There are 12576 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeBILDHAUER DES 19.JH. "Bronzestatue einer Vestalin" Wohl Frankreich, 19.Jh., Standfigur in dunkel brünierter Bronze, die junge Vestalin auf quadratischer Fußplatte, H: 23 cm. (mit Sockel) Altersspuren, rechter Fuss besch. SCULPTOR OF THE 19TH C. "Bronze statue of a vestal virgin". Probably France, 19th c., standing figure in dark burnished bronze, the young Vestal Virgin on a square base, h: 23 cm. (with base) signs of age, right foot dam.
SKULPTUR EINES FAUNS Nach Vorlagen der Antike, wohl Italien, 19. Jh., Bronze grün patiniert, Flöte spielender, tanzender Faun auf profiliertem Rundsockel, H 24 cm. Altersspuren, Flöte besch. SCULPTURE OF A FAUN Based on antique models, probably Italy, 19th century, green patinated bronze, a dancing faun playing a flute on a profiled round base, h 24 cm. Signs of age, flute dam.
TANZENDER FAUN Wohl Italien, 20.Jh., Metallguss (Galvanoplastik) patiniert, Skulptur eines Fauns in tänzerischer Bewegung nach dem berühmten Vorbild aus der Casa del Fauno in Pompeji, die originale Bronzeskulptur, die im 1. Jh. v. Christus geschaffen wurde, wurde beim Ausbruch des Vesuvs 79 n. Chr. verschüttet und 1830-32 ausgegraben. Sie ist im Nationalmuseum Neapel zu besichtigen, H: 66 cm. Normale Altersspuren. DANCING FAUN Probably Italy, 20th c., sculpture of a faun in dancing movement after the famous model from the Casa del Fauno in Pompeii, the original bronze sculpture, created in the 1st c. BC, was buried during the eruption of Vesuvius in 79 AD and excavated in 1830-32, It can be seen in the National Museum Naples, H: 66 cm. Normal signs of age.
Celtic Harness Brooch. This amazing piece of Ancient British horse furniture dates back to the mid 1st century AD and was discovered in Buckinghamshire. Measuring a substantial 172mm x 128mm and weighing in at 169g this is a really impressive artefact. Horse brooches, as they are known, are thought to have been used with a blanket or caparison, a cloth covering for a horse. It is likely that a leather fixing strap ran through the loop, with the brooch itself pinned to the cloth to cover the junction between strap and fabric. Items of very high status, they are rare finds with only a handful of known examples from Britain. This example is exceptional not only in its size, but also in its state of preservation. Roughly T-shaped in plan, the brooch is made from cast copper-alloy, most probably bronze with a high tin content. This type of high-tin alloy allows for fine casting work and can be polished to give a reflective silvery surface, which is still partially evident on this brooch. It was cast in two pieces, the larger brooch element having an integral lug on the reverse which fits through a piercing in the straight piece allowing for almost 180 degree articulation. The reverse of the brooch is furnished with pair of hinged lugs for the pin and a substantial catchplate. Although the pin itself is missing , rust within the hinge indicates that it was made of iron, as on the other known examples. The reverse of the straight element has a rectangular strap loop at the terminal and, towards the centre shows some ghosting of the frontal design. This is a result of metal shrinking within the mould as it cools and shows that the decoration was cast rather than applied later. The sharpness of the design however indicates it was finished off by hand after casting along with the addition of finely incised linear borders. The front face of the brooch is decorated with champlevé enamel (or red glass) forming a flowing pattern of opposed scrolls with tips that curl like breaking waves. The pattern is replicated in more simplistic form on the terminal at the base of the ‘T’. Emerging from the centre of the upright is a vesica-shaped panel containing a roundel with two circular cells for enamel/glass (now missing). There are two further cells at the junction with the main body. The decoration is in the tradition of the ‘South Western Style’, some of the finest displays of which come from the Polden Hill hoard. The Polden Hill hoard was discovered in June 1800 near Bridgewater, Somerset, when ploughing on a hilltop uncovered around 90 items of late Iron age metalwork which had been concealed in a pit lined with burned clay. The contents included horse harness and chariot fittings, brooches, tools and weapons. Many of the horse and chariot trappings are beautifully decorated and inlaid with red glass. The hoard has been dated to AD 50-70. It contained 24 terret rings, enough to furnish many chariots, but only three horse brooches, implying that very few Iron age chariots would be decorated in such a manner. These were the fashion statements of the elite. Horse and chariot trappings were highly prized possessions and there are numerous examples of terret ring and harness fittings hoards from this period, often of very high quality. It is unclear whether these hoards were buried for safekeeping or given as votive offerings to the Gods. The size of this brooch, its prized status and its dual attachment mechanism make it very unlikely to be a casual loss. More probable is that it was carefully placed in the ground for the above reasons. Buckinghamshire, where this wonderful brooch was found, was once the territory of the Trinovantes and the Catuvellauni, two of the most powerful, and apparently richest, tribes in Ancient Britain. The ‘richest’ claim is based on coin evidence, almost 3000 of their gold coins are recorded on the PAS database and a recent hoard of over 1000 Whaddon Chase type staters will significantly add to that total. Their most famous king, Cunobelin, is estimated to have minted over 1,000,000 gold staters! Two other rulers, Tasciovanos ‘Killer of Badgers’ and Andoco both issued gold staters with a flamboyant design incorporating several hidden faces. The Celts enjoyed employing hidden imagery within their art and this brooch is no exception. Staring out from the base of the brooch can be seen a distinctive face with curving moustache, directly paralleled on the aforementioned gold staters.The use of matching motifs on both coins an artefacts is well known in the Iron age, the Iceni tribe being particularly fond of this, and a gold quarter stater of the Cantiaci actually features a horse brooch on the reverse. Some enamel loss and slight pitting to the surfaces, broken across the pivoting element, otherwise very fine condition.Published in The Searcher magazine March 2021 'Chieftain Chariot Brooch' pp18-22 and featured on the front cover. Recorded on the Portable Antiquities Scheme database: DENO-2BAD49.References:Fox, Sir Cyril Triskeles, Palmettes and Horse Brooches.Brailsford,J. W. The Polden Hill Hoard.Jope, E. M. Early Celtic Art in the British Isles, plates 298-299.
Celtic Bronze Bust. Circa 1st century BC - 1st century AD. Copper-alloy, 25.16 grams. Size: 24.93 mm. An Iron Age terminal / finial in the form of a bust depicted wearing a cap that covers the entire head. The facial features are worn which suggests it was used / handled regularly giving some indication to its original use. Mills, notes various forms of Celtic head used as mounts, pin terminals and figurines. Ref: Mills, Celtic & Roman Artefacts. p. 22-23.
Roman Bronze Figurine. Date unknown. Copper-alloy, 15.30 grams. Size: 41.71 mm. A cast bronze figurine in the form of a male standing figure. Head facing right, his left hand resting on the top of his scabbard and his right hand holding the sword as if posed to draw. The piece certainly has a lot of age but an exact reference has not been found. From an old collection of metal detector finds.
Rare Iron Age Spear Ferrule. Circa 2nd - 1st century BC. Size: 37.00 mm. A cast bronze ferrule of an elaborate design. The ferrule was the end terminal of a spear and in many cases usually quite plain. The example has a circular stepped collar at the butt end that joins a conical neck that terminates with a banded decorative collar and a plain concave disk. Ref: for similar example see. British Museum Guide to EarlyIron Age Antiquities 1925. p. 158. fig, 190.
Celtic Bronze Lynch Pin Terminal. Circa, 1st century BC. Size: 36.05 x 26.99 mm. A heavy cast bronze terminal originally attached to a large iron pin for securing wheel hubs to chariots. This example is simply decorated with a circular recessed panel on the up side of the body and three more on the semi-circular face plate. Ref: James & Rigby, Britain and the Celtic Iron Age. p. 60. fig, 68. R.A.Smith, 1925. p. 141. fig, 157.
Duck, bronze, originally conceived in marble in 1914 and cast in bronze in 1964-68 in an edition of 12, and one further cast in lead on behalf of H.S. (Jim) Ede 12 cm longFootnote: Provenance: The Peter Simpson Collection, probably acquired directly from Jim Ede Literature: A. Hammacher, Modern English Sculpture, London, 1967, p. 54, another cast illustrated. R. Cork, Vorticism and Abstract Art in the First Machine Age, Volume II, Synthesis and Decline, London, 1976, pp. 433-34, marble illustrated. R. Cole, Burning to Speak, The Life and Art of Henri Gaudier-Brzeska, Oxford, 1978, p. 108, pl. 55, another cast illustrated. R. Cole, Gaudier Brzeska Artist and Myth, Bristol, 1995, pl. 32, another cast illustrated. E. Silber, Gaudier-Brzeska: Life and Art, London, 1996, p. 272, no. 90, pl. 132, marble illustrated. Born in 1891 in Saint Jean-de-Braye, France, Henri Gaudier-Brzeska’s life was tragically brief, dying in the trenches in 1915, aged only 23. However, as a founding member of the London Group, a leading proponent of Vorticism and abstract sculpture, and as, perhaps, the most instrumental figure in exporting Modern Art to the United Kingdom, Gaudier-Brzeska’s life cannot be defined only by its appalling brevity, but also by his outstanding legacy and contributions to art in the 20th century. In 1912, two years after his move to London, a seismic shift took place in Gaudier-Brzeska’s life when he met one of his greatest influences, Jacob Epstein. After meeting Epstein, Gaudier-Brezeska’s work became increasingly influenced by non-Western art and artefacts, specifically those of Pacific Island, West African, Indian, and Assyrian cultures, and away from the dominating influence of Greek sculpture. Cast between 1964 and 1968 from an original model carved directly from marble in 1914, the present lot was one of a number of ‘pocket sculptures’ carved by Gaudier-Brzeska very shortly before he enlisted in the French Army. Composed from simple geometric forms abstracted from both the natural and mechanical world, the head for example resembles a hammer and the tail an arrowhead. Duck is reflective not only of Gaudier-Brzeska’s artistic concerns and influences, but also of the wider social context of life in an increasingly industrial world.
A French verdigris bronze and glazed hanging lantern, late 19th century, of octagonal section, the domed top cast with acanthus scrolls, approximately 120cm long excluding hanging chain, 63cm diameterCondition Report: Marks, knocks, scratches and abrasions commensurate with age and use. As catalogued lantern with verdigris and oxidisation to surface throughout. Some chips and losses to the surface. One pane of glass lacking.Hinged glazed panel is seized shut. No internal fixtures or wring present. Please refer to additional images for visual reference to condition. Measurements of the lantern itself (not including rod)- 115cm high, 70cm wide overall.Condition Report Disclaimer
A Chinese bronze censer with stylised lion mask handles bearing faux Qianlong four character mark to base, raised on a circular foot, 17 cm wide handle to handle x approx 14 cm diameter x 6.2 cm high CONDITION REPORTS Basically sound though with many scuffs, dents, minor surface scratches particularly to the rim, conducive with age and use and a repair which may or may not be part of the original construction of rivet size with crack vertically above it. See images for further detail. The weight of this is 1162 grams.
Ritual-Bronzetrommel Vietnam Dong-Son Periode Bronzetrommel aus der Dong Son-Kultur oder auch die L?c Vi?t- Kultur (benannt nach Ðông Son , einem Dorf in Vietnam) (circa 4 bis 3 Jh. vor Christus) war eine bronzezeitliche Kultur im alten Vietnam , die sich von 1000 v. Chr. bis zum ersten Jahrhundert n. Chr. im Red River Valley im Norden Vietnams befand. Die Kultur von Dong Son wurde nach diesen gegossenen, mit gravierten Verzierungen versehenen kultischen Musikinstrumenten "Kultur der Bronzetrommeln" benannt. Ihre Form ist vermutlich indonesischen Ursprungs, doch fließen auch südchinesische Einflüsse mit ein. Die Ornamente zeugen von einer indisch-ozeanischen Urkultur. Die von oben gesehenen Darstellungen sind innerhalb des ornamentgeschmückten äußeren Kreises, der durch die ebenfalls mit Ornamenten ausgeschmückten beiden Bänder unterteilt ist, in 3 Zonen angeordnet. Sie reichen bis zum Rande der kreisförmigen Verzierung , die den im Zentrum befindlichen erhabenen Stern-Symbol der Sonne umrahmt. In der äußeren Zone sind stilisierte Fische und Vögel, in der mittleren Zone Vögel und andere Tiere (als mythologische Symbole), in der inneren Zone sind Bilder aus dem Leben dargestellt: arbeitende Menschen, Szenen des Reispflanzens und Bootsbauens, tanzende Gestalten usw. H: ca. 65 cm, ca. 75 cm Literatur: Die Kunst Vietnams, Verzeichnis der Tafeln Seite 39 Nr. 1, 2 und 3, Abb. Seite 57, 58 und 59. Provenienz: alte Sammlung Berlin Ritual bronze drum Vietnam Dong-Son period bronze drum from the Dong Son culture or the L?c Vi?t culture (named after Ðông Son, a village in Vietnam) (approx. 4th to 3th century BC) was a bronze age culture in ancient Vietnam that dates from 1000 BC until the first century A.D. in the Red River Valley in northern Vietnam. The culture of Dong Son was named after these cast cultic musical instruments "culture of bronze drums", emblazoned with engraved ornaments. The shape is probably of Indonesian origin, but southern Chinese influences are also included. The ornaments bear witness to an Indian-oceanic primal culture. The representations seen from above are arranged in 3 zones within the ornamentally decorated outer circle, which is divided by the two bands, which are also decorated with ornament. They reach up to the edge of the circular ornament that frames the sun's lofty star symbol in the center. The outer zone is decorated with fishes and birds, the middle zone is decorated with birds and other animals (as mythological symbols), in the inner zone are pictures presented from life: working people, scenes of rice planting and boat building, dancing figures etc. height: approx. 65 cm, approx. 75 cm literature: Die Kunst Vietnams, directory of the panels page 39 number 1, 2 and 3, pictures page 57, 58 and 59. provenance: old collection Berlin
1st–2nd century AD. A large rectangular incense shovel with shallow pan, the long edges with raised foliate decoration; U-section handle with ram's head finial, the other end with a superb theatrical mask of Silenus. See Yadin, Y., ‘The Finds from the Bar-Kokhba Period in the Cave of Letters’, in Israel Exploration Society, Jerusalem, 1963, pp.48-60; Yadin, Y., Bar-Kokhba, The Rediscovery of the legendary Hero of the Second Jewish Revolt Against Rome, New York, 1971; Weitzmann, K., (ed.) Age of Spirituality, Late Antique and early Christian Art, third to Seventh Century, catalogue of the Exhibition at the Metropolitan Museum of Art, November 19, 1977, Through February 12, 1978, New York, 1979, nos.342-343; Skupi?ska-Løvset, I., ‘Further Examples of Bronze Incense Shovels from Palestine’ in Études et Travaux XXII/2008, Warzawa, 2008, pp.215-223; similar specimen in the Metropolitan museum, accession number 00.13.7.2.2 kg, 35cm (13 3/4"). Property of an East Anglian collector; formerly acquired on the European art market in the 1990s; accompanied by an archaeological report by Dr. Raffaele D’Amato. The batillum was made specifically for ritual use of incense. As proposed by various scholars and as generally accepted these objects (batilla in Latin, mahtah in Hebrew) came from the Jewish tradition and used from the First Temple period to ritually sanctify the menorah. These objects were also used throughout the Graeco-Roman world. Another similar example is known from Pompeii (Yadin, 1963, pl.28"). The style seems to have spanned the eastern and central parts of the Roman Mediterranean. Fine condition.
5th-7th century AD. A substantial cross-shaped ecclesiastical stamp for communion bread (Prosphora or Blessed bread, antidoron), a monogram in Greek letters reading '??????' (of Peter) followed by the letters ??, ring handle soldered to back. See Wamser, L., Die Welt von Byzanz - Europas Östliches Erbe, München, 2004, items 725-726, for type and discussion.70 grams, 50mm (2"). Property of an Austrian private collector since the 1970s. The bigger stamps of bronze are generally known in the relevant literature as bread stamps. This applied to the bread which is consecrated during the Holy Liturgy and then it is given to the believers as Body of Christ (Prosphora) during the Holy Communion, as well as to the bread which is given as a present at the end of the Liturgy, as 'Blessed bread' or Antidoron. Usually, in the Post-Byzantine Age the true bread for the Holy Liturgy (Amnos or Prosphora) is squared or round, but in the Roman times various and different shapes of stamps were used for both breads. The monogram represents the name of the owner, probably the Presbyter using it. Very fine condition.
6th-5th century BC. A sheet-gold figure of a bull with the legs folded beneath the body; the head is that of a human male with detailed beard and conical cap or headdress; the underside includes a portion of silver sheet and a ferrous fragment. 12.94 grams, 41mm (1 1/2"). Property of a London businessman; formerly in a private Japanese collection; accompanied by a copy of a seven page examination report number 84/2014 by Dr. habil. Mikhail Treister dated 26 October 2014, and an expertise from Striptwist Ltd, a London-based company run by historical precious metal specialist Dr Jack Ogden, reference number 160610; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no. 10348-168729. Dr Ogden notes that the 'mode of manufacture is consistent with manufacture in the Early Bronze Age, a date perhaps also suggested by the lack of wings, but the iron component would be more expected in the Early Iron Age. ... It is perhaps not impossible that the gold human-headed bull, decorating a silver vessel or other object, was made in the early Bronze Age then lost or buried. Then ... it was rediscovered in a damaged state, repaired ... and mounted on an iron component...' Very fine condition; with ancient repair.
5th century BC. A bronze helmet of Chalcidian type 2 variant, the crown with carinated perimeter, deep crescentic cheekpieces with small rings for attaching the chin strap, attachment hole on rear edge of cheekpiece for fastening the lining, small nose guard with moulded band around the edge, decorative eyebrow line in relief. See Furtwängler, A., Curtius, E, and Adler, F., Olympia: die Ergebnisse der von dem Deutschen Reich veranstalteten Ausgrabung (Tafelband 4): Die Bronzen und die übrigen kleineren Funde von Olympia, Berlin, 1890; Pflug, H., 'Chalkidische Helme' in Antike Helme, RGZM Monographien 14, Mainz, 1988, pp.137-150; Christie's, The Axel Guttmann Collection of Ancient Arms and Armour, part 1, London, 2002; Christie's, The Axel Guttmann Collection of Ancient Arms and Armour, part 2, London, 2004; ????????? ?. ?., '????? ??????????? ??????? ?? ????????? ??????' (Sarmatian Age Helmets from Eastern Europe), in Stratum Plus, n. 4, 2014, pp.249-284; similar helmets in the British Museum (from Mikrokaraburun, Macedonia, see Pflug, 1988, p.140), Olympia (inv. Nr. Misc. 6385, see Furtwangler, 1890, 170 nr. 1026 pl.63) and in the Guttmann collection (Christie's, 2002, pp.62-63).793 grams, 24cm (9 1/2"). Formerly in the private collection of Mr M B., Mainz, Germany, since the 1990s; ex Axel Guttmann collection; accompanied by an expertise by 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. 10298-168781. Representations of the type 2 Chalcidian helmets are found on Attic pottery as early as the 5th century BC. A beautiful example is the Attic red-figure kylix attributed to the Foundry painter, dated 495 BC (Christie's, 2002, p.62), which confirms the use of these helmets during the Persian Wars (490-479 BC) and that this typology of Hellenic helmets was fitted with a crest. Fine condition, restored.
1st century BC-1st century AD. A relatively light bronze legionary helmet with bulbous domed bowl, small crest knob with flattened top, pierced at the centre for insertion of a crest pin; narrow neck guard with thickened rim; fastening clasps for the cheek-guards inside the bowl. See Robinson, R., The Armour of Imperial Rome, New York, 1975, pls.6-25 pp.18ff; Schaaf, U., 'Etruskich-Römische Helme' in Antike Helme, RGZM Monographien 14, Mainz, 1988, pp.318-326; D'Amato, R., Arms and Armour of the Imperial Roman Soldier, London, 2009; Christie's, The Axel Guttmann Collection of Ancient Arms and Armour, part 1, London, 2002, p.102; Travis, H & J., Roman helmets, Stroud, 2014.885 grams, 21cm (10''"). Formerly in the private collection of Mr M. B., Mainz, Germany, since the 1990s; previously in the Axel Guttman collection; accompanied by an expertise by military archaeologist 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. 10299-168756. The use of the Etrusco-Italic tradition of the 'Montefortino' style helmet continued through the late Consular Age and into the early Imperial period, as shown on the Altar of Domitius Ahenobarbus and on the monument of Flavius Mikkales. Fine condition. Rare.
Early 8th century BC. A broad hammered bronze helmet of conical form, produced from a single sheet of metal, the front with a raised linear motive, three encircling ribs above the brim, the arched ribs with round pointed terminals forming abstract linear motifs resembling eyebrows; pierced holes to the edge for rings for cheek-pieces; mounted on a custom-made display stand. See Borchardt, J., Homerische Helme: Helmenformen der Ág?is in ihren Beziehungen zu orientalischen und europäischen Helmen in der Bronze-und frühen Eisenzeit, Mainz, 1972; Born, H., Seidl, U., Schutzwaffen aus Assyrien und Urartu, Sammlung Axel Guttmann IV, Mainz, 1995; Christie’s, The art of the warfare, the Axel Guttmann collection, Part I, Wednesday 6 November 2002, London, 2001, especially nr.11; Christie’s, The art of the warfare, the Axel Guttmann collection, Part II, Wednesday 28 April 2004, London, 2004, n.33; Dezs?, T., Near Eastern Helmets of the Iron Age, (British Archaeological Reports, S992), Oxford, 2001; Gorelik, M., Weapons of Ancient East, IV millennium BC-IV century BC, Saint Petersburg (2003) in Russian; similar helmets in Borchardt, 1972, pp.103ff., esp. pl.35 cat.24,VI,1; Christie’s, 2004, p.35; other parallels in Gorelik, 2003, pl.LXI n.77, from the surroundings of the Lake Urmia, preserved in Tokyo, Museum of the Ancient East.2.5 kg total, 51cm including stand (20"). From a UK private collection, 1960s; accompanied by an archaeological report by 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. 10512-171102. It has been suggested by Born and Seidl that the abstract motif may represent either a lightning bolt, a pair of antlers, a sacred tree or possibly a stylised winged sun. One cannot exclude the possibility that it was a heraldic symbol (tamga) of some Urartian family. Fine condition.
6th century BC. An iron dagger with hilt clad in sheet-silver and shaped as the head and neck of a horse, the mane of the horse in low-relief, large suspension ring to the side of the hilt; a sheet-silver mount with guttering mounted on a modern acrylic scabbard for display. See Schmidt, E.F., Persepolis II, Contents of the Treasury and other discoveries, Oriental Institute Publications Volume LXIX, Chicago, 1957; Zoka, Y., Arteshe Shahanshahi Iran Az Kurosh Ta Pahlavi (The Royal Army of Iran from Kurosh to Phalavil), Tehran, 1971; Head, D., The Achaemenid Persian Army, Stockport, 1992; Khorasani, M.M., Arms and Armour from Iran - The Bronze Age to the End of the Qajar Period, Tuebingen, 2006.495 grams, 43cm (17"). Previously in the collection of a respected gentleman, acquired before 1985; 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.10486-171119. According to Zoka, the Achaemenids did not use long swords but instead used short swords called akenakes, the length varying between 40 to 50 cm. The akenakes of the Median Guards from the Persepolis reliefs (east face of the council hall), are represented as straight daggers with a short hilt, without decoration. But the akenakes of the king’s weapon bearer (southern relief from the Persepolis treasury) has a heavily decorated sheath. Most of the swords and daggers found in Persepolis are made in iron and have hilts made in bronze, but some finds from Persepolis suggest also the possibility of hilts were made in silver. Fine condition.
13th-6th century BC. A sword comprising a two-edged lentoid-section iron blade with rounded tip, narrow shoulders encased in a bronze sleeve extending to the grip with incised hatching; pommel formed as two inverted cups with ropework border. Cf. Khorasani, M.M., Arms and Armour from Iran. The Bronze Age to the End of the Qajar Period, Tübingen, 2006, p.64-5, for discussion of type.977 grams, 90cm (35 1/4"). Ex Cambridgeshire collection; formerly with Coincraft, London, UK, 1990s.[No Reserve] Fine condition.
2nd millennium BC. A substantial bronze short sword with broad triangular, double-edged blade and central midrib; crescent guard to the shoulders; round-section grip with domed pommel and columnar finial. See Khorasani, M.M., Arms and Armour from Iran. The Bronze Age to the End of the Qajar Period, Tübingen, 2006, cat.35, for type.828 grams, 60cm (23 1/2"). Ex Abelita family collection, 1970s-2000s. Fine condition.
1st millennium BC. A bronze short sword comprising a broad triangular two-edged blade with median panel developing to a midrib above the point, lower guard with barbed shoulders and three projections to each face, columnar grip with blocks of raised pointillé detailing, conical pommel with four projecting spurs, acute point, ring-and-dot motif to both faces. Cf. Khorasani, M.M., Arms and Armour from Iran. The Bronze Age to the End of the Qajar Period, Tübingen, 2006, item 48 (where the bronze hilt is fitted to an iron blade).834 grams, 69.5cm (27 1/4"). Ex Abelita family collection, 1970s-2000s. Fine condition, hilt repaired.
8th-7th century BC. A sword with leaf-shaped iron blade, double-waisted grip with transverse collar, the pommel formed as two crescentic iron spayed lobes, the hilt clad with bronze. See Khorasani, M.M., Arms and Armour from Iran. The Bronze Age to the End of the Qajar Period, Tübingen, 2006, p.384, no.20, for similar.639 grams, 48.5cm (19"). Ex Abelita family collection, 1970s-2000s. Fine condition.
Late 16th century AD or earlier. A colossal two-handed sword, possibly of German workmanship, straight double-edged blade with wide and shallow blood channel, two punched armourer's marks to each side depicting a Latin cross surmounting a sickle, both sides of the blade with incised inscription in uncial letters 'INRI' with reference to the titulum of the cross of Our Lord, letter 'I' on one side forming a monogram with the letter 'R' over the latter 'I'; two incised bronze figures to both sides, one resembling a stylised Passau Wolf; a wide diamond-section bronze quillon with rounded finials, possibly a later replacement; long tang with wooden grip, copper-alloy wire wrapping to each end; bronze facetted pear-shaped pommel, the rivet button possibly a later replacement. See Foulkes, C., Inventory and survey of the Armouries of the Tower of London, 2 volumes, London, 1916; Dudley, S.H.G., Armourers Marks, London, 1959; Dufty, A.R., European swords and daggers in the Tower of London, London, 1974; Newman, P.R., A catalogue of the sword, collection at York Castle Museum, York, 1985.6.4 kg, 2.08m (82"). Property of a Surrey gentleman; acquired from a Sussex collector; formerly from an old country house in East Sussex; accompanied by an academic report by military expert 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.10319-169180. Within the inventories in the Tower of London Armoury, a large number of swords among the possessions of King Henry VIII are listed, such as the grete slaghe swords, which must have been the age denomination for the two-handers, like this specimen. The state of preservation of the blade is noteworthy, being without battle nicks and therefore indicating a sword which was not intended for use in battle, but probably employed only for ceremonial purposes. A clue to the age of this sword if offered by a comparable maker’s mark on a shell dagger of late 16th century (The Armouries, 1916, p.26) in the Tower. Fine condition.
3rd century BC-1st century AD. A carved conglomerate head, ellipsoid in profile with jutting brow, prominent reserved eyelids over lentoid eyes, trapezoidal nose, crescent mouth with reserved teeth; the rear unworked; mounted on a custom-made stand. See Ross, A., Pagan Celtic Britain, London, 1967, for an overview of the iconography of pre-Christian Britain and Ireland; Rynne, E., Figures from the Past, Studies on Figurative Art in Christian Ireland in Honour of Helen M. Roe, Dublin, 1987.4 kg total, 32cm (12 1/2"). Found next to the Ridgeway path at Bradbury, near Swindon, Wiltshire, UK, in 1955; accompanied by a scholarly note TL5323 by Dr Ronald Bonewitz. Professor Ian Armit has written several books and papers on the significance of the 'severed head' motif in Celtic (Iron Age) culture. In Death, decapitation and display, the Bronze and Iron Age human remains from the Sculptor's Cave, Covesea, north-east Scotland, Cambridge, 2011; and later in Headhunting and the Body in Iron Age Europe, Cambridge, 2012, Armit demonstrates that the human head was symbolically associated with power, fertility, gender, and other social themes in the context of Iron Age Europe. The range of evidence for beheading and the subsequent curation and display of severed heads includes classical literary references, vernacular iconography and the physical, skeletal remains of the victims of this custom. The notion of a 'head-cult' which extended across most of Continental Europe and the islands of the North Atlantic, including the British Isles, has been suggested, used to support the idea of a unified and monolithic 'Celtic culture' in prehistory. However, head-veneration was seemingly practised across a range of Bronze Age and Iron Age societies and is not necessarily linked directly to the practice of head-hunting (i.e. curation of physical human remains"). The relations between the wielders of political power, religious authority and physical violence were more nuanced than a simple reading of the literary and physical evidence would suggest. The stone heads of Ireland are an enduring expression of this strong association between the human body and the numinous powers of the intellect. Fine condition.
9th-10th century AD. A bronze brooch and pendant assemblage comprising: two elliptical bronze tortoise brooches, each domed with raised ornament of four Borre-style faces with pellet eyes to the centre of a panel of body parts and hatching with two more faces to the narrow ends, wide flange, catchplate, pin hinge and pendant attachment bar to the reverse; two openwork triangular-shaped pendants each with an apex loop and five lower attachment loops, each pendant joined by three double-link chains; to one side two additional chains of double-links join a bronze equal-arm brooch with two trapezoidal arms, each with raised Borre-Style geometric ornament, masks to the ends and central domed panel, hinged pin to the reverse, pierced lug to accept the chain, and a bronze fire steel with two large perched ravens facing each other on the handle, remains of the iron striker below; to the other side two additional chains of double-links join an iron key and a pair of iron sheers. See MacGregor, A. et al., A Summary Catalogue of the Continental Archaeological Collections, Oxford, 1997, item 4, for oval brooches; cf. Ewing, T., Viking Clothing, Stroud, 2007.527 grams total, 8.6-42cm (3 1/4 - 16 1/2"). From the family collection of a UK gentleman, by descent in the early 1970s; previously acquired before 1960; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no. 10511-170962. Scandinavian women's display jewellery in the Viking age comprised both utilitarian and symbolic items. The brooches were worn high on the chest, supporting an apron-type overdress (hangerok) with the beads and chains strung between them and various small items attached. The pendants probably symbolised the authority of the female in the domestic sphere (key, coin, spindle whorl), and in husbandry (model animal, crotal bells, model knife"). [3] Very fine condition; professionally cleaned and conserved.
11th-12th century AD. A bronze openwork appliqué or brooch frame formed as two figures standing side-by-side, one male with short tunic and one hand on his chest, the other female with ankle-length robe holding flowers(?) to her chest; the feet of both resting on a sleeping feline with head turned to face the viewer; hole to the male's hip to accept a securing stud or brooch pin; accompanied by a custom-made stand. For the design see Oldtidens Ansigt, Det kongelige Nordiske Oldskiftselska og Jysk Arkaeologisk Selskab, 1990, p.134, 138.26.4 grams total, 98mm including stand (4"). From the family collection of a UK gentleman, by descent in the early 1970s; previously acquired before 1960. The figures presented may represent the brother-and-sister deities Freyr (Lord) and Freya (Lady), and Freya's totemic animal the cat. The crossed hand on the chest is a puzzling symbol, possibly symbolising the gesture of a specific god, ritual act or blessing. Another similarity can be observed on rock art in Scandinavia, especially the image of a 'divine couple', a strong motif known from the late Iron Age depicted on many golden sheets called guldgubbers. Several scholars argue that this image represents the marriage of the god Freyr and giantess Gerd; however, it may also represent the union of Freyr with his sister Freya. [No Reserve] Fine condition.
9th-12th century AD. A bronze seated figure of a nude male with exaggerated genitals, hands resting on bent knees, incised Y-shaped detail on the chest, youthful face with moustache. 15 grams, 37mm (1 1/2"). Property of a Dutch gentleman; formerly in a private collection formed in Berlin, Germany; acquired on the European art market before 2000. 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 of a phallic Freyr statue in the temple at Uppsala, but the identification is uncertain. It has also been suggested that the figure is a gaming piece. If it is the image of a god, it could be a small, devotional statuette of a type mentioned in Old Norse sagas. Very fine condition.
Small circular Chinese embossed bronze jardiniere 10cm D x 9cm H (condition - good, but general wear with age), Chinese carved hardwood vase shaped money box, profusely decorated with vines, 14cmH (condition good); small Chinese bronze teapot and lid, signed below spout, overall with handle up 12cm, 11cm D (condition teapot good) (3)
Raised on three splayed feet, the melon-shaped body applied with birds amongst magnolia, azalea and tree peony blooms within a rocky landscape, the wide neck cast with swirling clouds divided by foliate cartouches, all surmounted by Reishi-shaped lappets, the shoulder applied with a pair of shaped handles, the bronze with a dark brown patina, minor restoration, age wear, tarnishing, soiling to the interior, verdigris 29,5cm high
Perched with large talons gripping a shaped rock above foaming waves, the wings spread wide, the feathers realistically cast and incised, signed in seal form to the underside ''Seiya Sakuâ", the bronze with a dark brown patina, amber eyes, the eagle and rockwork separately cast, age wear 59cm high
The rectangular box applied with two hinged lids each enclosing a compartment above three drawers, the black rō-iro ground decorated with various lacquering techniques to include hiramaki-e and takamaki-e in lustrous gold, the lid decorated with four figures within a moonlit landscape amongst large trees, a winding path leads through a Torii gate to a terraced shrine, all before Mount Fuji, the front and drawers painted with insects above flowers, each drawer fitted with a small acorn-shaped bronze pull, minor age wear 25,8cm widerō-iro
A SMALL GRAND TOUR BRONZE, of a Classical figure. 7.5cmThe absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.A nice green/brown patina. To the figures neck and chin the surface appears tarnished/corroded in generally fair condition commensurate with age.
Figürliche Bronze- d`oré - Pendule, Frankreich, um 1840, Bronze feuervergoldet, H*B*T: 39*25,5*10,5cm, Kaminuhr mit rechteckigem, getreppten Sockel mit Palmblattrelief und schauseitiger Applikation, felsförmiges Uhrengehäuse, dunkel patiniert, darauf sitzender Daphnis als Knabe mit Umhang und Hut, daneben liegend Panflöte und Wanderstock, Pendulenwerk durch Quartzwerk ersetzt, leichte, altersbedingte GebrauchsspurenFigural bronze d`oré - pendule, France, c. 1840, bronze fire-gilt, h*w*d: 39*25,5*10,5cm, mantel clock with rectangular stepped base with palm leaf relief and appliqué on the front, rock shaped clock case, dark patinated, on top sitting Daphnis as a boy with cape and hat, lying next to it pan flute and walking stick, pendulum movement replaced by quartz movement, slight signs of use due to age
WEREWOLF BY NIGHT #32 - (1975 - MARVEL - UK Price Variant) - HOT BOOK - Origin and first appearance of Moon Knight with a TV series is currently in development at Disney/Marvel + Currently the 15th most valuable Bronze Age book according to the Overstreet Comic Book Price Guide - Gil Kane, Al Milgrom cover with Don Perlin interior art - Flat/Unfolded - a photographic condition report is available on request
1990, signed and numbered 13/250, titled on gilt nameplate, bronze, on marble base.height 54.5cm (21.5in)Footnote: Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report: The bronze is in very good, original condition with no obvious faults to report. The marble base has some minor knocks and losses commensurate with age.
1990, signed and numbered 16/250, bronze, on marble base.height 38cm (15in)Footnote: Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report: The bronze is in very good, original condition. There are some minor scuffs on the spreading foot of the bronze. The marble base has some minor knocks and losses commensurate with age.
1990, signed and numbered 14/250, titled on gilt nameplate, bronze, on marble base.height 40.5cm (16in)Footnote: * Stephen Broadbent was born in Wroughton in 1961 and educated in Liverpool. He has worked as an artist for the past 38 years, following an initial period of study under the sculptor Arthur Dooley. Stephen had his first one-man exhibition in London in 1982.Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report: The bronze is in very good, original condition. There are some minor scuffs on the spreading foot of the bronze. The marble base has some minor knocks and losses commensurate with age.
A PAIR OF JAPANESE BRONZE TWO HANDLED VASES, THE DEEPLY LOBED BODIES WITH FINCHES AND PRUNUS BLOSSOM BENEATH WAISTED NECKS, CAST LEAFY LAPPETS AND APPLIED PAIR OF BIRD HANDLES, 36CM H Generally good, wear consistent with age, old solder repair to lower bird scroll handle on one vase, possible repair to second handle at top fixing, possible old repairs to other handles
Early Bronze Age Cypriot terracotta ewer with incised geometric decoration with everted rim, curved handle to the bulbous body, circa 2500BC, 13cm high approx, bearing label inscribed 'Leeds Exhibition 1875, Property of Yandurth?, NoC7 27' and with swing label inscribed 'Etruscan(?) bottle from Fry Collection, Somerdale, Bristol' and '10-12-52 Mrs Clarke Antique Shop, Yeovil'This item is from the collection of Lionel Walrond. Lionel was born in 1927, his parents were tenant farmers on a small dairy farm in Somerset. Sadly, both parents died before Lionel's 4th birthday and he was brought up by aunties and an uncle in Pitney, Somerset. On leaving school he was not drawn to a life in farming but became interested in history and archaeology. This interest lead to the discovery of three Roman mosaics in South Somerset before his 18th birthday! The most famous is the Low Ham Villa (the mosaic has pride of place in the Museum of Somerset). Lionel fervently collected local historical artefacts and set up his own museum on the farm in a converted WWII American Army Nissen hut. Local finds of Roman and Neolithic origin were displayed alongside agricultural bygones. Lionel moved to Stroud in 1955 to take up the post of curator at the Lansdown Museum, a post which he held for the following 37 years. He was a member of a number of local and national historical societies and was an elected fellow of the Museum Association. Condition ReportThe ewer stands up without support
AN AMERICAN CHIPPENDALE CHERRY GATELEG GAME TABLE, LATE 18TH/EARLY 19TH CENTURY, the nicely figured cherry hinged top with rounded edge above a single frieze drawer enclosing a pair of bronze bale form handles with "C" scroll and foliate details on stylized floret back plates, over molded trim raised on square form Marlborough legs with fretwork bracket corners and ending on conforming block feet; height: 28 1/4" width: 32 1/8" depth: 18", opened depth: 36 1/4". Provenance: Estate of Francis E. And Henrietta C. Judson, Wayne, Pennsylvania. Condition: Good restored condition for American tables of this age, use and materials including but not limited to expected old surface scratches, marks, some very small burn spots on top when opened, dings, age cracks, old repairs, a few small restorations, and normal surface buildup in crevices. The brackets are probably later. The bronze handles are old, worn and stylistically work for this table, when removed they reveal nice original darker patina with an outline exactly following the floret backplates. There are no other holes drilled for handles and one handle is missing its back screw with one floret backplate. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
AN AMERICAN BRONZE DEVIL CARD HOLDER, MANUFACTURE ATTRIBUTED TO RUSSELL AND ERWIN, CONNECTICUT, EARLY/MID 20TH CENTURY, height: 1 1/2", width: 4 3/8", depth: 6. Condition: Parcel gilt rubbed extensively throughout, later casting, unmarked/label lost, old label residue verso, some scratches and expected wear, but overall in good to very good condition, wear commensurate with age and use. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
LUCIEN CHARLES EDOUARD ALLIOT (French 1877-1967) A BRONZE, "Art Nouveau Beauty with Lychee Fruit and Leaves," cold painted bronze on a verde antico marble plinth with nameplate, signed in bronze "L. Alliot," on base. Height: 22 1/2" Diameter: 10" Condition: Some expected dust, debris, minor surface wear, but overall in good to very good condition, wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
DONALD EDWARD SHAW (American 1934-2015) A SCULPTURE, "Sun and Moon in Landscape," steel, brass and bronze. Height: 26 3/4" Width: 24 1/4" Depth: 4 3/8" Provenance: Personal Collection of Nora Grossman, Houston, Texas. Condition: Minor expected dust and surface wear, but overall in very good condition, unsigned, wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
JUDITH LA SCOLA (American b. 1955) A GROUP OF THREE SCULPTURES, "Three Joyful Wreaths," CIRCA 2006, sandblasted and painted glass on bronze bases. Height: 8" Width: 8" Depth: 2 5/8" Provenance: Personal Collection of Nora Grossman, Houston, Texas. Condition: Mild dust but overall in good to very good condition, wear commensurate with age and use. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
A PAIR OF VENETIAN STYLE GILT AND PATINATED BRONZE BLACKAMOOR SEVEN-LIGHT CANDELABRAS, 20TH CENTURY, the figure with large hoop earrings turns his head, looking upward with a grimace expression holding aloft a seven light torchière, in contrapposto on a grassy rocaille base with folded drape and ribbon-tied tapered plinth on ball feet. Height: 70" Diameter: 20" Condition: Some minor wear, patina, scratches, dust, debris, but overall in good condition, wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
Loading...
