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Click here to subscribeA FRENCH BRONZE BUST OF THE GODDESS DIANA THE HUNTRESSAfter Charles Anfrie (1833-1905), circa 1870, signed to the side of the socle, on associated black slate plinth base, 35cm high; 45cm high with baseCondition report: Dirt and dust to the recesses. Some tarnishing to the gilted areas. Patination rubbed and in some areas slightly rough Base with chips to edges an corners, commensurate with use and age. Bust is not fixed to black slate plinth.
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.
4th-1st century BC. A bronze Scythian, Sarmatian or Sindo-Meothic helmet comprising a rounded bowl with repoussé three-band crest running from the brow over the top to the rear and with lateral scrolls at the brow, a flat circumferential band to the brow and temples with arches above the eyes and a small nasal; two D-shaped side-panels hinged at the upper edge and with a scalloped forward edge; fixing points for a separate crest on the upper face; mounted on a custom-made stand. See Rabinovich, B. Z., Trudy Otdela istorii pervobytnoi kul’tury Gosudarstvennogo Ermitazha (Works of the Department of history of prehistoric culture of the State Hermitage) I, Leningrad, 1941, pp.99-171; Bottini, A. et al., Antike Helme. Sammlung Lipperheide und Andere Bestände des Antikenmuseums Berlin, Mainz, 1988, pp.137-150; Erlikh, V. R., Rossiiskaia Arkheologiia (Russian Archaeology) (3), 1996, pp. 176—179 (in Russian); Chernenko, E.V., The Scythians 700-300 BC, Hong Kong, 1998; Shevchenko, N. F., Zaitsev, Yu. P., Mordvintseva V. I. in Vestnik drevnei istorii (Bulletin of Ancient History) (1), 2011, pp.115-152 (in Russian); ????????? ?. ?., '????? ??????????? ??????? ?? ????????? ?????? (Sarmatian Age Helmets from Eastern Europe) ', in Stratum Plus, n. 4, 2014, pp.249-284; Negin, A.E., Negin, A. E., 'Pozdnerimskie shlemy s prodol'nym grebnem', in Germania-Sarmatia II, Kaliningrad-Kursk, 2010, pp.343–58. 550 grams, 25cm (2.5 kg, 42.5cm including stand) (9 3/4 (16 3/4)"). From the late Alison Barker collection, a retired London barrister; from her collection formed early 1960s-1990s. Accompanied by an archaeological expertise of military specialist 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.11064-184360. The cultural interchange and the military contacts between the Nomads of Kuban and the Hellenic people allowed the Sindo-Meothic noblemen to equip themselves with such beautiful defensive equipment. Another helmet of the same type, close to the Chalcidian-Attic type, with two ram-shaped plates protruding on the front, with spiral decorations on their surface, was found near the Mezmay village in Kuban. A similar helmet, most likely produced by the same workshop, is a specimen published by A.E. Negin, belonging to the Puskin Fine Arts Museum of Moscow, originally in the collection of S. Karakowskij (Negin, 2010, p.354 no.6"). Fine condition, usage wear.
12th-10th century BC. A bronze flange hilted dagger with limestone inlay forming a lobed handle, blade with a broad midrib tapering to the point. See Khorasani, M.M., Arms and Armour from Iran - The Bronze Age to the End of the Qajar Period, Tübingen, 2006, p.381, cat.13, for the type; a similar specimen with the inlay preserved as well is published in Musee' Cernuschi, Bronzes de Luristan, enigmes de l'Iran Ancien, IIIe-Ier millenaire av. J.C., Paris, 2008, p.86, nos.28-29. 235 grams, 34.6cm long (13 3/4"). Private family collection formed in London, mid 1980s to early 1990s. The dagger belongs to type IIIb of the Khorasani and Medveskaya classification. Fine condition. Very rare in this state of preservation.
14th-mid 12th century BC. A substantial bronze palstave axehead from the Manston hoard pit deposit, triangular flanges rise from the butt to the stop bar; a hollow to both faces below the septum; narrow body expanding to a wide triangular blade with slight flare at the tips. See Evans, J., The Ancient Bronze Implements, Weapons and Ornaments of Great Britain and Ireland, London, 1881, pp.76-84 and figs.56-68, for similar types; Rowlands, M.J., The Production and Distribution of Metalwork in the Middle Bronze Age in Southern Britain, Oxford, 1976. See Portable Antiquities Scheme, reference PAS KENT-495597, for this find. 475 grams, 17.5cm (7"). Found near Manston, Kent, UK, 2016. Accompanied by copies of the British Museum PAS report number KENT-495597. Accompanied by Treasure Act documentation under Treasure Reference 2016 T618. At Manston was found a hoard of 10 copper alloy palstave axeheads, in one spot, described as 'one hole' and therefore possibly a pit deposit from the Middle-Late Bronze Age. A similar hoard of palstaves was also found in the immediate vicinity by the same finder at a later date, see PAS KENT-593613. These palstaves are comparable to those placed within Rowlands 'class 3 group 1', characterised by a U-shaped septum profile, low triangular or slightly convex flanges, a straight sided triangular or crinoline blade and a triangular depression or ribbed motif beneath the stop bar (Rowlands 1976, pp.32-33"). Group 1 and 2 within class 3 are divided based on blade width, being 7-8cm and 5-6cm respectively, placing the above axes between the two, but probably within group 1. Fine condition.
12th-8th century BC. A pair of penannular gold-clad rings, each ovoid in cross section with a seam where the two terminals meet; accompanied by a tip of a Bronze Age spear with the same provenance. Cf. The British Museum, museum numbers 1853,1216.6 and 1853,1216.5, for similar. 28.51 grams total, 17-31mm wide (3/4 - 1 1/4"). Private estate collection, 1970s. Private Devon collection. Identical spear tip examples are held by the National Museum of Wales. [3] Fine condition.
11th century AD. A bronze openwork stirrup mount of Williams's Class A Type 3, with facing nude male figure held by serpents, restraining the elbows and knees and forming an arc from the shoulders and neck to the wrists; attachment loop above the head, small ledge to the reverse. See Williams, D., Late Saxon Stirrup-Strap Mounts, York, 1997, p.37. 24.2 grams, 56mm high (2 1/4"). Found UK. Acquired circa 2001. Private collection of a Letchworth gentleman. Property of a Hertfordshire lady. There are several Viking mythological figures that can be related to this iconography. One possibility is Loki, a cunning trickster known from many poems to be both friend and enemy of gods and giants. As a punishment for his crimes, gods killed his son and bound Loki with his entrails, and Skadi, a giantess with a personal interest in his punishment, put a snake releasing venom in front of his face. His faithful wife Sigyn sat next to Loki and gathered the venom in a bowl. This imprisonment should have lasted until Ragnarok, the final battle between gods and giants, when Loki would break free, and die in a fight with god Heimdall. Another possibility is that the present mount may represent one of the most famous heroes of the Viking Age, Ragnar Lodbrok, who, according to the legend, was killed by being thrown into a snake pit by order of king Ælla of Northumbria. A similar death was meant for legendary hero Gunnar, known from the cycle of Nibelungs. Fine condition. Rare.
Hattakittkosol Somchai, 1934 Bangkok - 2000, thailändischer Bildhauer u. Designer, Ballerina: Darstellung einer Tänzerin in Handstand-Pose, Bronze,goldfarben patiniert, signiert u. nummeriert 189/1000, auf grauem Marmorsockel, Gesamthöhe ca. 46cm, Alterssp., beriebenHattakittkosol Somchai, 1934 Bangkok - 2000, Thai sculptor and designer, ballerina: representation of a dancer in handstand pose, bronze, gold-colored patinated, signed and numbered 189/1000, on gray marble base, total approx 46cm, traces of age, rubbed
A matching pair of mid 19th Century French bronze and red marble candlestick holders having scrolled bronze stem with gilded holder and drip tray atop. Red marble stepped columns below with each raised on gilt foliate and scrolled supports. Wear commensurate with age, overall good example. Each measures approx; 38cm x 15cm x 14cm.
A 19th Century Victorian religious ormolu gilt bronze sculpture of Madonna with child with both wearing a crown, full garments and stood upon a cloud with cherub faces peering. Raised on an onyx plinth base. Copy of the original situated in Notre Dame. Wear commensurate with age mostly to the gilt work. Measures approx; 23cm x 10cm x 8cm.
A 19th Century Chinese Oriental Qing Dynasty cloisonne champleve enamel bronze jardiniere / planter of large size. The planter having cast repeating Key and wave geometric patterns with cloisonne band to the body. Raised on a circular foot base. Some minor wear to the enamel commensurate with age, overall good condition. Measures approx; 23cm x 30cm.
A 19th Century Qing Dynasty Chinese / Oriental bronze cow incense burner. A working cow depicted standing with its head raised wearing a saddle & reins. The saddle is detachable in order to burn incense. Condition; small sign of repair beneath saddle & wear commensurate with age. Measures approx; 23cm x 30cm x 10cm.
An early 20th Century Chinese Republic Lung-Ch'ing Longqing Dynasty style cloisonne bowl. Round shaped bowl with accentuated lip made from bronze & decorated with enamel cloisonne. The inside of the bowl depicting a colourful yellow dragon guarding the flaming pearl. To the outside two traditional Chinese / Oriental dragons fighting over the flaming pearl on a background of traditional clouds / smoke. The rim & base are adorned with repeating pattern in turquoise blue & marked as Lung-Ch'ing Longqing dynasty. Condition; wear commensurate with age, some visible damage to enamel. Measures approx; 20cm.
Art Deco Period - Signed and Stunning Painted Bronze and Ivory Figure. c.1930. Depicts A Young Female Wearing a Long Flowing Robes In a Standing Position, Her Hands Stretched Out Holding In Each Hand a Small Bird ( Dove ) Signed Louis Barthelemy, Raised on Stepped Alabaster Base. Height 11.5 Inches - 28.75 cms. With Age Related Hairline Cracks.
Vintage Competition winner Corgi Toys 266 "Chitty Chitty Bang Bang" complete with "Caractacus Potts, Truly Scrumptious, Jeremy and Jemima" figures, gold/chrome/bronze body, model is in mint original condition, missing one front jewelled headlight, with back and front wings, including inner plastic cloud, card cloud display, original outer blue and yellow window box is good, with some edge/age wear, plus an interesting Daily Express letter with this model; Dear Entrant your entry in the "Chitty Chitty Bang Bang painting competition has been awarded a prize.My congratulations on your entry and I hope you will get much pleasure from your enclosed Corgi replica.
MacGillivray (J.A.) Knossos: Pottery Groups of the Old Palace Period, The British School at Athens, Studies 5, 1998, monochrome illustrations, author's compliments slip pasted at front, original boards, folio, together with The Palaikastro Kouros. A Minoan Chryselephantine Statuette and its Aegean Bronze Context, by J.A. MacGillivray and others, British School of Athens Studies 6, 2000, colour and monochrome illustrations, presentation inscription to Sinclair and Rachel Hood from the editor and author, original boards, folio, plus Knossos: Palace, City, State, edited by Gerald Cadogan, Eleni Hatzaki and Adonis Vasilakis, British School at Athens Studies 12, 2004, illustrations, CD contained in plastic wallet at end, original boards, folio, with 15 others including Knossos Pottery Handbook, Neolithic and Bronze Age (Minoan), British School at Athens Studies 14, 2007, Parallel Lives. Ancient Island Societies in Crete and Cyprus,British School at Athens Studies 20, 2012, Knossos Excavations 1957-1961. Early Minoan, by Sinclair Hood and Gerald Cadogan, 2001, Knossos Protopalatial Deposits in Early Magazine A and the South-West Houses (Supplementary volume 41), 2007, and Le Palais du Second Millenaire a Knossos, by Jacques Raison, 4 volumes (Le Quarter Nord/Le Front Ouest et ses Magasins), 1988-1993, together with Desborough (V.R. de'A). The Last Mycenaeans and their Successors. An Archaeological Survey c. 1200 - c. 1000 B.C., Oxford: Clarendon Press, 1964, half-tone illustrations, additional pamphlet 'Revue de Philologie de litterature et d'histoire anciennes, 1967 stapled at front, original cloth, dust jacket, spine toned with tears at head, 4to, plus Branigan (Keith). Aegean Metalwork of the Early and Middle Bronze Age, Oxford: Clarendon Press, 1974, maps and illustrations, author's compliments slip at front, original cloth, dust jacket, spine a little faded with small tear at head, 4to, with six others including V.E.G. Kenna's Cretan Seals with a Catalogue of the Minoan Gems in the Ashmolean Museum, 1960 (with a presentation inscription from the author to M.S.F. Hood pasted-in), John Boardman's The Cretan Collection in Oxford, 1961, W.C. Brice's Inscriptions in the Minoan Linear Script of Class A, 1961, and N.G.L. Hammond's Epirus, 1967, and Morgan (Lyvia, editor). Aegean Wall Painting, a tribute to Mark Cameron, London: British School at Athens, 2005, British School at Athens Studies 13, numerous illustrations, some colour, original boards, couple of minor marks, 4to, Schaeffer (Claude F.A. ), Stratigraphie Comparée et Chronologie de l'Asie Occidentale, London: Oxford University Press, for the Griffith Institute, 1948, numerous plates, charts and plans, many folding, original cloth, spine faded, thick 8vo, with 12 others including: The End of the Early Bronze Age in the Aegean, by Gerald Cadogan, 1986; The Aerial Atlas of Ancient Crete, edited by J. Wilson Myers, Eleanor Emlen Myers, and Gerald Cadogan, 1992, with ink manuscript authorial presentation inscription to Sinclair and Rachel [Hood]; Faces of Archaeology in Greece, by Rachel Hood, 1998; The British School at Athens, the First Hundred Years, by Helen Waterhouse, 1986; and including 6 offprints of articles by Sinclair Hood, 1971-1994Qty: (40)
A Japanese shibayama box and cover, Meiji Period (1868-1912), the quatrefoil shaped box inlaid with mother of pearl, abalone, coral and inset with a bronze gilt-highlighted monkey wearing spectacles and holding an inro, signed, 10.5cm wideCR; Several pieces of inlay missing to the cover and box (see pictures). A few areas of inlay appear to have become detached and reattached with adhesive at a later date. Profuse cracks and crazes to the cover, many running through the cover and visible underneath the cover. Some cracks to the covers of the quatrefoil, on the cover and the box. Cover and box show scratching and wear commensurate with age and use.
BALTASAR LOBO (Cerecinos de Campos, Zamora, 1910 - Paris, 1993)."Au Soleil", 1970.Bronze, copy E.A.Susse Paris Foundry.Signed and justified.Measurements: 65 x 63 x 29 cm.With his characteristic language of forms, which oscillate between geometry and the poetics of volume, Baltasar Lobo presents us not with a concrete woman, but with the idea or the concept of woman. The figure adopts a strong, attractive, decisive and sensual attitude, a contemporary Venus not only as a passive creator, but as an active generator and protagonist.A sculptor and draughtsman, an outstanding member of the historical avant-garde, Lobo began his training in an imagery workshop in Valladolid, where he entered at the age of twelve. In 1927 he obtained a scholarship to enter the San Fernando Academy in Madrid, although he only attended its courses for nine months. He then attended evening courses at the School of Arts and Crafts, while earning his living by sculpting tombstones. In 1946 he settled in Paris, where he lived and worked for the rest of his life. There he was welcomed by Picasso, and became friends with the sculptor Henri Laurens. Lobo held numerous solo exhibitions, both in Spain and France and in Sweden, Luxembourg, Switzerland, Germany, Japan and Venezuela. Of particular note was the retrospective devoted to his work at the Museo de Arte Moderno in Madrid in 1960. He also took part in important group exhibitions in Europe. His sculptures are now part of the urban landscape of cities such as Zurich, Annecy, Paris, Luxembourg and Caracas. Throughout his career he received important awards, such as the Official Prize for the Arts and Letters of France in 1981, the National Prize for Plastic Arts of Spain in 1984, and the Andres Bello Order of the Venezuelan Government in 1989. Two years after his death, in 1995, the Museo de Bellas Artes de Caracas dedicated an exhibition to him. An open-air exhibition of Lobo's sculptures has recently been held in the city of Valladolid, and has subsequently moved to other capitals such as Seville, Lisbon and Madrid. In Lobo's sculpture, over the years, the form has become stylised to the point of approaching abstraction, without losing its eminently figurative origin. His personal evolution is characterised by the search for the purity of volumes and the reduction of forms to the most essential, both in bronze and in granite and marble. Thematically, the woman has always been the main reference point for Lobo's work. His production is divided into two clearly differentiated periods; the first, more primitivist, and a second period marked by the influence of surrealism. There is currently a museum in Zamora dedicated to his work, which bears his name. Lobo is also represented in the Museum of Fine Arts of Asturias, the Connaught Brown Gallery in London, the Thomas Ladengalerie in Munich, the MAPFRE Foundation in Madrid, the Kunsthalle in Düsseldorf and the Lentos Kunstmuseum in Linz (Austria), among others.
A pair of bronze table lustres, the candle sconce above a scrolling foliate stem, 26cm high, together with a box and cover in the Empire style, mid 19th century, surmounted with a recumbent greyhound, the body with frieze of scrollwork and gryphons, 20cm high, 16cm wide, 10cm deepCondition Report: The box and greyhound cover also appear to be bronze, the greyhound lid with good weight,Marks, knocks, scratches, abrasions consistent with age and useDark brown patina overall to the box and cover, the hound slightly loose and where this has rubbed there are associated marks. The lustres with dark brown patina, there are replacement drops and these have the usual chips and minor lossesPlease refer to additional images for visual reference to condition Condition Report Disclaimer
λ Greta Berlin (British, born 1942), Art Bronze Foundry (founded 1922), a sculpture maquette of The Earl Mountbatten of Burma, portrayed as a sailor in foul weather gear, depicted standing, wearing a duffle coat and sea boots, holding a pair of binoculars, and is mounted on a black slate plinth, inscribed verso MOUNTBATTEN / STUDY V / G. BERLIN '89 / 1/3, 60cm high overall, the maquette 52cm highCf. the second of the two artist proof copies in the Royal Navy submarine museum. This model is the first of three artist proof copies of Greta Berlin's fifth study for a commission by developers Timberline Properties for a memorial statue for Grosvenor Square, Southampton. Provenance: The 1st Earl Mountbatten of Burma, and thence by descentCondition Report: Marks, knocks, scratches, abrasions consistent with age and useOverall with a green 'verdi-gris' patina with bronze showing through in some places.The figure is entirely secure on the base attached via two bolts and screws, accessible to the underside. There is some discolouration to the surface of the plinth.Please refer to additional images for visual reference to conditionThe provenance has been added to the description: Provenance: The 1st Earl Mountbatten of Burma, and thence by descentCondition Report Disclaimer
λ John Doubleday (British born 1947), The Earl Mountbatten, as Admiral of the Fleet, patinated bronze, signed Doubleday 1975 verso 65cm high overall, 52cm wideCf. the example to be found in the Royal Marine's Museum, Southsea. Provenance: The 1st Earl Mountbatten of Burma, and thence by descentCondition Report: Marks, knocks, scratches, abrasions consistent with age and useOverall, with a 'verdi-gris' patina there is and area of oxidation to the lower edge, as well as surface deposits and oxidation to areas of the face. The plinth base with dirt and discolouration, overall the figure is firmly affixed to this base.Please refer to additional images for visual reference to conditionThe provenance has been added to the description: Provenance: The 1st Earl Mountbatten of Burma, and thence by descent Condition Report Disclaimer
A pair of gilt and patinated metal table lamps in Regency Gothic revival taste, 20th century, the hexagonal section shafts rising through coronet knops to spreading bosses with arches of blind tracery and foliate crocketing, with electrical fitments rising above, the triform bases each with further Gothic arches with blind tracery and flying buttresses, on three foliate cast feet, 100cm high including pleated shadesCondition Report: Marks, knocks, scratches, abrasions consistent with age and useThe guilt metal areas with some dirt and discolouration, and pitting. The bronze elements with a dark brown patina, with remnants of wire to the fitments overall these will require rewiring and testing by a qualified electrician prior to use in a domestic setting.One of the shade supports has a cap, the other does not. Some minor bending and mis shaping to elements.Please see additional images.Condition Report Disclaimer
A bronzed portrait bust of Mohandas Gandhi, dated 1995, indistinctly signed verso, and with presentation and commemorative plaques to the plinth, 37cm high overall, the bust 29.5cm highProvenance: The 1st Earl Mountbatten of Burma, and thence by descentCondition Report: The plaque reads:MAHATMA GANDHI (1869-1948) Apostle of Peace, Non-Violence and Humanity Presented by H E Dr L M SINGHVI High Commissioner for India In Commemoration of Mahatma Gandhi's 125th Birth Anniversary Year Gifted by JAMNALAL BAJAJ FOUNDATION India 1995The bronze has a matt and loose worked quality with a rough and slightly pitted finish.The plinth and plaque have scuffs, scratches and knocks consistent with age and use.Please see the additional photographs as a visual reference of condition.Condition Report Disclaimer
After Alfred Barye (1839-1882), a bronze model of a golden pheasant, first half 20th century, on a gilt metal base, bearing foundry mark inscribed, 'PH. GOELZER / PALLE', 22.5cm high overallProvenance: From the collection of the late Selwyn Demmy Condition Report: Overall abrasions, scuffs and scratches consistent with age and use.Please see the additional photographs as a visual reference of condition.Condition Report Disclaimer
A pair of French patinated and gilt bronze five light candelabra in Neoclassical style, circa 1870, each with avine finial above squat and waisted urn sockets on arms around a central boss, the tapered and reeded shafts descending through fircone and foliate cast circlets to triform bases, each with three panther headed monopodia interspersed with stylised acanthus, 93cm highCondition Report: Marks, abrasions, knocks and scratches commensurate with age and wear.Overall a matt patination with later gilt paint as highlights, some small areas of verdigris.The beaks of the bird finials are bent, lacking one pendent scroll under a candle branch, some pendant scrolls bent.Slightly loose jointed where the legs join the main column, lacking some screws to these areas and some mounts with some movement.Please see additional photographs for a visual reference to condition. Condition Report Disclaimer
Gotthilf Jaeger (1871-1933): Bronze sculpture of a sinuous female dancing female, signed and with foundry mark - VRAI BRONZE DEPOSE K, 72.5cm high, raised on conical serpentine marble base, total height 94cmCondition report: Minor surface scratches and minor wear commensurate with age, basically good condition
Staudenmayer air gun, with octagonal 28 inch 40 bore rifled Damascus barrel with platinum lined breech, stamped with numbers 1686 and 25691, fitted with folding leaf sight, and shotgun barrel numbered 25807, scroll engraved action bearing makers name, the stock with bronze collar also engraved Staudenmayer London, leather lined air tank with walnut butt and steel engraved buttplate, together with accessories and bullet mould.Section 58 (2) antique no licence required. Buyer must be over the age of 18.
CHRISTOPHE FRATIN (1801-1864) "Smoking Bear" bronze signed to base and stamped "JE" to underside edge and inscribed "Edelabrourca" 17 cm high (missing pipe) CONDITION REPORTS Pipe is off and missing. Area of glue like substance resin to the back of the chair, also similar residue to the base. Some scuff marks etc throughout. Otherwise general wear and tear conducive with age and use to include some surface scratching etc - see images for more detailsBase size 11.4cm width x 8.8cm depth. Approx. total size 11m width x 11.5cm depth.
BRONZE DESK INKSTAND,by Brondel, with elephant surmount and single well retaining glass liner, 30cm wideCondition report: Surface pitting and rubbing, area of exposed under layer to head of elephant, ink well dented and misshapen and so glass liner stuck inside, this is cracked, further overall general wear, rubbing and overall signs of age and use.Early to mid 20th century
AN OCTAGONAL BRONZE SUNDIAL the chapter ring with Roman numerals and fleur-de-lys hapf hour markers, 45cm diameter, with accociated iron gnomon Condition Report : age related patination, good heavy weight Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
A 19th century South Indian bronze domestic shrine probably Tamil Naducast in three sections, the figure, probably Vishnu, standing on a platform base with bird supports and cast with kneeling figure Garyda in front, the mandorla cast with the heads of Nagaheight 21 cmCondition: Figure is missing left forearm and hand. Otherwise fair condition commensurate with age. Figure with slightly different patination possibly associated with base
An interesting collection of antiquities to include a Roman bronze statuette of Venusfirst standing nude, her right hand raised to her head together with a bone object carved with standing female figure in flowing robes, a faience amulet of a putto and a dog and an Egyptian alabaster kohl jar, (4)first height 11.3 cm.Condition: First lower right leg absent. Verdigris and corrosion to lower left leg and lower part of right thigh. Pitting to bronze, overall in condition commensurate with age. Amulet has a manufacturing crack to neck of dog and left left of putto. Kohl jar with historic chips to rim
Vase from the Dauno-Mesapia culture, southern Italy, 5th century BC.Polychrome terracotta.Provenance: French collection.Measurements: 28 x 32 cm (diameter).Dauno-Mesapia vessel made entirely of polychrome terracotta decorated with horizontal bands and geometric motifs. It has a globular belly, a wide truncated cone-shaped mouth and two handles on the sides. The inside of the mouth is also decorated. The vessel comes from the region of Apulia in southern Italy, where Daunia, now the province of Foggia, and Messapia, in the southern part of the region, are located. Towards the end of the Bronze Age (11th-10th centuries BC), Illyrian populations arrived in Apulia from the eastern Adriatic, probably crossing a narrow strip of water between Albania and Italy. The Illyrians in Italy created the Yapigian civilisation, which consisted of three tribes: the Peucetians, who occupied the Bari region, the Mesapians and the Daunians. Apulia differed from the other two regions inhabited by the Yapigians in that it was at a greater distance from the Greek colonies, with which it therefore maintained fewer connections. As it was also less influenced by the Campanian civilisation, it developed a more distinctive culture, in which the Daunian stelae (7th-6th century BC) are particularly noteworthy. Particularly striking is the pottery from this region, still little studied, which began with a purely geometric language but came to include synthesised representations of human figures, animals and plants. Like all pottery from this period and culture, it is clearly inspired by contemporary Greek models or somewhat earlier, with a certain difference in terms of composition and quality of both the material and the decoration on the vessel.
AUSTRIA, Empress Maria, 1575, a uniface cast bronze medal by A. Abondio, bust left in cape and ruff, 58mm (cf. Domanig 102). Of some age, fine to very fine; pierced for suspension £60-£80 --- Maria of Spain (1528-1603) was the daughter of the Emperor Charles V. In 1548 she married her first cousin, the future Holy Roman Emperor Maximilian II of Hapsburg, and subsequently ruled as Empress Consort from 1564-76
Skulptur eines Samurai, 20.Jh., Bronze, patiniert u. absichtlich berieben, Samurai, realistische Wiedergabe von Mimik undRüstung, Waffe fehlt, Alterssp., H.ca. 34cmSculpture of a Samurai, 20th c., Bronze, patinated and abraded, Samurai, real restitution of facial expression and armament,weapon missing, traces of age, H.approx. 34cm
Deckenleuchter, um 1900, Bronze massiv, 7 Brennstellen, Balusterschaft, geschwungene Arme mit Blattvoluten, breite Tropfschalen, Alterssp., D. ca. 60 cmCeiling lamp, around 1900, Bronze massive, 7 focal points, Baluster shaft, curved arms withleaf coving, wide drop bowls, traces of age, D. approx. 60 cm
Skulptur eines Samurai, 20.Jh., Bronze, patiniert u. bewusst berieben, dynamische Darstellung eines Samurai in prunkvoller Rüstung mit Gunsen-Kriegsfächern, Katanagriff l. verbogen, Alterssp., H.ca. 54cmSculpture of a samurai, 20th century, bronze, patinated and deliberately rubbed, dynamic representation of a samurai in splendid armor,katana handle slightly bent, traces of age, height approx. 54cm
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![* Arthur Homeshaw [1933-2011]-Men-An-Tol,:- linocutsigned and dated 1985inscribed and numbered 4/44sight size 34 x 53cm.*Note](https://cdn.globalauctionplatform.com/25ea1a08-995e-47f6-824a-ae1f016f32d3/23e43225-d10e-4a1a-8b96-ae2800ca61d6/468x382.jpg)
