CLIVE BARKER (British b. 1940) A SCULPTURE, "Portrait of Francis Bacon," CIRCA 1978, bronze, artist stamp at base of neck. Height: 26" Width: 39" Depth: 39" Note: Depicting a full bronze sculpture taken from a life mask of the painter Francis Bacon under an umbrella, an object which frequently appears in Bacon's work. Clive Barker created six bronze and six plaster versions of a life mask of Francis Bacon. Both artists completed several portrait works of one another. There was a second edition of three further bronzes made. Provenance: Estate of David E. Brauer, Houston, Texas. Condition: Tip of umbrella broken, apparent adhesive substance used previously to reattach, minor surface wear commensurate with age, generally in good condition. 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.
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A FINE LOUIS XVI STYLE ORMOLU MOUNTED TULIPWOOD AND VARIOUS WOODS INLAID MARQUETRY BED, SIGNED, LATE 19TH/EARLY 20TH CENTURY, the double arched crest rail centering a nicely cast and chased gilt bronze mount of a wavy bow ribbon entwined laurel leaf garland issuing a scrolling acanthus pendant, above the bombé headboard with shaped oval radiating star reserve within a ribbon tied berried laurel branch wreath and crossbanded border enclosed by à quatre face veneered panels, over a lower board with illegible fire branded signature, "H. Go...," flanked by fluted columnar sides surmounted by ripened pomegranate detailed finials and ending on circular oakleaf modeled collars, above side rails centering rectangular fluted marquetry detailed panels with leaf tip bronze trim and ending before the matching bombé footboard with similarly cast central pendant over beautiful marquetry, depicting a scrolling handled athenienne spewing puffy clouds and hung with a laurel leaf garland, flanked by blossoming vine entwined thyrsus staffs within a berried laurel branch wreath and enclosed by a quatre face inlay, flanked by fluted columnar sides surmounted by a curling tipped acanthus leaves domed finial, raised on fluted baluster form feet ending in leaf tip sabots. Height: 63" Width: 65 1/2" Depth 88 1/2" Condition: Good condition for antique French beds of this age, use and materials including but not limited to minor marks and small scratches throughout, age cracks, dry areas (needs a good waxing) slight fading from exposure and has been enlarged to fit a queen size mattress. Gilding on bronze is fairly bright and possibly re-gilt since original application. 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.
JAMES DRAKE (American/Texas b. 1946) A GROUP OF TWO SCULPTURES, "Shirt" AND "Shorts," CIRCA 2001, cast bronze, the shirt verso signed in bronze and dated, "James Drake 2001," height: 3 1/4", width: 23", depth: 18"; the shorts painted with blue wash and signed verso in black ink, "James Drake," height: 3", width: 16 3/4", depth: 12". Provenance: Personal Collection of Nora Grossman, Houston, Texas. Condition: Some dust and debris, minor expected rubbing and surface 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.
A PAIR OF OF NEO-GREC STYLE BRONZE URN LAMPS, LATE 20TH CENTURY, with rope twist handles flanking a floral band over a tapered body with low relief procession of Spartan warrior and tambourine clapping muses, raised on integral stepped square bases. Height: 35" Diameter: 19 1/2" Condition: In 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.
JUDITH LASCOLA (American b. 1955) A SCULPTURE, "Lidded Vessel," 2006, bronze and glass, signed and dated, engraved in black glass at base. Height: 7 3/4" Width: 7 3/4" Depth: 3" Provenance: Personal Collection of Nora Grossman, Houston, Texas. Condition: Some occasional chips throughout, and lid stopper has loosened from bronze mount, but overall in good condition, dust and 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.
A RUSTIC FRENCH PROVINCIAL CHESTNUT BUFFET VASSELIER, 18TH/19TH CENTURIES, the tapering molded cornice above a two shelf open cabinet with balustrade galleries enclosed by undulating borders, raised on a conforming cabinet with two short drawers over paired doors partitioned by a fluted panel and opening to a single shelf interior, bronze handles, escutcheons, and hinges used throughout, includes one key. Height: 6' 6 1/2" Width: 51" Depth: 25" Condition: In rustic antique condition with age/shrinkage cracks, old repairs, bronze handles are replacements, restorations, chips, losses, surface abrasions, warping, refinished in not too distant past, interior cabinet base is replaced, drawers re-lined and legs shortened. It has been suggested that the top is associated. Both top and cabinet base are heavy but top should be secured to wall. 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.
VENTURI ARTE Skulptur 'Tisch', um 1985. Bronze und Silber, runder schrägstehender Tisch mit einem Tischtuch und einer Tasse (lose) und Untertasse, daneben 2 geöffnete Erbsenschoten, gegossen durch VENTURI ARTE, Bologna, nummeriert '2/10', unleserliche Bezeichnung, H. ca. 20,5cm. Altersspuren. VENTURI ARTE sculpture 'table', around 1985. Bronze and silver, round sloping table with a tablecloth and a cup (unfixed) and saucer, beside it 2 opened pea pods, cast by VENTURI ARTE, Bologna, numbered '2/10', illegible inscription, h. approx. 20.5cm. Signs of age.
Marvel - A collection of approximately 29 modern age (a couple bronze age) comics some of which are contained within in clear plastic sleeves. Lot includes The Avengers Vol1 #269-271 Jul-Sept86; The Avengers Vol1 #278-282Apr-Aug87; Captain America #247-248 (tear on front cover) Jul-Aug80; The West Coast Avengers #42-45 Mar-Jun89; and similar. Comics appear to be in Good - Excellent condition.
Marvel - A collection of approximately 30 bronze and modern age 'Fantastic Four' comics some of which are contained within in clear plastic sleeves. Lot includes Fantastic Four #232-236 July-Nov81; #255-257 Jun-Aug83; #268-270 Jul-Sep84#283-287 Oct85-Feb86 and similar. Comics appear to be in Good - Excellent condition.
AQUAMANILE Museumsreplik, 19. Jh., Bronze patiniert, Schriftzug "DEV S ET LUMEN" mit menschlichem Gesicht auf drei Füßen, scharnierter Klappdeckel, H: ca. 20 cm. Normale Altersspuren. AQUAMANILE Museum replica, 19th century, patinated bronze, inscription "DEV S ET LUMEN" with a human face on three feet, hinged lid, h: ca. 20 cm. Normal signs of age.
CHARLES X-LYRAUHR Frankreich, um 1820/40, rundes Messing-Federzugwerk mit Halbstundenschlagwerk auf Glocke, reich ornamentiertes, vergoldetes Bronzependel, vergoldetes Bronzeziffernblatt, gebläute Stahlzeiger, Mahagoni furniertes Lyra-Gehäuse mit qualitätvollen Bronzeapplikationen, H: 61 cm. Alters- und Gebrauchsspuren, keine Gewähr für Ganggenauigkeit und Dauerfunktion. CHARLES X-LYRA CLOCKFrance, around 1820/40, round brass spring balance movement with half hour strike on bell, richly ornamented, gilded bronze pendulum, gilded bronze dial, blued steel hands, mahogany veneered lyre case with high quality bronze applications, h: 61 cm. Signs of age and use, no guarantee for accuracy and longevity.
ZWEI DECKELVASE IM ALT-WIENER STIL Wohl Volkstedt, Ende 19.Jh., Kobaltblau glasierte Wandung mit reicher Gold- und Goldemailmalerei, schau- und rückseitig ausgesparte Reserve mit polychromer, allegorischer Malerei "Frühlingsstimmen" und "Amor und Nymphe"", so unter dem Stand bez., blaue Bindenschildmarke und Malersignatur Mohau, Montierung aus Bronze, H: ca. 30 cm. Leichte Alterssspuren. TWO LIDDED VASES IN THE OLD VIENNESE STYLE Probably Volkstedt, end of the 19th century, cobalt blue glazed wall with rich gold and gold enamel painting, show and reverse recessed reserve with polychrome allegorical painting "Spring Voices" and "Cupid and Nymph"", so inscribed under the stand, blue band mark and painter's signature Mohau, bronze mount, h: approx. 30 cm. Slight signs of age.
FUCHS, ERNST (1930-2015) Skulpturenpaar "Daphne" und "Apoll" Bronzeguss, Figuren Daphne und Apoll, gestreckt stehend mit den Armen in den Haaren, num. 247/1000, Gießereimarke Edition Venturi Arte, sign., dat. 1983, H: 41,5 cm. und 36 cm. Leichte Altersspuren. FUCHS, ERNST (1930-2015) sculptural pair "Daphne" and "Apollo". Cast bronze, figures Daphne & Apollo standing stretched out with their arms in their hair, num. 247/1000, foundry mark Edition Venturi Arte, sign., dat. 1983, h: 41,5 cm. and 36 cm. Slight signs of age.
A pair of Louis Philippe patinated bronze and Siena marble mounted tazza urns on plinths, circa 1830, the shallow dishes cast with twin handles and gadrooning overall, on stepped square section plinths, approximately 30cm highCondition Report: Minor marks, knocks and scuffs overall consistent with age and use.Both have repairs to the plinths and socles, including areas of filler in colours similar to the marble. One plinth has some radial movement.Marks and traces of lacquer/gilding to tazze, slight movement to one of the handles.Measurement of 30cm noted in the cataloguing is overall, including plinth. The dishes themselves 13cm high, 23cm wide (handle to handle).Condition Report Disclaimer
27 HARAPPAN STONE WEIGHTS Indus Valley, 4.500-4.000 BC. Beautifully polished marble and stone cubical weights in graduated sizes. Found near one of the most important archaeological sites, Harappa and Mohenjo-daro, where Indus Valley civilisations of Bronze Age fully flourished. These weights conform to the standard Harappan binary weight system that was used in all of the settlements. Therefore, they are common artefacts on most archeological sites and may have been used for controlling trade and possibly for collecting taxes and even, in architecture. Building tools and materials could have been weighted to make sure they matched uniformly. Provenance: Private collection of a German artist and collector living in Southeast Asia. Condition: Very good condition with some small traces of use and wear, some chips and losses of material. Dimensions: 1 cm to 4.3 cm
A MIXED LOT OF POTTERY IDOLS FROM THE INDUS VALLEY Indus Valley, Pakistan, Mehrgarh, Neolithic period (c. 5500 BC – 4500 BC) and Bronze Age (2.900-2.600 BC). Interesting lot giving an overview of the different forms of clay idols in Indus Valley civilization. The first in the group is a couple of miniature breasts dated to around 4.900 BCE. The second one consists of pairs of legs, apparently the original lower half of the classical Mehrgarh female and male body. The third one includes four miniature depictions of “Mother Goddess” in different styles, from an early geometrical to later and more elaborated forms. Another figurine can be probably called an “antique hermaphrodite”, as both female breasts and male genitalia are indicated. The last piece is a male torso. Provenance: Private collection of a German artist and collector living in Southeast Asia. Condition: Fine condition with traces of age, some losses of material and small repairs. Dimensions: 3 - 8 cm
THREE CLASSICAL CERAMIC MEHRGARH VESSELS Indus Valley, Pakistan, Mehrgarh, Bronze Age (2.900-2.600 BC). The lot consist of a bichrome terracotta storage jar with deep shoulder, everted rim and frieze of dark-brown and red painted geometric shapes to the body as well as two carinated beakers different in size , with thin straight walls on a small foot. Both with broad open mouth, simple geometric and linear decoration pained in dark-brown and with internal red rim. Provenance: Private collection of a German artist and collector living in Southeast Asia. Condition: Good condition with traces of age and use, some chips and abrasions to the lip, some color fading. Dimensions: Diameter: 6 cm – 14 cm, Height 4.5 – 12 cm
A THAI BRONZE HEAD FRAGMENT OF BUDDHA, SUKHOTHAI Thailand, 15th-16th century. Finely cast, the face showing a calm expression with downcast almond-shaped eyes under arched eyebrows, a slender nose, and a benevolent smile, the ears with long lobes, the hair arranged in tight curls. With an associated modern wood base. Condition: Good condition commensurate with age, with extensive wear, cracks, losses, and a fine malachite-green and copper-red patina. Provenance: German private collection, acquired around 1950 from the collector’s father. Weight: 2,098 g (excl. base) Dimensions: Height 18.7 cm (excl. base), Height 27.9 cm (incl. base)
A MASSIVE THAI BRONZE STATUE OF BUDDHA IN PARINIRVANA, AYUTTHAYA STYLE Thailand, Ayutthaya Kingdom style, 19th century. Cast reclining with the head held resting in one hand, the other arm extended along his body, wearing a long flowing monastic robe draped over the left shoulder, the face showing an enlightened expression with almond-shaped eyes over gently arched eyebrows and slender lips, flanked by long earlobes, the hair in tight curls surmounted by an ushnisha. Condition: Very good condition with minor traces of age and wear, traces of gilt, tiny nicks here and there. Fine copper-red patina in some areas. Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Weight: 18.2 kg Dimensions: Length 107.5 cm Auction result comparison: A related figure, though smaller (84 cm long) and dated to the 17th/18th century, was sold by Christie’s New York in Indian, Himalayan and Southeast Asian Works of Art on 13 September 2016, lot 254, for USD $21,500.
A BURMESE BRONZE FIGURE OF BUDDHA SHAKYAMUNI Burma, Pagan period, late 10th century. Cast seated in dhyanasana on an unsealed double lotus base, the hands lowered in bhumisparsamudra, wearing a samghati draped over the left shoulder, the face showing a serene expression with downcast eyes and a subtle smile, flanked by long ears, the hair in tight curls surmounted by an ushnisha. Condition: Excellent condition commensurate with age, traces of gilt, small nicks here and there, soil encrustations to the interior. Fine malachite-green patina. Provenance: Ex-collection Jean Dumoulin, acquired in Myanmar in 1998. Belgian private collection, acquired from the above. Weight: 541.3 g Dimensions: Height 11.2 cm
A PERSIAN BRONZE RING WITH RUBY INTAGLIO OF A HORSE, EX-COLLECTION MOHAMMAD REZA PAHLAVI Persia, Hellenistic period, 2nd-1st century BC. The bronze ring set with a fine oval ruby worked in intaglio depicting a galloping horse, the bronze setting of a later date. Condition: Very good condition with expected minor traces of age and wear. Fine malachite-green patina. Provenance: Ex-collection of the imperial family of Mohammad Reza Pahlavi, last Shah of Iran (a letter of provenance signed by Dr. Zelnik will be handed out to the winning bidder upon request). Ex-Collection of The Zelnik István Southeast Asian Gold Museum, acquired from the above. Institutional art collection in Belgium, acquired from the above. Weight: 3.5 g Dimensions: Size 2.6 x 2.1 cm, Inner Diameter 1.8 cm
A PERSIAN BRONZE RING WITH RUBY INTAGLIO OF A LION, EX-COLLECTION MOHAMMAD REZA PAHLAVI Persia, Hellenistic period, 2nd-1st century BC. The bronze ring set with a fine rectangular ruby worked in intaglio depicting a pouncing lion, the bronze setting of a later date. Condition: Very good condition with expected minor traces of age and wear. Fine malachite-green patina. Provenance: Ex-collection of the imperial family of Mohammad Reza Pahlavi, last Shah of Iran (a letter of provenance signed by Dr. Zelnik will be handed out to the winning bidder upon request). Ex-Collection of The Zelnik István Southeast Asian Gold Museum, acquired from the above. Institutional art collection in Belgium, acquired from the above. Weight: 4.2 g Dimensions: Size 2.8 x 2.4 cm, Inner Diameter 2.1 cm
A PERSIAN BRONZE RING WITH RUBY INTAGLIO OF A SCORPION, EX-COLLECTION MOHAMMAD REZA PAHLAVI Persia, Hellenistic period, 2nd-1st century BC. The bronze ring set with a fine oval ruby worked in intaglio depicting a scorpion, the bronze setting of a later date. Condition: Very good condition with expected minor traces of age and wear. Fine malachite-green patina. Provenance: Ex-collection of the imperial family of Mohammad Reza Pahlavi, last Shah of Iran (a letter of provenance signed by Dr. Zelnik will be handed out to the winning bidder upon request). Ex-Collection of The Zelnik István Southeast Asian Gold Museum, acquired from the above. Institutional art collection in Belgium, acquired from the above. Weight: 4.4 g Dimensions: Size 2.5 x 2.1 cm, Inner Diameter 1.2 cm
A PERSIAN BRONZE RING WITH RUBY INTAGLIO OF A MYTHICAL HORSE, EX-COLLECTION MOHAMMAD REZA PAHLAVI Persia, Hellenistic period, 2nd-1st century BC. The bronze ring set with a fine oval ruby worked in intaglio depicting a winged horse, the bronze setting of a later date. Condition: Very good condition with expected minor traces of age and wear. Fine malachite-green patina. Provenance: Ex-collection of the imperial family of Mohammad Reza Pahlavi, last Shah of Iran (a letter of provenance signed by Dr. Zelnik will be handed out to the winning bidder upon request). Ex-Collection of The Zelnik István Southeast Asian Gold Museum, acquired from the above. Institutional art collection in Belgium, acquired from the above. Weight: 3.5 g Dimensions: Size 2.5 x 2.1 cm, Inner Diameter 1.6 cm
FOUR CHAM BRONZE BETEL NUT CONTAINERS Champa, 14th-19th century. Three betel holders each of cylindrical shape with the cover tapering upwards to a stepped conical finial, one of baluster form with a compressed conical finial. Condition: Good condition with traces of age and wear, few miniscule losses, some verdigris, signs of erosion, as well as white betel residue to the interior. Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Weight: 984.0 g (total) Dimensions: Height 14.3 cm (the tallest), 11.8 cm (the shortest) Literature comparison: A similar cylindrical betel nut container is in the National Museum of Cambodia, inventory number NMC.465.
A FINE SILVER-INLAID BRONZE BELT HOOK China, Han dynasty (202 BC–220 AD). Cast with the typical raised chilong head-form hook, finely silver inlaid with a pattern of scrolls and stylized taotie masks, the underside with a circular button. Condition: Fine condition considering the age, with signs of erosion as well as patina with areas of malachite green and losses to the silver inlay. Provenance: Old German private collection. Weight: 66 g Dimensions: Length 12.2 cm
A BRONZE BELT HOOK, WARRING STATES China, 475–221 BC. The parcel gilt and turquoise inlaid bronze hook shows fine incision work depicting patterns and borders of swirling clouds leading to the top with its typical raised chilong head. Condition: Original condition with old wear and extensive traces of use, exactly as expected from a bronze of this age. Good natural patina with malachite-green and hazelnut-brown encrustations. The turquoise bead on top of the Chilong head is lost. The remaining two bear a very fine patina. Provenance: English Private Collection. Weight: 140 g Dimensions: Length 14.5 cm
A PAIR OF GILT BRONZE ‘STAG’ SEALS, EASTERN HAN China, 25-220 AD. The bases of square shape cast in intaglio with two-character seals, each surmounted by a stag with jagged antlers. (2) Condition: Good original condition, especially when considering the age of these pieces. Extensive wear, fine copper-red and malachitegreen patina and verdigris, minor nicks and losses. Provenance: Pao & Moltke Oriental Art, Toronto, Canada, 1995. Canadian private collection, acquired from the above according to the collectors personal notes. Weight: 47.1 g in total Dimensions: Height 3.3 cm each Auction result comparison: Compare with a related lot of three gilt bronze seals with tortoises and a chimera, two of which are larger than the present seals, sold by Christie’s New York in The Sze Yuan Tang Archaic Bronzes from the Anthony Hardy Collection on 16 September 2010, lot 904, for USD $7,500. 一對鎏金鹿形方印，東漢 中國，公元25-220年。凹版鑄造的方形底座，印章面分別可見兩個字符。鹿形印章鈕。 品相：原始狀態良好，尤其是考慮其年齡。 廣泛磨損，銅紅色和孔雀石綠的包漿，輕微的划痕和缺損。 來源：加拿大多倫多Pao & Moltke 東亞藝術，1995。加拿大私人收藏，根據參加個人紀錄購於上述藝廊。 重量：縂47.1 克 尺寸：分別高3.3 厘米
A GILT BRONZE AND WHITE JADE ‘DRAGON’ BELT PLAQUE, TANG DYNASTY China, 618-907. The rectangular white jade belt plaque is encased in a gilt bronze shell, the closed side with a dragon in high relief on an incised dotted ground and the other side decorated in openwork with scrolling vines and flowers, the open areas revealing the cased white jade. The opaque stone of a greyish white color with russet inclusions. The use of such precious materials as jade and gilt bronze indicates this plaque was crafted for a person of high status.Four small piercings, two on each end, for attachment. Condition: Good, original condition, remarkable considering the age of this plaque! Some wear, miniscule nicks and scratches, minor dents and tiny losses. The gilt bronze with dark and copper red patina as well as few spots of verdigris. Provenance: Grays Antique Center, London. Dr. Koos de Jong, acquired from the above in 1999 (invoice not available). Dr. de Jong is a Dutch art his - torian and has been privately collecting Chinese art over decades. He has authored hundreds of articles and several books on Dutch fine and decorative arts spanning from the Middle Ages to the modern era and published an extensive study of saddle rugs in Dragon & Horse. Saddle Rugs and Other Horse Tack from China and Beyond. Between 1976 and 2009 he worked for numerous museums across the Netherlands and was director of the European Ceramic Work Center in Den Bosch. Weight: 36.3 g Dimensions: Size 3.6 x 5 cm Literature comparison: Orientations, Vol. 33, no. 7, p. 19. 銅鎏金白玉龍袋扣，唐代 中國，618-907。方形白玉牌被包裹在鎏金銅框中，銅牌一面高高地浮雕著一條龍，另一面在白玉用鏤空的纏枝花卉紋裝飾，露出了白玉。 品相：原始良好品相，考慮到玉牌的年齡，這很了不起！一些磨損，微小的划痕，輕微的凹痕和微小的損失。 鎏金銅帶有深色和銅紅色包漿，以及少量的銅綠斑點。 來源：倫敦Grays 古玩中心。Drs. Koos de Jong 1999年購於上述收藏。 Drs. Koos de Jong是一位荷蘭藝術史學家，幾十年來他一直私人收藏中國藝術品。他撰寫了數百篇文章和幾本書，內容涉及從中世紀到現代的荷蘭美術和裝飾藝術。2013年，他在《Dragon & Horse：Saddle Rugs and Other Horse Tack from China and Beyond》中發表了有關中國騎馬裝備的詳盡研究。1976年至2009年間，他曾在荷蘭的許多博物館工作，並曾擔任登博世歐洲陶瓷工作中心的主任。 重量：36.3 克 尺寸：3.6 x 5 厘米
A GILT BRONZE FANGDING CENSER, QING China, Qing Dynasty (1644-1912). Modelled after the ancient Chinese ritual food vessel Fangding, cast from bronze and finely gilt. The feet are in the shape of dragon heads, and the sides are incised with geometric borders and taotie masks. The underside with apocryphal Xuande six-character mark. Condition: Good condition with associated surface wear, minor dings and nicks to edges – all commensurate with age. Provenance: French private collection purchased from a local French auction house in 2000. Weight: 984 g Dimensions: Height 17.5 cm
A BRONZE FIGURE OF BOYS ON BUFFALOS China, late Qing dynasty (1644-1912). The figure cast as a water buffalo and its calf, with two boys seated on top of the mother whilst the third sits on the calf. Condition: Good condition with expected traces of age and wear. Provenance: Austrian private collection. Weight: 1472 g Dimensions: Height 18.5 cm
A SUPERB BRONZE FIGURE OF A BULL, LATE WARRING STATES TO EARLY HAN DYNASTY China, probably Kingdom of Dian, 3rd-2nd century BC. Hollow cast, the stocky, muscular bull standing four square on distinct hoofs, its head held high, with rounded bulging eyes, flaring nostrils, closed mouth, the spoon-shaped ears flanking a broad bull neck, its tail curled, with a partially encrusted olive-grey patina and some malachite encrustation. Condition: Losses, fissures and naturally grown patina as visible on the images at www.zacke.at. One small and original piece is visibly reattached. No touch-ups or any kind of overpainting whatsoever. Overall good condition especially when considering the high age of this bronze. Provenance: The Reinhold Hofstätter collection, Vienna, and thence by decent. By repute acquired ca. 1960-1970. Weight: 494 g Dimensions: Length 18.5 cm Dian was an ancient kingdom situated in modern Yunnan, southwestern China. According to Han historian, Sima Qian, it was established in 279 BC when King Qingxiang of Chu sent a military force to the southwest. Zhuang Qiao, a general of Chu, reached the Dian Lake as part of the Chu military campaign. When the Chu homeland was invaded by the Qin, Zhuang Qiao decided to stay in Yunnan and adopt the native ways, establishing the Dian kingdom. The Qin dynasty was subsequently overthrown by the Han, and the commanderies of the new dynasty, Ba and Shu, bordered Dian. Literature comparison: For stylistic comparison, see a Warring States bronze horse in the M. H. de Young Memorial Museum, San Francisco, from the Avery Brundage Collection, published in René-Yvon Lefebvre d’Argencé, Ancient Chinese Bronzes in the Avery Brundage Collection, Berkeley, 1966, pl. XLVIII, no. C. See also a related Ordos bronze horse from the collection of Mrs. E. Bennett, exhibited in the Exhibition of Chinese Art, Berlin, 1929, cat. no. 89, sold at Sotheby’s London, 24th May 1955, lot 26. Also compare with a Pair of Standing Bovines from the Western Han Dynasty, on loan from the Guangxi Institute of Cultural Properties Preservation and Archaeology, Excavated from Tomb no. 26 at Fengmenling, Hepu county, Guangxi, 2003, exhibited in New York, The Metropolitan Museum of Art in Age of Empires: Chinese Art of the Qin and Han Dynasties (221 B.C.–A.D. 200), April 3, 2017–July 16, 2017. Auction result comparison: Compare with a bronze horse at Sotheby’s New York in Junkunc: Arts of Ancient China, 19 March 2019, lot 139, sold for USD $50,000. Also compare with a Western Han ox-form oil lamp at Christies New York in The Sze Yuan Tang Archaic Bronzes from the Anthony Hardy Collection, 16 September 2010, lot 892, sold for USD $25,000. 青銅牛，戰國晚期至漢代初 中國，可能爲滇國，公元前三至二世紀。空心，矮胖、肌肉發達的公牛四蹄著地，擡頭，眼睛圓鼓，鼻孔和嘴巴張開，兩側湯匙形的耳朵，尾巴彎曲，局部著橄欖灰色銅綠和一些孔雀石綠色結殼。 品相：裂縫、缺損和自然生長的包漿，細圖可見www.zacke.at。小修補明顯可見，無任何形式的黏貼和修飾。 總體而言，品相良好，尤其是考慮到青銅牛的年代。 來源：維也納Reinhold Hofstätter收藏，家族保存至今。據説大約購於1960-1970年。 重量：494 克 尺寸：長 18.5 厘米 拍賣結果比較：一件相近的青銅馬2019年3月19日于紐約蘇富比《中國古文物》拍號 139， 成交價USD $50.000。另外一件西漢牛形油燈于紐約佳士得《The Sze Yuan Tang Archaic Bronzes from the Anthony Hardy Collection》拍號892，成交價USD $25.000。
A BRONZE OF BUDDHA AS A CHILD, MING China, 16th-17th century, Ming dynasty (1368-1644). The finely cast bronze with an unctuous patina depicting Buddha as a child standing on a stepped base, a dragon fish beneath him and one hand pointing towards the sky while the other points towards the earth. Condition: The two fingers pointing upwards are lost. Some casting flaws and age-related wear. Provenance: Hungarian private collection. Weight: 700 g Dimensions: Height 19.8 cm
FOUR CHINESE EGG SHELL PORCELAIN DINING SETS China, late Qing to Republic Period (1900-1950). Lovely and delicate set of four cups with four lids and saucers, glazed in white. The cups with flared rims and no handles, the rim of each dish is mounted with a slim and elegant bronze band. Eggshell porcelain, also called danpi bodiless or tuotai bodiless ware is characterized by an excessively thin body under the glaze. It was introduced in the Ming Dynasty during the reign of the emperor Yongle. Condition: Good condition with some traces of age and use, three lids with slight hairlines cracks, some firing imperfections and small chips, two of the bronze bands are missing. Provenance: Private collection of a German artist and collector living in Southeast Asia. Dimensions: foot diameter cups 3.5 cm, foot diameter plates 6 cm, opening diameter cups 9.5, opening diameter plates 13 cm, cups height 4.7 cm Weight: 732 g
TWO TIBETAN FLINT POUCHES Tibet, 19th century. Both leather pouches fitted to one side with a flap, mounted to their corners with engraved triangular silver, iron and gilt-bronze spandrels and a central Buddhist symbol. Fitted to their lower edges with curved iron striking blades, and to their tops with suspension fittings. Condition: In good condition considering their age, extensive traces of use and wear, the leather is still flexible. Provenance: Austrian private collection. Weight: 54 – 238 g Dimensions: Lengths 8.5 – 14.5 cm
SIX SMALL TIBETAN BUTTER LAMPS Tibet, Lhasa, 19th- early 20th cent. This lot consist of one silver, one copper with silver rims, another copper and three bronze lamps. Very graceful in their simple form and basic decoration. In the Buddhist tradition the light of the butter lamp flame symbolizes the wisdom of the enlightened mind, dispelling the darkness of delusion and mental obscuration. Condition: Fine condition with traces of age and wear. Dark patina, some small material losses and discolorations. One bronze lamp with an old repair to the base. Provenance: Private collection of a German artist and collector living in Southeast Asia. Weight: 432 g Dimensions: Height 4.3 – 10.8 cm
THE HEROIC AGE OF POLAR EXPLORATION; a rare Second Arctic Medal for the British Arctic Expedition 1875-76, VICTORIA REGINA 1876 with bust to obverse (des. G. C. Adams), ice-bound vessel to reverse (des. L. C. Wyon), eng. J. Pinches, silver, diameter 35mm, 155 originally issued and 12 duplicates later issued; also a Polar Medal (first type) with 'Antarctic 1907-09', '1910-13', '1914-16' and '1917' clasps, EDWARD VII REX IMPERATOR with bust to obverse (des. G. W. de Saulles), HMS Discovery in winter quarters to reverse (des. E. G. Gillick), bronze, diameter 33mm; both unnamed so possible Proof issues (2). Provenance: These medals have been in the possession of a charitable organisation for many years; The organisation was established during WWI to provide treatment to the thousands of soldiers returning from the trenches and has since evolved into a dedicated charity and nursing home for veterans living their remaining years amongst friends and a team committed to serving those who served us.
λ HAMISH MACKIE (B. 1973) CHEETAH HEADBRONZE ON A DARK GREY MARBLE PLINTHSigned in the Maquette 30cm high overall British wildlife sculptor Hamish Mackie has had the privilege of observing wildlife in many corners of the world at first hand. "Observing animals in their own environment, in their natural habitat, is essential to understanding the subject's physical and instinctive traits. For example, the disposition of a captive predator is very different from that of a predator the wild," he says. This close observation, often involving intense research trips and sculpting from life in the field, informs Hamish's whole approach to his work, which resonates with his passion for the natural world. His bronze wildlife sculptures capture instinctive moments of animal behaviour managing to convey the inner core, strength and grace of his subject. Largely self-taught, his style is unique - he frequently works in spontaneous, often unrepeatable, fluid gestures with a confidence born from many years of mastering his craft. He says "It is close observation of my subject's behaviour that really brings my pieces to life. I want to convey a sense of character, their spirit. This determines how I handle my material - in a loose fluid manner or in a tighter, more controlled way; with large sweeping strokes, or with smaller detail. A sculpture should have its own power. I want the viewer to feel an emotional response."Born in 1973, Hamish Mackie grew up on a livestock farm in Cornwall, England. In the kitchen of the family farm, there still hangs his first bronze sculpture - a calf's head he made at the age of 12 as a Christmas present for his father. Hamish has works in public and private collections around the world and in 2016, Hamish also presented his sixth Solo Show, Life in Bronze, at Mall Galleries, London to great critical acclaim.Condition Report: In good condition overall. Sculpture is solid on its base. Some possible polishing/rubbing to extremities. Condition Report Disclaimer
A PAIR OF IMPRESSIVE BRONZED PLASTER MODELS OF I PUGILATORI AFTER ANTONIO CANOVA (ITALIAN, 1757-1822)20TH CENTURYEach portrayed heroically nude and in animated stance of combat, the tallest model 210cm including integral plinth, 279cm overall including painted secondary baseCatalogue note: These impressive models are cast after Antonio Canova's marble sculptures of the Greek boxers Creugas of Durazzo and Damoxenos of Syracuse, whose match is recorded in the 2nd century AD writings of the traveller Pausanias. Canova, who had been appointed minister of the Belle Arti by Pope Pius VII, and conceived of the models in around 1794, and completed the models in 1796. The pugilists were moved to the Vatican in 1797, where they stand to this day.A pair of similarly large casts of these models was included in the auction of the collection of Gianni Versace, Sotheby's London, 18 March 2009, lot 137.Condition Report: Both with some marks, knocks, scratches and abrasion. Some additional small chips and areas of losses to the base. Uneven painted patina as maker intended to simulate bronze. Some minor areas flanking to the paint. Structurally sound with no significant condition faults. Some possible later re-touching of paint. Plinths-Not of significant age and repainted. Some chips to edges. Some structural faults commensurate with use, may require repair/replacement. The example with arm raised, the re-painting of the plinth has not reached underneath the models base (this may apply to both). Condition Report Disclaimer
Danese Cattaneo (1509-1573), nach, ''Fortuna'', stehender, weiblicher Akt mit Tuch, nach der Skulptur von Danese Cattaneo. Bronze mit dunkler Patina (l. Altersspuren). Seitlich auf Kugel sign., Guss des 20. Jh., über kegekförmigem Serpentinsockel, Ges.-H. 75 cmDanese Cattaneo (1509-1573), after, ''Fortuna'', standing female nude with cloth, after sculpture by Danese Cattaneo. Bronze with dark patina (l. signs of age). Signed on the side of the ball, 20th century casting, over conical serpentine base, total h. 75 cm.
Replika eines bronzezeitlichen Schwertes und Dolches, 20. Jh., Metallguss, bronziert. Zweischneidige Klingen mit Mittelgraten, Griffe geometrisch-ornamental verziehrt. Verbindung von Griff und Klinge mittels großer Nieten, leicht ber., L. 29 und 76 cmReplica of a Bronze Age sword and dagger, 20th century, cast metal, bronzed. Double-edged blades with central ridges, handles decorated with geometric ornaments. Connection of handle and blade by large rivets, slightly rubbed, l. 29 and 76 cm.
A World War One memorial bronze death plaque, awarded to William Pitt, complete with its cardboard sleeve cover, together with a 1914 Christmas tin. (2)N.B. There is a later hand-written note taped to the rear of the plaque inscribed 'William Herbert Pitt, Pte 8131 'C. Coy. 3rd Bn Worcs Regt, 21st September 1914, Age 28'.
In order to view full details and any additional images for this lot as well as place advanced bids or bid live, please click here to view this lot on the auctioneer's websiteA fine and most interesting Great War 1917 ‘Passchendaele’ D.S.O. group of eleven awarded to Lieutenant-Colonel C. E. Lembcke, Northumberland Fusiliers, late Royal Fusiliers and Gloucestershire Regiment: having been sentenced to death as a spy in German South West Africa in 1914, he was later released and went on to hold several commands on the Western Front, being twice wounded before continuing to serve with distinction in revolutionary Peru Distinguished Service Order, G.V.R., silver-gilt and enamel, with integral top riband bar; Queen’s South Africa 1899-1902 (Lieut. C. E. Lembeke. [sic] Glouc. Rgt.) officially engraved naming; 1914-15 Star (Capt: C. E. Lembcke. R. Fus:); British War and Victory Medals, with M.I.D. oak leaves (Lt. Col. C. E. Lembcke.) mounted as worn and housed in a contemporary Spink & Son fitted leather case; Chile, Republic, Order of Merit, Commander’s neck badge, 65mm including condor suspension x 60mm, silver, gilt and white enamel, damage to enamel and finial balls in places, in case of issue; Peru, Republic, Commander of the Order of Ayucucho, 70mm x 51mm, gilt and enamel, in case of issue; Order of Aeronautical Merit, 64mm including condor suspension x 46mm, 1st issue, gold (54g), in case of issue; Bronze Cross of the Society of the Founders of Independence, 1st issue; Centenary of Independence Medal 1921, gold (30g); Centenary of the Battle of Ayacucho Medal 1924, gold (24g); together with the recipient’s Peruvian Aviation Observer’s wings, silver, early issue, light contact marks to Q.S.A. and B.W.M., otherwise very fine or better (12) £2,400-£2,800 --- Provenance: The foreign awards acquired by the vendor direct from the granddaughter of the recipient and reunited with the British awards. D.S.O. London Gazette 1 January 1918. M.I.D. London Gazettes 18 December 1917 and 27 December 1918. Charles Edward Lembcke was born Carlos Eduardo Lembcke in 1882 in Lima, Peru. The son of a Peruvian diplomat, he moved with his family to England in 1886 and was educated at Harrow. Wishing to join the British Army, he became a British subject on 24 July 1900 at the age of 18 and, having anglicised his name, was commissioned Second Lieutenant in the 4th (Militia) Battalion, Gloucestershire Regiment on 10 September. He served with them on St. Helena, guarding Boer prisoners at Deadwood Camp, and was promoted Lieutenant in the Militia in October 1901 (Q.S.A. with no clasp). Leaving St. Helena, he served on Malta from 28 November 1901, having been seconded for service with the royal Garrison Regiment. Appointed Lieutenant in the 6th Battalion, Lancashire Fusiliers on 3 June 1905, he was then placed in the Special Reserve of Officers, and was appointed Lieutenant, Regular Army in February 1908. Assigned to the Royal Fusiliers (City of London Regiment) Special Reserve in 1907, he was promoted to Captain in June 1911. A man of wide ranging interests, he had been elected a member of the Aero Club of the United Kingdom in 1909 and was elected a Fellow of the Royal Geographical Society in 1912. In early 1914, while still a Captain in the 4th Battalion, Royal Fusiliers, Lembcke was granted special permission by the War Office to spend a shooting holiday in German South West Africa. Planning to hunt in Ovamboland, and push on into Angola before returning to England, he was still in the German colony when war was declared in Europe. Immediately arrested by the German authorities, he was accused of being a spy, which he probably was, and sentenced to be shot. But with South African forces invading from the south, he was moved to a jail in Windhoek and after eight and a half months in the common gaol on criminal rations, he was liberated by Brigadier General Brits’ South Africans on 8 July 1915. Lembcke’s unfortunate yet fascinating adventures during this period are told in some detail in his sworn statement to the subsequent Court of Enquiry on 21 July 1915 and in his letter written to the War Office in June 1919, in which he admits to his spying activities while in Africa. This letter was then forwarded to MI.2, suggesting that he was most likely working for the Intelligence Services. While in captivity, Lembcke had been appointed to a permanent commission in the Royal Northumberland Fusiliers in the rank of Acting Captain but, after his arrival back in England on 17 August 1915, he was quickly attached to the 2nd Battalion, Royal Scots Fusiliers and joined his new regiment in France on 5 September 1915. Promoted Temporary Major in October 1915, he served with his battalion on the first day of the Battle of the Somme as part of Lieutenant-General Congreve’s 30th Division on the extreme British right. On the 12 October 1916, the battalion also took part in a local attack in the Flers sector, finding the enemy well prepared, they failed to reach their first objective and the battalion’s casualties totalled 9 officers and 261 other ranks, Lembcke being wounded. He was wounded a second time on 14 November. On 28 December 1916, Lembcke was was appointed to the command of the 18th (Service) Battalion, Manchester Regiment (3rd Manchester Pals - Clerks’ and Warehousemen’s Battalion) with the rank of Temporary Lieutenant-Colonel. The battalion took part in fierce fighting in an attack on the German trenches North-West of Neuville-Vitasse on 18 May 1917, with 15 officers (including every company commander in the attack) and 346 other ranks either killed, wounded or missing. Losses on similar scale occurred on 31 July at Sanctuary Wood during the 3rd Battle of Ypres (Passchendaele) when the company attacked through the wood, securing their objectives east of Strirling Castle. Lembcke was hospitalised shortly afterwards and he relinquished command of the battalion on 12 December 1917. He was mentioned in despatches in the London Gazette on 18 December 1917 and awarded the D.S.O. on 1 January 1918, undoubtedly for his leadership of the Battalion at Sanctuary Wood. After being discharged from medical care, Lembcke was next appointed to take command of the 25th Battalion, Liverpool Regiment, taking part in the 2nd Battle of the Somme in August 1918 and the grand advance in Artois and Flanders during October and November, seeing particularly hard fighting on the Scheldt. On 14 December 1918, he took up an appointment as General Staff Officer 3rd Grade at the War Office and was promoted to Brevet Lieutenant-Colonel on 1 January 1919. He was again Mentioned In Despatches for his services with the 25th Liverpool, most likely for his ‘determination and endurance on the Scheldt displayed between 18 and 21 October’, for which he had received the appreciation of the Corps Commander. He was promoted to GSO 2 on 23 June 1919 and was made a permanent Lieutenant-Colonel on 5th November 1920, relinquishing his appointment at the War Office the same day. On 15th November 1920 he was sent to Spain with Sir Esme Howard (later 1st Baron Howard of Penrith), the new British Ambassador based in Madrid, as Military Attaché. While there he was presented with a Wilkinson sword inscribed inscribed ‘A nuestro camarada el Mayor Lembcke D.S.O. A mas contrarios mas bri...
C. 3rd millennium BC. Ancient Central Asia, Indus Valley. A collection of five Indus valley ceramic vessels including (front, L-R): bottle with flaring rim, tapering neck, globular body and simple base; a shallow hemispherical bowl; and a bowl with a hemispherical base and in-turned rim (back, L-R): hemispherical bowl with a ring foot and repeating ibex motif in black paint; jar with a flaring neck, globular body and pedestalled foot. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which these ceramic vessels belong, was in the 3rd Millennium BC. Good condition.Size: L:Set of 5: 25 - 75mm / W:50 - 110mm ; 475g; Provenance: Private London collection, formed in the 1980-90s on the UK and European art market.
C. 3rd millennium BC. Ancient Central Asia, Indus Valley. A fine example of an Indus Valley civilisation painted bowl with a hemispherical body and a ring foot. The interior features aa repeating brown painted ibex motif, which can be distinguished by its magnificent curved horns, framed by concentric circular registers and chevrons. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd Millennium BC. The ibex is an important motif in Indus valley art because of the animal’s reputation as a hardy survivor and fierce fighter. Cf. N. Satyawadi, 1994. Proto-Historic Pottery of the Indus Valley Civilisation: Study of Painted Motifs, New Delhi. Excellent condition.Size: L:90mm / W:212mm ; 540g; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.
Ca. 1400-1200 BC. Canaanite. An unusual bronze age Canaanite painted ceramic vessel in a light brown fabric comprising a plane rim, narrow neck, globular body and ring foot. The shoulder is decorated with black painted leaf motif, which probably had connotations of agricultural fertility. Excellent condition; on a custom stand.Size: L:158mm / W:153mm ; 635g; Provenance: From an old British collection, acquired on the UK art market in the 1990s.
C. 3rd millennium BC. Ancient Central Asia, Indus Valley. A collection of five Indus valley ceramic vessels including (front, L-R): a jug with spout; a shallow bowl; and a jar with an out-turned rim and carinated body (back, L-R): a cylindrical bowl with slightly out-turned rim and ring foot; a globular jar with out-turned rim and tapering base. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which these ceramic vessels belong, was in the 3rd Millennium BC. Good condition.Size: L:Set of 5: 21 - 82mm / W:61 - 92mm ; 445g; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.
Ca. 700-1100 AD. Viking Age. A bronze pendant in the shape of sword comprising an openwork triangular pommel, short handle lozenge-shaped blade with repeating diamond-shaped impressions. this simple yet elegant ornament may have belonged to a Viking warrior. Excellent condition. Wearable. Size: L:96mm / W:23mm ; 39.2g; Provenance: From an old British collection, acquired on the UK art market in the 1990s.
C. 900-1100 AD. Viking Period. Bronze lunar pendant a crescent moon with raised circular and geometric decorations and a small suspension loop. The era known as the Viking age lasted for more than 300 years, from the late 8th century to the late 11th century. The history of the Vikings is closely linked to their role as masters of the sea. This lunar pendant probably reflects the use of the moon as an important navigational tool during Viking sea voyages. Excellent condition. Wearable. Size: L:20mm / W:30mm ; 4.8g; Provenance: Property of a North London professional; previously acquire on the UK/European art market before 2000.
700-1100 AD, Viking Age. A bronze coiled ring with ttwisted railing ends and lozenge-shaped central plate bearing a line of applied granulations, intended to evoke the form of a snake. In Norse mythology, Jormungand (pronounced “YOUR-mun-gand;†Old Norse Jörmungandr, “Great Beastâ€), also called the “Midgard Serpent,†is a snake or dragon who lives in the ocean that surrounds Midgard, the visible world. He was so enormous that his body forms a circle around the entirety of Midgard. He is one of the three children of Loki and the giantess Angrboda, along with Hel and Fenrir. Excellent condition; beautiful patina; Size: L:8 1/4mm / W:Q1/2mm ; 8.5g; Provenance: Property of a North London gentleman; previously acquire on the UK/European art market before 2000.
700-1100 AD, Viking Age. A heavy bronze twisted bracelet comprising several strands of bronze woven together with loop terminals. In Norse mythology, Jormungand (pronounced “YOUR-mun-gand;†Old Norse Jörmungandr, “Great Beastâ€), also called the “Midgard Serpent,†is a snake or dragon who lives in the ocean that surrounds Midgard, the visible world. He was so enormous that his body forms a circle around the entirety of Midgard. He is one of the three children of Loki and the giantess Angrboda, along with Hel and Fenrir. Excellent condition. Size: L:60mm / W:77mm ; 47.6g; Provenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s.
C. 1000–600 BC, Bronze Age. A heavy bronze bracelet with a flaring, ribbed midsection and coiled, spiral terminals. In the Bronze Age bracelets were used not only as jewellery but also as ritual objects of high value, which allowed their owners to store wealth before the invention of coinage. Excellent condition; beautiful patina.Size: L:55mm / W:50mm ; 36g; Provenance: From an old British collection, acquired on the UK art market in the 1970s.
700-1100 AD, Viking Age. A bronze pendant comprising a stylised openwork dragon-shaped handle on the upper part and below it a comb with long, pointed teeth. Extensive dot-in-circle motifs cover much of the surface of the object. In Norse mythology, Jormungand (pronounced “YOUR-mun-gand;†Old Norse Jörmungandr, “Great Beastâ€), also called the “Midgard Serpent,†is a snake or dragon who lives in the ocean that surrounds Midgard, the visible world. He was so enormous that his body forms a circle around the entirety of Midgard. He is one of the three children of Loki and the giantess Angrboda, along with Hel and Fenrir.Both men and women wore long hair among the Vikings, and it is therefore possible that this beautiful piece belonged to a well-groomed Viking warrior. Excellent condition; beautiful patina. Size: L:46mm / W:70mm ; 36.2g; Provenance: Property of an established London gallery; acquired from a private estate collection formed before 2000.
Ca. 600 BC. Bronze Age. Bronze age wheel pendant comprising circular hoop and crossed spokes. In ancient societies, wheel amulets were traditionally connected with good fortune and this piece was probably worn as amulet with the hope of bringing luck to its owner. Good condition; beautiful patina; Size: L:40mm / W:32mm ; 6.3g; Provenance: From an old British collection, acquired on the UK art market in the 1970s.
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