium wearing a loose uttariya robe gathered in hand at the left hip in the 'Indo-Greek' manner, the right hand raised in the abhaya gesture of reassurance; the facial expression serene with narrow eyes possibly inlaid with silver, the hair piled into the ushnisha style with tiers of tight curls; to the rear, a separate mandorla or aureole with rim of openwork flames. See Dr. Naiki, S., Similarities and Differences in Gandharan Sculptures Among Regions, Thursday 22nd to Friday 23rd March 2018, The Geography of Gandharan Art: 2nd Workshop of the Gandhara Connections Project, Classical Art Research Centre, University of Oxford. Exhibited at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September - 20 October 2010, extended to 16 November and again to 7 January 2011, Buckingham collections, exhibit GMB035, p.134; no.238, p.72, & for a photograph of this piece at the exhibition see p.174. 2.1 kg, 39cm (15 1/4"). Richard Kixmiller collection, USA, 1976-1977. Buckingham Collection, early 1960s to 1970s. Late Nik Douglas (1944-2012), renowned author, curator and Asian art expert. Accompanied by copies of the relevant Tibet House exhibition catalogue pages. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.11135-184862. Gandhara was the principal gateway through which Buddhism spread to China. Academic research conducted after the death of Nik Douglas (above) explains that Gandharan sculpture has been found in neighbouring regions, such as in Uddiyana. Sculpture from the Gandharan and Uddiyana regions has similar characteristics and as a result has often remained undifferentiated. As a result of this recent research however, it is becoming more feasible to identify distinctions between the sculpture of these different regions.[A video of this lot is available to view on Timeline Auctions Website.] Fine condition.
Los 304
c.5th century AD. A bronze lamp or incense burner base comprising a low tripod with claw feet, broad stem with median flange, socket with flange rim to accept the fuel; separate bowl with everted rim. 610 grams, 13.5cm high (5 1/4"). London art market 1979. Property of a gentleman living in central London. [No Reserve] Fair condition.
Los 305
14th-15th century AD. A bronze lamp or incense burner comprising a low tripod with carinated edges and flared feet, narrow stem and deep bowl with everted rim and three pierced lugs to the inner edge of the rim. Cf. Fehérvári, G., Islamic Metalwork of the Eighth to the Fifteenth Century in the Keir Collection, London, 1976, item 97, for type. 635 grams, 14cm high (5 1/2"). London art market 1979. Property of a gentleman living in central London. [No Reserve] Fair condition.
Los 306
12th-14th century AD. A bronze candleholder comprising a tapering cylindrical base with circumferential ribs, slender stem with median rib, bell-shaped cup, three old stock number labels to the base. Cf. von Gladiss, A. Glanz und Substanz. Metallarbeitung in der Sammlung des Museums für Islamische Kunst, Berlin, 2012, items 58, 59, for type. 870 grams, 26cm high (10 1/4"). Private collection of Mrs. W.G. Elias Vaes (1908 - 2002), Rotterdam, The Netherlands. Elias Vaes stock number 212 / 208. Property of a gentleman living in central London. [No Reserve] Fine condition.
Los 307
12th-14th century AD. A bronze vessel base composed of a flat-bottomed, U-shaped body with broad, everted shoulder, collared tubular neck, C-section stem and splayed foot. 940 grams, 12cm high (4 3/4"). North London gentleman, in storage since the 1970s. Property of a West London gentleman. [No Reserve] Fine condition.
Los 308
13th-14th century AD. A bronze lamp comprising a globular body with lateral flange handles, an openwork hinged and domed lid with knop handle, D-section channelled handle with pierced upper panel and leaf-shaped flange finial. Cf. von Gladiss, A., Glanz und Substanz. Metallarbeitung in der Sammlung des Museums für Islamische Kunst, Berlin, 2012, item 26, for type. 540 grams, 23cm wide (9"). London art market 1979. Property of a gentleman living in central London. [No Reserve] Fair condition.
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390032 Los(e)/Seite