A ‘TENGU AND DRAGON’ BRONZE SPHERE, WAFTING ON A MONUMENTAL WAVEJapan, late 19th century, Meiji period (1868-1912)This is an exceptional bronze ensemble, reminiscent of one of the most iconic images of modern art, the Great Wave of Kanagawa, created by Katsushika Hokusai in 1831. The ingenuity of this composition is quite unique, as it depicts an enormous wave about to crash down upon frail crabs and octopuses beneath, while the cresting foam on top wraps around a bronze sphere, neatly incised with a dragon holding the magic pearl, and a crow-beaked karasu tengu about to take off from its peak. The waves altogether form a frame through which we observe the ‘floating’ sphere. The inevitable breaking, that we seem to await, creates a ‘magic’ tension in this artwork. Please note this bronze can also be used as a censer.HEIGHT 51 cmWEIGHT 6.8 kgCondition: Very good condition with minor traces of use, old wear and superficial scratches, some casting flaws and pitting, minuscule dents and nicks here and there, minimal warping, some corrosion to underside of base, overall exactly as expected for a bronze of this size and age. Fine, naturally grown deep-brown patina overall. Provenance: From a private collection Paris, France.The ‘Kanagawa’ wave has been influential on generations of artists both in the East and the West. The energy it conveys echoes similar approaches to render the sublime of nature in 19th century European artistic movements. In summer of 1888, Van Gogh had written passionately to his brother that “These waves are claws, you can feel it. Ah well, if we made the color very correct or the drawing very correct, we wouldn’t create those emotions”. (Letter 676 to Theo van Gogh)The dragon is associated with a wealth of legend and symbolism in old Japan, signifying both the holy nature of Shinto and the wisdom of Buddhism. Representations of the dragon are found from the earliest historical period, wall paintings in the stone tomb chambers of the Kofun era (4th - 7th centuries) together with tiger, phoenix, and gryphon. In Shinto mythology, the deity Ryujin is a dragon who lives under the sea and bears a jewel that controls the tides.The tengu, or Heavenly Sentinel, is a legendary creature found in Japanese folk religion. Buddhism long held that they were disruptive demons and harbingers of war. Their image gradually softened, however, into one of protective, if still dangerous, spirits of the mountains and forests. Literature comparison: For a silver ornament of a dragon and crystal sphere see Joe Earle, Splendors of Meiji, Treasures of Imperial Japan, Masterpieces from the Khalili, pl. 135.
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A RARE TEMPLE LAMP OF BRONZE SHISHI SUPPORTING A BROCADE BALLJapan, 19th centuryWell cast and patinated bronze with neatly incised and chiseled decor, depicting six shishi in play, the larger three of them supporting a huge brocade ball pierced with shippo-hanabishi, while the smaller three seem to perform some sort of wild karashishi dance on top of the ball. Condition: Good overall condition with minor dents, losses, few old repairs, traces of wear and use, all exactly as expected from a bronze of this period and size. The ancient electricity fittings need professional maintenance. Provenance: The Ankarcrona Collection of Japanese Works of Art. Sten Ankarcrona (1861–1936) began collecting upon his first visit to Japan in the late 1880s, at the beginning of the golden age of travel and collecting in Europe. The young aristocratic Swedish naval officer became fascinated by the breadth of artistic production in the region and continued to add to his collection back in Europe. In 1923, by then an admiral, he was appointed by the King of Sweden to travel back to Japan on a special mission, where he spent two months making many more purchases. His love of Asian art was later passed down to his children and grandchildren, who have enriched the family collection during their own visits to Japan throughout the second half of the 20th century. HEIGHT 50 cmWEIGHT 10.1 kg On a massive hexagonal base, the sides carved and engraved with lobed panels alternately depicting flower sprays and further shishi. The inside of the ball with old silk lining. Auction comparison: Compare with a related Shishi temple lantern, sold at Christie's London, Asian Decorative Arts, 22 February 2001, lot 190 (sold for 9,165 GBP).
AN IMPRESSIVE BRONZE JAR AND COVER INLAID WITH MANY FINE MENUKIJapan, late 19th century, Meiji period (1868-1912)Of globular form, the domed cover with a knob handle, the bronze patinated to a dark caramel brown, the sides and cover finely inlaid with numerous menuki in gold, silver, shakudo, and shibuichi, the depictions running the full gamut of Japanese legends and mythology, including a tengu, Urashima Taro, Jurojin, Kan’U, frogs and toads, bats, chickens, and many others.HEIGHT 19.5 cm, max. DIAMETER 23 cmWEIGHT 3,100 gCondition: Good condition with minor wear, few small nicks, occasional light scratches, one of the menuki is lost, another menuki with two small losses.Provenance: Collection of Wivica Ankarcrona Borell (1935-2019). Her grandfather Sten Ankarcrona was a Swedish marine officer who came to Japan on a special mission in 1923, bringing back vast collections of Japanese art and decorating his summer house, creating first a Japanese garden and later a complete Japanese building as documented in Svenska Hem i ord och bild (Swedish Home in Words and Pictures) in 1928, providing a fascinating look at this golden age of European collecting. Their guest book contains the signature of the Swedish king Gustav VI Adolf as well as that of the Japanese crown prince, later Emperor Akihito.
NOGAWA: A FINE PATINATED BRONZE GU-FORM VASEBy the Nogawa company, signed Yushi koku and with the Nogawa company markJapan, late 19th century, Meiji period (1868-1912)The vase shaped like a Chinese gu vessel, with a slightly flared base tapering to a slender body widening to a trumpet-shaped mouth wider than the base, finely inlaid with various metals including gold and silver depicting tall bamboo and sprouting bamboo shoots, signed YUSHI koku, the base with the mark of the Nogawa company.HEIGHT 21.8 cmWEIGHT 489.3 gCondition: Very good condition with minor surface wear, some wear to metal inlays as well, few minuscule nicks, occasional light scratches.Provenance: Collection of Wivica Ankarcrona Borell (1935-2019). Her grandfather Sten Ankarcrona was a Swedish marine officer who came to Japan on a special mission in 1923, bringing back vast collections of Japanese art and decorating his summer house, creating first a Japanese garden and later a complete Japanese building as documented in Svenska Hem i ord och bild (Swedish Home in Words and Pictures) in 1928, providing a fascinating look at this golden age of European collecting. Their guest book contains the signature of the Swedish king Gustav VI Adolf as well as that of the Japanese crown prince, later Emperor Akihito.Auction comparison:Compare a related bronze vase, featuring a similar depiction of bamboo and also signed Yushi koku, at Christie’s, Masterful Exuberance, Artistic Craftsmanship of Imperial Japan: The Property of a Lady, 18 May 2012, London, lot 150 (sold for 2,750 GBP).
OGAWA HARITSU (RITSUO): A LARGE AND IMPRESSIVE POLYCHROME GLAZED CERAMIC IREMONO (BOX) AND COVERAttributed to Ogawa Haritsu (Ritsuo, 1663-1747), signed on the original wood box Haritsu saku kaizukushiJapan, first half of 18th century, Edo period (1615-1868)Superbly modeled in the form of a cluster of shells, the largest an upturned awabi (abalone) and the other a sazae (horned turban) resting against a closed clam encrusted with barnacles, each with a separately fashioned lid decorated with different varieties of crustacea interspersed with seaweed.With the original wood awasebako (fitted box), with two paper labels, inscribed Haritsu saku kaizukushi (‘Made by Haritsu. Assortment of shells’).HEIGHT 13 cm, WIDTH 32 cm, DEPTH 27.5 cmCondition: Excellent condition with only minor surface wear. Provenance: British private collection, formerly with Gregg Baker.Ogawa Haritsu (formerly often referred to outside Japan by his alternative name of Ritsuo) was among the first Japanese lacquer artists to establish an independent reputation outside of the hereditary craft dynasties of Kyoto, Edo, and Kanazawa. Following an early career as a haiku poet, he is thought to have first turned his attention to lacquer design in middle age and soon attracted a wide following thanks to his novel choice of subject matter and pioneering and imaginative use of unusual materials; at some point after 1710 he was hired by Tsugaru Nobuhisa (1669-1747), lord of a domain in northern Japan, for whom he worked until 1731.In lacquer, he introduced a vocabulary of new materials not usually associated with lacquer artists such as glazed ceramic pieces, mother-of-pearl and lead. Haritsu also mastered the technique of making lacquer surfaces appear to resemble other materials such as bronze, tile, ink sticks and pottery, a style of decoration which became known as Haritsu saiku.Shells in combination with seaweed were a favored subject of Ogawa Haritsu and his followers, see for example a wood bunko decorated with very similar ceramic shells recently sold at Bonhams, Fine Japanese and Korean Art, 17 March 2021, New York, lot 594 (sold for 27,812 USD).The applied glazes in the present example are certainly emulative of lacquer, being a key feature of Ogawa Haritsu’s designs. The combination of elements flow over seamlessly into one another making it rather difficult to decide whether an individual decorative element is glazed or lacquered.
2000AD, Star Lord - A collection of over 120 bronze,copper and modern age 2000AD / Sci-Fi related comics. Lot includes 2000AD Special Souvenir Issue 13 Dec 86; #441 26 Oct 85; Star Lord 10 June 78; Star Lord 16 Sept 78 and similar. Conditions range between Fair - mainly Good - Very Good, some dusty with creases and folds.
A 20th Century Delft blue and white tobacco jar with high relief decoration of the Devil, within the jar, above a recess on three hoof feet, 22 cm high, together with a blue glazed pottery standing figure, monogrammed "LB", 39 cm high and another figure by the same hand as "A seated robed man", 15.5 cm high, a Dennis Chinaworks bee and honeycomb decorated vase, 13 cm high, an Art Nouveau style figure and floral decorated vase, 34.5 cm high, three dressing table scent bottles and a bronze figure of a blackamoor with coil of cable upon his shoulder, on a socle base, 19.7 cm high Condition ReportTabaco jar only. In need of clean, has some losses to the glaze on the figures nose and other extremities including feet and edges otherwise dirty and in need of clean. General wear and tera conducive to age and use to include firing faults etc. See images for more details.
*Sally Arnup (1930-2015)Pekingese headbronze, signed and numbered 2/10, on a marble base22 x 30cm*Artist's Resale Right may apply to this lot.Condition report: There are no signs of damage, restoration, cracks or repairs. The wear to the patina is forced. For the quality of the casting please see additional images. Age: appears to be second-half of the twentieth century.Marble base is in generally good condition, some scratches and knocks but intact and without cracks.
![Bronze-Age, Luristan, tanged Arrowheads of various types, c. 8th cent. BC (10), some with barbs [10]. All intact £80-£100 -](https://cdn.globalauctionplatform.com/5ae6d278-8449-4139-967c-ad2d00068188/a7c4b4f5-d7b0-4cf8-b9d0-ad2d00a6a954/468x382.jpg)
Bronze-Age, Sumerian pierced Cylinder Seal, Jemdet Nasr period, c. 3000 BC, 2cm x 1.4cm, red/brown stone engraved with a figurative design of two running horned animals (antelopes) divided by a tree. Intact with all details clear £120-£150 --- Provenance: From a UK private collection, and sold with a handwritten note from W.G. Lambert. Cylinder seals resemble a long round bead and were rolled on wet clay to make an impression as a mark of ownership. The period of Jemdet Nasr dates from 3100-2900 BC and was based in southern Mesopotamia
Bronze-Age, Amlash culture (Iran), red Terracotta Jug, 1st millenium BC, 18.5cm x 13.5cm, globular body with flat base, short cylindrical neck with a flared mouth, applied handle ridged at the top. Intact with a small chip at the top, some earthy deposits to the surface £120-£150 --- Provenance: From a UK private collection
Bronze-Age/Iron-Age, Flesh Hook, c. 1300-600 BC, 16cm x 3.4cm, socket diameter 2.1cm, cone-shaped hollow body with circular perforations each side for rivets, at the bottom of the socket in line with these are two projections with flattened discoid terminals, sharply-pointed tapering curved shaft is lozenge shaped (cf. Needham & Bowman class 2). Very fine with a smooth brown patina £600-£800 --- Provenance: Found near Grassington (North Yorkshire), November 2020 (PAS LANCUM-95C5CC). This hook, classed as a find of national importance, was found in a field high up in the Yorkshire Dales at a depth of 14 inches, using a Equinox 800 metal detector. The Rampside Hoard contained two similar flesh hooks, which suggest possible local manufacture; probably they were used for roasting meat at rituals
Celtic to 17th century, artefacts (4), viz. a later bronze figurine of Alexander standing nude holding a lion-skin over his left arm, an Iron-Age ring-headed pin, a bronze seal ring with design on the bezel of two dolphins with an anchor between, and a bronze circular harness fitting [4]. Varied state £100-£140 --- Provenance: P. Dawson Collection
Heroische Reitergruppe Massiver Bronzeguss, hinten an der Plinthe die Signatur "P" im Kreis und die Marke der Bildgießerei Wilhelm Füssel in Berlin-Charlottenburg. Drei leicht abstrahierte nackte Reiter in heroischer Pose. Zwei Figuren etwas locker, Gebrauchs- und Altersspuren. Maße ca. 40 x 40 x 40 cm, Gewicht ca. 32 kg. Interessantes Spiel gegensätzlicher Bewegungen im Raum. Zustand: IIA heroic group of riders Cast in solid bronze, the signature "P" in a circle and the mark of the foundry Wilhelm Füssel in Berlin-Charlottenburg at the back of the plinth. Three, slightly abstract, nude riders in heroic poses. Two figures slightly loose, signs of age and handling. Dimensions approx. 40 x 40 x 40 cm, weight approx. 32 kg. Interesting spatial play with contrasting movements. Condition: II
NSDAP-Standarte der SA Bodensee "Deutschland Erwache", mit TragetascheDie Standarte besteht aus dem Adler, der Standartenspitze, der Standartenstange, zwei länglichen Kordeln an den Seiten, dem Standartentuch und einer Schutzhülle für die Standartenspitze. Die Standartenspitze in versilberter und vergoldeter Ausführung, das verlötete Hakenkreuz vergoldet und im Zentrum schwarz lackiert. Die Tülle mit dem vorderseitigen Stiftungsdatum "1923" und der rückseitigen Herstellerbezeichnung "Otto Gahr" sowie zwei Befestigungslöchern. Die Versilberung bzw. Vergoldung altersbedingt teils angelaufen und berieben. Dazu die extrem seltene Schutztasche in grünlichem Segeltuch mit innenliegenden, hellen Lederstücken. Am Leder gemarkt mit einem runden RZM-Stempel, L2/1639/39.Die darunter angebrachte Box aus versilbertem Aluminiumblech mit dem Namen der Standarte „Bodensee". Die Vorderseite der Box mit erhabener Bezeichnung „Bodensee", die Rückseite mit „NSDAP", beidseitig mit dem noch gut erhaltenen roten Originallack. Am Gehäuse im Buchstaben "E" von "Bodensee" mit einer Schraube und korrekt auf der Rückseite im "NSDAP" im oberen Teil des Buchstabens "D" verschraubt. Maße des Gehäuses 40 x 11,5 x 7 cm. Metallener Querbalken innseitig gemarkt "13".Das Standartentuch mit einem dreiseitigen, schwarz-weiß-roten Fransenbehang und oberseitiger Tasche zur Aufnahme der Befestigungsstange, das Tuch mit den Maßen 68 x 59 cm. Mittig am Tuch der sehr seltene Lederschutz, um das Tuch vor Abreibungen an der Stange zu schützen. Beidseitig mit einer weißen Scheibe mit liegendem schwarzen Hakenkreuz, jeweils mit Silberlitzen, abgesetzt. Vorderseitig mit weiß gesticktem Schriftzug "Deutschland Erwache", auf der Rückseite "Nat. Soz. Deutsche Arbeiterpartei" und "Sturmabteilung". Komplett mit den beidseitigen schwarz-weiß-roten Quasten aus Wolle, deren Band gekordelt.Die Standartenstange aus Holz zweiteilig, an den mittigen Bronzebeschlägen abschraubbar. Die Standarte hat eine Höhe von 2,26 m und wiegt 6,5 Kilo.Extrem selten und einzigartig in dieser Komplettheit und Erhaltung!Provenienz: Unseres Wissens nach die einzige zusammengehörige SA-Standarte mit dokumentierter Provenienz bis zurück zu ihrer Erbeutung durch die 2. Division Blindée unter General Leclerc am 26. April 1945 im Braunen Haus in Konstanz. Kurz bevor die französische Armee nach Berchtesgaden kam, konnte General Leclerc die Bodenseeregion besetzen. Angekommen in Konstanz, fand ein französischer Offizier der 2. französischen Division, der Gruppe Lebel, im dortigen Braunen Haus dieses Stück. Die SA-Standarte Bodensee war in alphabetischer Order die 17. SA-Standarte, die Hitler während des Reichsparteitags 1934 in Nürnberg in einer feierlichen Zeremonie weihte. Die Standarte wurde als Geschenk an einen französischen Professor der Pharmazie, vermutlich an Monsieur Georges Dillmann, übergeben (siehe hierzu die Großbuchstaben "GD" auf der Metallbox). Im Jahre 1971 kaufte der französische Sammler André Boulanger die Standarte und behielt sie fast 30 Jahre lang in seiner Sammlung. Im Jahre 2005 schließlich erwarb das Museum "Dezember 1944" in La Gleize, Belgien, die Standarte von Boulanger. Sie wurde seit ihrer Entdeckung im Jahr 1945 nur sanft gereinigt und ist sonst im kompletten Originalzustand.Zustand: IIAn NSDAP standard of the SA Bodensee "Deutschland Erwache", with carrying bag The standard composed of an eagle, the tip of the standard, the pole, two long cords at the sides, the standard cloth and a protective cover for the standard tip. The tip silver-plated and gilt, the soldered swastika also gilt and painted black in the centre. The socket stamped with the founding date "1923" on the front and the manufacturer's mark "Otto Gahr" on the reverse, two fastening holes. The silver and gold plating tarnished and abraded in places due to age. Including the extremely rare protective cover in greenish canvas, containing light-coloured leather pieces. The leather marked with a circular RZM stamp, L2/1639/39.The box fixed underneath made of silver-plated sheet aluminium, inscribed "Bodensee", the name of the standard. The front of the box with the embossed designation "Bodensee" and "NSDAP" on the back, the original red lacquer still in good condition on both sides. The housing screwed together by means of a screw in the letter "E" of "Bodensee" and correctly on the back in "NSDAP" in the upper section of the letter "D". Dimensions of the housing 40 x 11.5 x 7 cm. The interior of the parallele piped is marked of the no. "13".The standard cloth with a black, white and red fringe on three sides and a pocket at the top to accommodate the mounting pole, the cloth measuring 68 x 59 cm. The extremely rare leather cover in the centre of the standard to protect the cloth from rubbing on the pole. Both sides offset with a white disc and a horizontal black swastika, trimmed with silver braid in each case. The front bearing the inscription "Deutschland Erwache" in white embroidery, the back reads "Nat. Soz. Deutsche Arbeiterpartei" and "Sturmabteilung". Comes complete with the black, white and red woollen tassels on both sides, the ties twisted together. The wooden standard pole made of two pieces and can be unscrewed at the central bronze fittings. The standard is 2.26 m tall and weighs 6.5 kilos. Extremely rare in terms of its completeness and condition.Provenance: To our knowledge, this is the only associated SA standard whose provenance is documented all the way back to its capture by the 2nd Division Blindée under General Leclerc on 26 April 1945 in the Brown House in Constance.On 26 April 1945, General Leclerc managed to occupy the Lake Constance region shortly before the French army came to Berchtesgaden. On arrival in Constance, a French officer of the 2nd French Division, the Lebel group, discovered this piece in the local Brown House. In alphabetical order, the SA standard Bodensee was the 17th SA standard to be blessed by Hitler in a solemn ceremony during the 1934 Reich Party Rally in Nuremberg. The standard was presented as a gift to a French pharmacy professor, probably Monsieur Georges Dillmann (see also the capital letters "GD" on the metal box). The French collector Andre Boulanger acquired the standard in 1971, keeping it in his collection for almost 30 years. Finally, the "Dezember 1944" museum in La Gleize, Belgium, purchased the standard from Boulanger in 2005. The standard has only been gently cleaned since coming to light in 1945 and is otherwise completely in its original condition.Condition: II
STUHL "SALONICOL". Ruhlmann, Jacques-Emile. 1879 - 1933. Datierung: 1933-34. Material: Makassar-Ebenholz massiv, versilberte Bronzeschuhe. Gepolstert. Maße: 91x53x56cm, Sitzhöhe 48cm. Marke: Auf der Zarge Schlagstempel. Literatur:Camard, Florence: Ruhlmann, Paris 1983, S.266.Jacques-Émile Ruhlmann wird 1879 als Sohn einer elsässer Familie in Paris geboren. Die Eltern betreiben dort ein Maler- und Spiegelgeschäft, das Ruhlmann 1907 nach dem Tod seines Vaters übernimmt. Er erweitert das Angebot durch eigene Möbelentwürfe. Im Jahre 1913 zeigt er erstmals einen Sekretär auf dem Pariser Herbstsalon.1919 gründet er zusammen mit dem Maler Pierre Laurent eine Firma für hochwertige Raumausstattungen - Ruhlmann & Laurent. Die exquisiten Möbelentwürfe wurden zunächst in befreundeten und ab 1927 in eigenen Werkstätten gefertigt.Der Ruf der Möbel war legendär und die Auftraggeber von höchstem Rang, so etwa der Élysée-Palast. 1925 darf Ruhlmann auf der Pariser Art Déco Ausstellung einen ganzen Pavillon gestalten.Mit nur 54 Jahren stirbt Ruhlmann im Jahr 1933. Nach seinem Wunsch wird die Firma daraufhin aufgelöst. Bis heute zählen die Ruhlmann'schen Möbel zu den erlesensten Erzeugnissen des Art Déco. Erläuterungen zum KatalogJacques-Emile Ruhlmann Frankreich Jugendstil / Art Déco 20. Jahrhundert Stuhl Holz MACASSAR EBONY CHAIR "SALONICOL" WITH SILVER PLATED BRONZE FEET. Ruhlmann, Emile-Jacques. 1879 Paris - 1933. Date: 1933-34. Technique: Solid macassar ebony, silver plated bronze feet. Upholstered. Measurement: 91x53x56cm, Height of the seat 48cm. Mark: Marking stamp on the frame. Literature:Camard, Florence: Ruhlmann, Paris 1983, p.266Jacques-Émile Ruhlmann was born in Paris in 1879 as the son of an Alsatian family. His parents ran a painting and mirror shop, which Ruhlmann took over after the death of his father in 1907. Soon he expanded the product range with his own furniture designs. In 1913, he presents his first design, a bureau, at the Parisian Autumn Salon. Together with the painter Pierre Laurent he founded a company for high-quality interior decoration - Ruhlmann & Laurent - in 1919. First produced in workshops of friends, from 1927 onwards the exquisite furniture designs were manufactured in-house. The reputation of the furniture was legendary and the clients, such as the Élysée Palace, were of the highest ranks. In 1925, Ruhlmann was allowed to design an entire pavilion for the Paris Art Déco exhibition.Ruhlmann died in 1933 at the age of only 54. Following his wish, the company was thereupon closed down. Until the present day, Ruhlmann's furniture is regarded as an exquisite highlight of the Art Déco period.. Explanations to the Catalogue
Ringkragen für Offiziere im Leibgarde Preobrazhensky- oder im Leibgarde Semyonovsky-Regiment, um 1910 Bronze, teilweise emailliert, vergoldet und versilbert. Die Details wie die mehrfarbig emaillierte Krone, das Andreaskreuz, die Zweige und die Buchstaben sind einzeln aufgelegt. Rs. Unterfütterung aus rotem Wolltuch. Leichte Trage- und Altersspuren. Maße 18,5 x 16 cm, Gewicht ca. 215 g. Außerordentlich selten und sehr schön erhalten. Aus der bekannten Mollo-Sammlung stammend. Vgl. G. Vvedensky, "Russische Ringkragen für Offiziere / Enzyklopädie der russischen Armee", St. Petersburg 2007, S. 188, 196. Genau dieser Ringkragen ist abgebildet auf dem Cover des Buches von John Mollo, "Military Fashion. A Comparative History of the Uniforms of the Great Armies from the 17th Century to the First World War", New York 1972.Provenienz: Sammlung Christopher und Karin Ross, davor Mollo Collection. Brief von Andrew Mollo an Christopher Ross, den Ringkragen betreffend, liegt im Original bei, datiert London, 3.3.1989.Zustand: II +A gorget for officers of the Preobrazhensky Life Guards or the Semyonovsky Life Guards Regiment, circa 1910 Bronze, partially enamelled, gilt and silver-plate. The details, such as the crown enamelled in colour, the St. Andrew's Cross, the branches and the letters, have been appliquéd individually. Lined on the back in red worsted cloth. Slight signs of age and wear. Dimensions 18.5 x 16 cm, weight approx. 215 g. Exceptionally rare find in beautiful condition. From the famous Mollo collection. Cf. G. Vvedensky, "Russian Officer Gorgets / Encyclopedia of the Russian Army", St. Petersburg 2007, pp. 188, 196. This very gorget is illustrated on the protective cover of John Mollo's book, "Military Fashion. A Comparative History of the Uniforms of the Great Armies from the 17th Century to the First World War", New York 1972.Provenance: Christopher and Karin Ross Collection, before the Mollo Collection. Letter from Andrew Mollo to Christopher Ross regarding the gorget, original enclosed, dated London, 3.3.1989.Condition: II +
Kopf eines Buddha, SIAM, 19.Jh., Bronze mit dunkler und teils grünlicher Patina, die ruhigen und in sich gekehrten Gesichtszüge ist von großer Eleganz, der Nasenrücken läuft in die zwei hohen Brauenbögen aus, die Augen sind fast geschlossen, die Haare sind als Spiralen geformt und bedecken den Kopf mitsamt der Ushnisha, die von einer Flamme bekrönt ist, auf einem Holzsockel, H: 12 cm. (ohne Sockel) normale Altersspuren. Head of a Buddha, SIAM, 19th c., Bronze with dark and partly greenish patina, the calm and introverted facial features is of great elegance, the bridge of the nose runs into the two high brow arches, the eyes are almost closed, the hair is formed as spirals and covers the head together with the ushnisha, which is crowned by a flame, on a wooden base, h: 12 cm. (without base) normal signs of age.
GROßE KAMINUHR IM LOUIS XV STIL, Paris / Frankreich, um 1880, Bronze, geschweifter, balusterförmiger Korpus üppig dekoriert mit Vollplastischen Büsten, Volutenranken, reliefierten Schönheiten und Grotesken. Ziffer VI im Ziffernblatt unleserlich bezeichnet, Werk mit Schlag zur vollen und halben Stunde, HxBxT: 70/36/24 cm / ca. 26 kg. Normale Alters- und Gebrauchsspuren, Bronzierung partiell berieben, im Kurztest funktionstüchtig LARGE LOUIS XV STYLE CLOCK, Paris / France, around 1880, bronze, curved, baluster-shaped body lavishly decorated with fully plastic busts, volute tendrils, beauties in relief and grotesques. Number VI illegibly marked on the dial, movement with strike at the full and half hour, HxWxD: 70/36/24 cm / approx. 26 kg. Normal signs of age and wear, bronzing partially rubbed, functional in short test.
CARRIER-BELLEUSE, ALBERT-ERNEST, NACH 'L'innocence tourmentée par l'amour'. Bisquitporzellan, stehende Nymphe in Begleitung von 3 Amoretten, bez. CARRIER-BELLEUSE, der Künstler war von 1877-1882 künstlerischer Direktor in der Manufacture royale de Porcelaine de Sèvres, von 1875 bis 1887 arbeitete Auguste Rodin für ihn und modellierte unter anderem auch diese Figur in Bronze, H. ca. 57cm. 1 Amorettenflügel geklebt, bodenseitig und an der Figur Brandrisse, Altersspuren, minim. best. | CARRIER-BELLEUSE, ALBERT-ERNEST, AFTER 'Innocence tormented by love'. Bisque porcelain, standing nymph accompanied by 3 cupids, inscribed CARRIER-BELLEUSE, the artist was artistic director of the Manufacture royale de Porcelaine de Sèvres from 1877-1882, from 1875 until 1887 Auguste Rodin worked for him and modelled among others also this figure in bronze, h. approx. 57cm. 1 cupid's wing glued at the bottom and at the figure, cracks, signs of age, minim. bumped.
DISKUSWERFER Metall bronziert auf Marmor, Figur nach der römischen Bronzekopie des griechischen Diskobol von Myron, H: ca. 45 cm. mit Sockel. Leichte Altersspuren. DISCOBOL Metal bronzed on marble, figure after the Roman bronze copy of the Greek Discobol of Myron, h: approx. 45 cm. with base. Slight signs of age.
NUSS, KARL ULRICH (1943) "Rattenfänger von Hameln" Bronze, reliefierte Figurendarstellung, unten rechts sig. und datiert: "U. NUSS 89", HxB: ca. 26/53 cm. Normale Altersspuren. NUSS, KARL ULRICH (1943) "Pied Piper of Hamelin". Bronze, figure in relief, signed and dated lower right: "U. NUSS 89", HxW: approx. 26/53 cm. Normal signs of age.
Sackuhr mit Alarm, Genf, 1690/1700 De Choudens (Geneve), Champlevé-Zifferblatt, Silbergehäuse floral und ornamental durchbrochen, Bronzeglocke ergänzt aus der Zeit, Uhrwerk und Wecker funktionstüchtig in einem sehr authentischen, dem Alter entsprechend guten Zustand, Aufziehschlüssel vorhanden, die Uhr sollte revidiert/restauriert werden, D. 5 cm Bag clock with alarm, Geneva, 1690/1700. De Choudens (Geneve), champlevé dial, silver case with floral and ornamental openwork, bronze bell supplemented from the period, movement and alarm functioning in a very authentic condition corresponding to the age, winding key available, the clock should be revised/restored
An Art Deco 400-day torsion clock in orange/ bronze lacquer finish, mounted on a rare turned alabaster base, movement marked for Keininger & Obergfell, K&O, with original heavy glass dome, lacquered brass 4-ball pendulum, 30cm tall with dome. From a large private collection.Clock generally in good order, from private collection, dial is in very good condition for this type of clock, escapement works, suspension intact, minor lacquer loss to the pillars and pendulum balls commensurate with age, alabaster base generally good with some minor chips, correct hands.
Kleine Bordkanone aus Bronze, niederländisch kolonial, 1. Hälfte 18. Jhdt. Bronze mit grünlich-bräunlicher Alterspatina. Rundes, leicht konisches Rohr mit Bandgliederung und verstärkter Mündung. Glatte Seele im Kaliber 37 mm. Über der Kammer reliefierte Ornamentkartusche, Länge 86 cm, Gewicht 34 kg. Zustand: IIA bronze barrel of a small ship cannon, Dutch colonies, 1st half of the 18th century Bronze with a greenish-brown age patina. The round, slightly conical barrel segmented by bands, with a reinforced muzzle. Smooth bore in 37 mm calibre. A raised ornament cartouche at the breech, length 86 cm, weight 34 kg. Condition: II
Windbüchse in der Optik eines Radschlossgewehres, deutsch, um 1700Glatter oktagonaler Bronzelauf im Kaliber 9 mm, Seele leicht rau, auf der Oberseite späteres eingeschobenes Messingkorn und geschnittene eiserne Kimme. Fein graviertes Schloss mit glatter Schlossplatte, Stecherabzug. Beschnitzter Vollschaft (leichte Altersspuren) mit gravierten Beineinlagen, Garnituren aus Horn und Eisen sowie Kolbenfach, dieses mit Horndeckel (kleine Fehlstelle), darin ein Spannschlüssel. An der Unterseite des Kolbens Entriegelungsknopf für die Kolbenplatte, um Zugang zum Spannmechanismus zu gewähren. Länge 117 cm.Frühe Windbüchse in ungewöhnlicher und seltener Ausführung. Zustand: II -A German air rifle, disguised as a wheellock rifle, circa 1700Smooth octagonal bronze barrel in 9 mm calibre, slightly rough bore, later fitted with a dovetailed brass front sight and chiselled iron rear sight. Finely engraved lock with smooth lockplate, set trigger. Carved full stock (moderate signs of age) with engraved bone inlays, horn and iron furniture, the patch-box with horn lid (small chips) and wrench. The underside of the buttstock with a release button for the buttplate, giving access to the tensioning mechanism. Length 117 cm.Early, unusual and rare version of an air rifle.Condition: II -
A pair of bronze and ormolu Empire style candlesticks, tri-angular in form with scrolled stylised birds supporting the sconces, on lion paw feet, 23.5 cm high (not including candles).Qty: 2Condition report: One with slightly loose upper well, light wear commensurate with age, otherwise good.
A HARAPPAN PAINTED TERRACOTTA BOWL, LOWER INDUS REGION, PAKISTAN, CIRCA 2500-1500 BC with straight, gently flared sides and flat base, the sides painted with line and repeated hatched lozenge design 7.2cm high; 10.7cm diameter Provenance: Private Collection, London The bronze age Indus Valley, or Harappan Civilisation lasted over two millenia, but it was at its peak of prosperity around 2000 BC. It was noted for being one of the worlds earliest settled urban cultures with clear indications of town planning, with sophisticated water supply and drainage and brick-built private and public buildings. Amongst more than 1000 sites, the best known are Mohenjo Daro and Harappa.
Filigranes Kunstkammerobjekt in der Art von Trapani-Korallenarbeiten, Italien, 19. Jhdt. Frei stellbar. Holz und Modelliermasse, gestuckt, teils geschnitzt und gefasst. Auf vier vergoldeten Tatzenfüßen in Bronze der runde, gedrechselte und ebonisierte Holzsockel mit reichem Emaillebesatz. Darauf ein vollrund gearbeiteter "Korallenbaum" mit diversen Vögeln, Eichhörnchen, Schnecke, Frosch und Salamander, wohl in Stuck geschnitzt sowie in Rot und Weiß gefasst. Unter kleinem Glasdom. Unterhalb altes Etikett. Minimale Altersspuren. Höhe ca. 22 cm.Zustand: IIA delicate Italian Kunstkammer object in the style of Trapani coral pieces, 19th century Free-standing. Wood and modelling clay, stucco, partially carved and painted. The round, turned and ebonised wooden pedestal with lavish enamelling, mounted on four claw feet in gilt bronze. Supporting a fully round "coral tree" with various birds, squirrels, a snail, a frog and a salamander, presumably carved in stucco and painted red and white. Under a small glass dome. An old label underneath. Minimal traces of age. Height circa 22 cm.Condition: II
Anatomisches Modell in Bronze, wohl deutsch, um 1900 Vollplastisch und anatomisch korrekt ausgeführter Bronzeguss, teilweise fein ziseliert und mit honigfarbener Patina. Interessantes Sammlungsobjekt, wohl als Memento Mori gearbeitet. Leichte Altersspuren. Bronze teils berieben. Maße ca. 5 x 8 x 10 cm.Zustand: I - IIA probably German anatomical bust in bronze, circa 1900 Foully round and anatomically correct bronze cast, partly finely engraved. Brownish patina. Interesting collectible object, probably intended as a memento mori. Minor traces due to age. Patina partly worn. Dimensions circa 5 x 8 x 10 cm.Condition: I - II
Ein Paar imposante Charles X-Girandolen, Frankreich, um 1830 Sechsflammig. Fein ziselierte Bronze grünlich patiniert sowie teilweise feuervergoldet. Allseitiges Palmetten- und Akanthusblattdekor. Auf der dreipassigen, getreppten Plinthe mit vergoldetem Zierfries die Tatzenfüße. Darauf der mehrfach gegliederte Schaft, dieser kanneliert und sich nach oben verjüngend. Abschließendes und vergoldetes Kapitell in Blattdekor. Darin fünf Leuchterarme um einen weiteren, zentralen Leuchter platziert. Alle Tüllen vorhanden. Höhe 85,5 cm.Zustand: I - IICondition Report:Bemerkenswert guter Gesamtzustand. Minimale Alters- und Gebrauchsspuren. Vergoldung partiell leicht berieben. Schöne gewachsene Patina.An imposing pair of French Charles X girandoles, circa 1830 Six-armed. The finely chased bronze with a greenish patina, fire gilt in places. Palmette and acanthus leaf décor on all sides. The paw feet on the stepped, trefoil plinth with a gilt decorative frieze. On the plinth, the fluted shaft in several sections, tapering upwards. The gilt capital embellished with foliage at the top. Five candelabra arms arranged around a sixth, central candle holder. Complete with all sockets. Height 85.5 cm.Condition: I - IICondition Report:Overall in remarkably good condition. Minimal traces of age and use. The gilding slightly abraded in places. Beautiful patina.
Gotischer Kerzenleuchter, Frankreich, 14. Jhdt. Bronze mit grünlich-schwärzlicher Alterspatina. Runde Tropfschale mit leicht erhöhtem Rand auf drei einfachen Standfüßen. Alte Reparaturstelle im Übergang von einem Fuß zur Schale. Runder Schaft mit konischer, seitlich offener Tülle, seitlich zwei kleine Handhaben. Höhe 10,2 cm.Zustand: II -A French Gothic candlestick, 14th century Bronze with greenish-blackish age patina. Round drip pan with slightly raised rim on three plain feet. Old repair at the transition from one foot to the pan. Round stem with conical, laterally open socket, one small handle on either side. Height 10.2 cm.Condition: II -
Tintenstand im Stil der Renaissance, Italien, 19. Jhdt. Bronze, dunkel patiniert, und Messing. Auf vier Renaissance-Füßen die rechteckige profilierte Plinthe. Darauf die vollplastisch gearbeitete Bronze in Form von zwei Atlanten, welche die große stilisierte Weltenkugel tragen. Darin gedeckelter Messingeinsatz sowie -fässchen für die Tinte. Abschließender 1/3-runder Deckel mit Knauf. Maße 22 x 22 x 13 cm. Leichte Alters- und Gebrauchsspuren. Patina minimal berieben.Zustand: II +An Italian inkstand in the style of the Renaissance, 19th century Bronze, dark-patinated, and brass. The rectangular, profiled plinth on four Renaissance feet. On top of it the fully sculptured bronze in the form of two atlases supporting the large stylised globe. Inside are a brass insert with a lid and a small container for the ink. 1/3 round closing lid with knob. Dimensions 22 x 22 x 13 cm. Slight signs of age and wear. Patina minimally rubbed.Condition: II +
Keulenkopf, Luristan, Frühe Bronzezeit, 3. Jtsd. v. Chr. Hülsenartiger Keulenkopf aus Bronze. Der obere Teil der zylindrischen Röhre ist mit drei Reihen kurzer Stacheln versehen. Dazwischen breite Felder mit dekorativem Flechtwerk. Schöne Patina. Intakt. Länge 20 cm.Provenienz: Aus portugiesischer Privatsammlung, erworben 2002 auf dem britischen Kunstmarkt. Zuvor Sammlung Axel Guttmann.Zustand: II -A Luristan bronze macehead, Early Bronze Age, 3rd millennium B.C. A tubular bronze macehead. Three rows of short spikes on the upper half, separated by fields with decorative ornaments. Beautiful patina. Intact. Length 20 cm.Provenance: Portuguese private collection, acquired 2002 on the British art market. Previously Axel Guttmann Collection.Condition: II -
Große Bronzeapplike mit dem Haupt einer Göttin, römisch, 1. - 2. Jhdt. Beeindruckende Applike einer gekrönten Göttin. Sie trägt das Haar in der Mitte gescheitelt, seitlich fallen ihr jeweils drei dicke Lockenzöpfe in den Nacken. Die Göttin trägt ein prunkvolles Diadem mit zentralem Medaillon. Das Gesicht mit gerader, spitzer Nase, der Mund leicht geöffnet, die Augen zwischen dicken Lidern trugen wohl einst Silbereinlagen. Der Hals ist lang und dünn, mit seitlich zwei und unten mittig je einem Löchlein, wohl zur Befestigung. Wahrscheinlich schmückte diese prachtvolle Applike einst ein bedeutendes römisches Möbelstück. Schöne grüne Alterspatina. Winziges, unauffälliges Löchlein links unten am Übergang Wange zu Haupthaar. Montiert auf einen passenden Plexiglasständer. Abmessungen 16,5 x 9,3 x 7 cm, mit Standfuß 22cm hoch. Gewicht 520 g.Provenienz: Aus Basler Privatsammlung, erworben in den 1970er/1980er Jahren. Zum Verkauf angeboten von Schuler Auktionen, Zürich, im Dez. 2017, Los 1258.Zustand: IIA Roman bronze appliqué depicting a goddess, 1st - 2nd century Large, splendid appliqué of a crowned goddess. Her hair parted in the middle, three thick curly braids on either side falling into her nape. Her head is adorned by an ornate tiara with a central medallion. Face with straight, pointed nose, the lips slightly parted, the eyes, set between contoured eyelids, probably originally decorated with silver inlays. The neck is long and slender, with one small hole on either side and a separate hole at bottom centre, probably for mounting. This splendid appliqué was probably an adornment for an important piece of Roman furniture. Fine green age patina. Minuscule, barely noticeable hole on the left side at the transition between cheek and hair. Mounted on a matching acrylic glass stand. Dimensions 16.5 x 9.3 x 7 cm, with stand 22 cm. Weight 250 g.Provenance: From a private Basel collection, purchased in the 1970s/1980s. Offered for sale by Schuler Auctions, Zurich, in Dec. 2017, lot 1258.Condition: II
Faltbares Dreifußgestell mit großem Becken nach griechischem Vorbild, um 1800 Bronze. Zusammenklappbares Dreifuß-Gestell. Die Beine mit Tatzenfüßen und als Knospen gestalteten oberen Abschlüssen. Höhe 74 cm. Halbrundes Becken mit abgesetztem profilierten Rand mit ionischem Kymation. Durchmesser 40,5 cm. Schöne grüne Alterspatina. Dazu als Einsatz eine einfache Blechschüssel. Zustand: IIA folding bronze tripod stand with large bowl, circa 1800 Legs with paws and upper finishes designed as buds. Height 74 cm. Semi-circular basin with an offset profiled rim with ionic cymation. Diameter 40.5 cm. Beautiful green age patina. A simple tin bowl as an insert. Condition: II
Renaissance-Skulptur eines Satyrn, Italien, 17. Jhdt. Modell nach Severo da Ravenna. Vollplastisch ausgeführte Bronze, diese dunkel patiniert. Auf späterem Holzsockel die kniende Figur eines Silen, in seiner rechten Hand die Reste eines Weinkelches haltend. Die Skulptur ist eindeutig in triebhaftem Zustand dargestellt. Gesamthöhe 20 cm. Leichte Altersschäden. Die linke Hand bestoßen. Der Kelch nur fragmentarisch erhalten. Ein Horn fehlt. Derartige Satyrstatuetten waren als Schreibtischutensil gebräuchlich und gehörten im 16. und 17. Jhdt. zu den beliebtesten Ausstattungsstücken der Studierzimmer. Das von Severo da Ravenna um 1520 geschaffene Modell wurde daher in zahlreichen Repliken und Varianten wiederholt.Zustand: II - IIIAn Italian Renaissance sculpture of a satyr, 17th century Model after Severo da Ravenna. Fully plastic bronze, darkly patinated. On a later wooden base the kneeling figure of a silenos holding the remains of a wine goblet in his right hand. The sculpture is clearly shown in a libidinal state. Total height 20 cm. Slight damage due to age. The left hand bumped. The chalice only fragmentarily preserved. One horn is missing. Satyr statuettes of this kind were common as desk utensils and were among the most popular pieces of furniture in study rooms in the 16th and 17th century. The model created by Severo da Ravenna around 1520 was therefore repeated in numerous replicas and variations.Condition: II - III
A bronze bust of a young boyPossibly by Oliver MesselUnsigned22cm highCondition report: Overall in good condition. Some minor rubbing to the patina as to be expected with age. There are two mounting apertures to the underside for the head to be secured to a plinth base. There are two incised lines to the back of the head, a horizontal I and L, as part of the cast. See additional photographs.
A pair of French gilt-bronze Sevres style six light candelabraCirca 188059cm highCondition report:- Evidence of restoration and loss to gilding at the top baluster section of the ceramic central column of one candelabra. - Signs of solder repair to the base of one branch.- Would benefit from a thorough clean, overall dirt and dust commensurate with age.
20th-mid 17th century BC. An anthropomorphic terracotta lamp, boat-shaped and with curved base, the side walls with peaked front and raised back with a stylised human face with wide arched eyebrows joining at the centre with a straight nose, prominent circular eyes; conical projection at the top.See Smith, R.H., 'The Household Lamps of Palestine in Old Testament Times' in The Biblical Archaeologist, Vol. 27, No.1, Feb, 1964, pp.1-31, fig.1, for the same typology without the raised back.205 grams, 13cm (5"). Property of a gentleman from Jerusalem; previously in an old Israeli collection; accompanied by a copy of Israeli export permit number 44007.This singular lamp belongs to the Middle Bronze Age IIa period. Its stylised face can be compared with terracotta bird face idols related to the period of the early Hittite invasion in Syria and in Canaan. The lamp shape can be compared with the Canaanite lamps of the period. When the chariot warriors and city-builders of the early 2nd millennium BC arrived in Canaan, they fashioned a simpler lamp by putting a single spout on one side of a bowl. The development of the saucer lamp through the Middle and Late Bronze Ages consisted mainly of the evolution of the spout into an increasingly large and well-defined feature of the lamp. For this specific lot, 5% import VAT is applicable on the hammer price Fine condition, repaired.
9th-7th century BC. A bronze axehead with slender crescent-shaped blade, the neck formed as a janiform feline head, a fan of feathers emerging from its open mouth; incised scalloped edge to the back edge of the blade; cylindrical shaft surmounted by a hunting scene comprising a lioness attacking a pig from behind, the lioness holding the pig down with its front paws, open jaws with exposed canines and erect tail; mounted on a custom-made stand.Cf. Christie's, The Axel Guttmann Collection of Ancient Arms and Armour, part 2, London, 2004, no.34, for a near identical specimen; the Metropolitan Museum of Art, accession no.1988.102.3, for a Luristan axe of the same typology; the Museum of Fine Arts Boston for another axe of the same typology, accession no.30.544-30.637; Khorasani, M.M., Arms and Armour from Iran. The Bronze Age to the End of the Qajar Period, Tübingen, 2006; Khorasani, M.,M., ‘Bronze and iron weapons from Luristan’ in Antiguo Oriente: Cuadernos del Centro de Estudios de Historia del Antiguo Oriente 7, 2009, for discussion.514 grams total, 18.5cm including stand (7 1/4"). Property of a gentleman from Jerusalem; previously with Hadji Baba Ancient Art, London, UK, in 2000; accompanied by a copy of Israeli export permit number 43725; accompanied by an archaeological expertise 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.10590-174112.The Luristan bronze axes can be divided in the following categories: a) bronze shaft hole axes with a long shaft, sometimes decorated with ribbed bands; b) spike-butted axes with ablade left plain or ornamented with figures; c) bronze axes with leaf-shaped protuberances on the butt; d) bronze axes with figures on the blades; e) crescent-shaped axes. This last category has been analysed by Khorasani, who says ‘It is interesting that a lion’s head motif appears as a decorative feature on many axe-heads. The lion’s open jaw forms the base of the axe head, and the blade is attached to this; the lion is a symbol intended to give the weapon the strength of the most powerful beasts of the animal kingdom.' An axe in the National Museum of Teheran has, as our specimen, a base composed of the head of a lion with gaping jaws. The presence of the lion as the preferred animal for axe decoration is also attested in category (c), as visible in a specimen from Saqqiz, decorated by a statuette of a lion standing upon the straight edge of the axe’s blade (Khorasani, 2006, p.263, fig.31"). For this specific lot, 5% import VAT is applicable on the hammer price Very fine condition.
Late 2nd-mid 1st millennium BC. A bronze dagger with prominently curved or winged guard, extending out from the ricasso and partly framing the tang, once covered by an organic hilt; the thick midrib extending slightly above the ricasso.Cf. Muscarella, O.W., Bronze and Iron: Ancient Near Eastern Artifacts in The Metropolitan Museum of Art, New York, 1988, item 165, for type.198 grams, 45cm (18"). Ex Japanese private collection, formed 1970-2010.Many examples of these blades have been excavated in the South Caspian area at Ghalekuti, and in the area of Talish. They have been found primarily in Iron Age graves, although the curves of the guards are reminiscent of the barbed arrow and javelin heads associated with Bronze Age Marlik. This is why some scholars (Dyson) dated them to the second millennium BC and others (Muscarella) to the recent Iron Age. It is possible that this style represents continuity from the Bronze to the Iron Age. [No Reserve] Fine condition.
Mid 12th-9th century BC. A bronze dagger with lentoid-section blade tapering to a rounded point, raised median panel, hilt with shallow socket to each side to receive wood or bone scales, serrated edges.Cf. Khorasani, M.M., Arms and Armour from Iran. The Bronze Age to the End of the Qajar Period, Tübingen, 2006, item 8, for type; Musee' Cernuschi, Bronzes de Luristan, enigmes de l'Iran Ancien, IIIe-Ier millenaire av. J.C., Paris, 2008, cat.26, p.84.390 grams, 37.5cm (14 3/4"). Property of a London collector; from her family's private collection; formerly with a London gallery; acquired in the 1990s.This type of weapon is common among daggers and dirks attributed to Luristan. The dating of these flanged daggers can be done in a precise way, thanks to the inscriptions and the results of the excavations. Another index for dating is the length of the weapons, in this period ranging between 30 and 40 cm. Fine condition.
10th century BC. A bronze dirk with flanged hilt and crescent pommel, two angular indentations visible on each side of the guard; the triangular blade tapering to the sharp point.Cf. Khorasani, M.M., Arms and Armour from Iran - The Bronze Age to the End of the Qajar Period, Tübingen, 2006, p.379, item 9.373 grams, 41.5cm (16 1/4"). Ex Japanese private collection, formed 1970-2010.The dirk belongs to the type I of the Medvedskaya classification, a type of weapon very common among Luristan daggers. Its main characteristic is the flanged hilt, destined to receive the bone inlays forming the organic components of the handle. Fine condition.
14th-10th century BC. A bronze short sword or dagger with slender triangular blade, low midrib with flat upper face, annular guard and scooped shoulders, columnar grip with three gusseted hoops, crescent pommel; mounted on a custom-made stand.Cf. Khorasani, M.M., Arms and Armour from Iran. The Bronze Age to the End of the Qajar Period, Tübingen, 2006, items 42, 43.1.1 kg total, 54cm including stand (21 1/4"). Property of a Kensington gentleman; acquired from a private Austrian collection in 1993; the collection formed between 1968-1980; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no. 10685-174370. Fine condition.
2nd century BC-1st century AD. A substantial bronze figure in the form of a standing wild boar or pig, with body tapering towards the back legs, tail indicated, tall mane, broad neck and cylindrical snout, nostrils indicated, raised eyes and erect ears.See Foster, J., Bronze Boar Figures In Iron Age and Roman Britain, Oxford, 1977, p.12, fig. 6, for a similar boar.125 grams, 65mm (2 1/2"). Property of a Hertfordshire, UK, gentleman; acquired from a London gallery; previously on the London art market in the 1990s; reputedly found Faversham, Kent, UK, prior to 1960. A video of this lot is available to view at TimeLine Auctions website. Fine condition.
9th-12th century AD. A bronze figure of a standing male with legs bent outwards, erect penis gripped by the hands, elongated head with pellet eyes, moustache and headdress; mounted on a custom-made stand.See discussion in Price, N., 'What's in a name? An archeological identity crisis for the Norse gods (and some of their friends)' in Andrén, A., Jennbert, K., Raudvere, C. (eds.), Old Norse Religion in Long-term Perspectives: Origins, Changes, and Interactions, Lund, 2006.92 grams total, 70mm including stand (2 3/4"). From the family collection of a UK gentleman, by descent in the early 1970s; previously acquired before 1960.The figure is dated to the Viking Age and has an erect penis, so it is assumed to be the god Freyr. This is due to an 11th century description (Adam of Bremen, Gesta Hammaburgensis ecclesiae pontificum ) of a phallic Freyr statue in the temple at Uppsala, Sweden, but the identification is uncertain. It has also been suggested that the figure might be a gaming piece, although it is not free-standing and thus would have needed to be supported for that use. If it is the image of a god, it could be a small, devotional statuette of a type mentioned in Old Norse sagas, similar to the Freyr figurine from Rällinge, Sweden, or the bronze seated figure from Eyrarland, Iceland. Fine condition.
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