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Click here to subscribeA pair of 19th Century Japanese chocolate patinated bronze vases with relief work decoration of panels of birds CONDITION REPORTS No visible signature. One vase has a small hole to the main body on the panel and there are general knocks and bumps throughout. Both bases are somewhat mis-shapen. In need of a good clean. General wear and tear to include surface scratches, verdigris, etc., conducive with age and use. Approx 37 cm high.
A JERRY GARCIA GROUP OF 66 ASSORTED DC/MARVEL COMICS1960s-1980smostly later issue Bronze and Modern Age, Marvel titles include Strange Tales, Doctor Strange, John Carter, Amazing Spider-man, Iron Man, Incredible Hulk, Marvel Team-Up, Solo Adventures, Conan the Barbarian, Alpha Flight; DC titles include Manhunter 2070, Swamp Thing, Green Lantern and Strange Sports.
NO RESERVE Chinese Art.- Kuhn (Dieter, editor) Chinese Silks, New Haven & London, 2012 § Sze (Mai-Mai) The Tao of Painting: A Study of the Ritual Disposition of Chinese Painting, second edition, Princeton, 1967 § Farrer (Anne) Wu Guanzhong: A Twentieth-century Chinese Painter, 1992 § Fong (Wen C.) & James C.Y Watt. Possessing the Past: Treasures from the National Palace Museum, Taipei, New York, 1996 § Fong (Wen) The Great Bronze Age of China, New York, 1980, illustrations, many colour, original cloth with dust-jackets, the second also with slip-case; and c.35 others on Chinese art, v.s. (c.40)
A GREAT WAR CASUALTY GROUP TO PRIVATE ABRAM MOUNTSTEPHEN, ARMY SERVICE CORPS comprising the British War Medal 1914-20 and Victory Medal (both M2-181279 PTE. A. MOUNTSTEPHEN. A.S.C.), officially impressed, unmounted, in boxes of issue and despatch envelope, and a bronze Memorial Plaque (Abram Mountstephen); together with an accompanying scroll, framed and glazed; a photograph of the soldier's original grave, framed and glazed; a Princess Mary Christmas 1914 gilt brass gift tin, complete with tobacco (unopened), twenty cigarettes (opened), and Christmas card; another gift tin; and other items. Note: M2/181279, Private Abram Mountstephen, 688th M.T. Coy, Army Service Corps, the son of Samuel and Elizabeth Mountstephen and husband of Emily Mountstephen, of Fore Street, Milverton, Somerset, died on 7th November 1918, at the age of 33. He is remembered with honour at Skopje British Cemetery.
Ancient Greek Cypriot III Bronze Age Circa 1700-1600 B.C Terracotta Blackwear Jar. Provenance: Authenticated by The British Museum Department of Greek and Roman Antiquities, London on 11th April 1974. Described as 'Cyprus, late in the Middle Cyriote III period and is of Bronze Age date, towards the end of the seventeenth century B.C. (af) - copy of signed authentication with this lot.
Fine Gallantry Medal Group relating to John Hampson SNR and JNR, comprising Edward VII Sea Gallantry Medal (large type) bronze issue, named to John Hampson. Wreck of the ‘‘Wild Rose’’ on the 3rd September 1902, Royal Naval Reserve Long Service and Good Conduct Medal named to D571 J. Hampson. SEA.n. R.N.R., Edward VII Edward Medal (Mines) bronze issue, named to John Hampson and First World War Memorial (Death) Plaque named to John Hamilton Hampson (the son of John Hampson). Together with copies of photographs and newspaper cuttings detailing John Hampson's remarkable story. The Hampson family who hailed from Cumbria had a remarkable history as John Hampson’s obituary in the Cumberland Times detailed. ‘‘Hampson’s father like himself, was a fine swimmer and saved many persons from drowning. It is stated in fact that father and son between them saved fully a hundred lives in that way.’’ His first gallantry award came in 1897, when John Hampson was awarded the Royal Humane Society’s certificate, after he saved a girl from drowning in Whitehaven harbour. The award of the Sea Gallantry medal followed a few years later, when in September 1902 he saved a woman from the wreck of the ship ‘‘Wild Rose’’ off Maryport, swimming out at great personal risk, and bringing her ashore on his back. A change in careers brought John Hampson to the Cumbrian Mines and his bravery was once again called upon, when in 1910 he was involved with the rescue efforts at the Wellington Pit disaster. On 11 th May 1910, at about 7.30pm, miners reported air rushing out of the shaft, an indication that there had been an explosion in the mine. This was subsequently confirmed as the main route out of the mine for the men working underground was blocked by fallen debris and the subsequent fire. 136 miners were trapped, and then began a desperate rescue attempt, as rescuers battled through the night and well into the following day to try to reach to the trapped miners. Eventually the regional mines inspector ordered them to pull out, as he believed it was unlikely that anyone would have survived the explosion and subsequent fire and, despite strong opposition from some of the miners involved in the rescue operation, he ordered that the area should be sealed off to starve the fire of oxygen. For his gallant efforts in trying to rescue the trapped miners during the Wellington Pit Disaster John Hampson was awarded the Edward Medal. The medal is awarded to people who have shown exceptional bravery in industrial rescues. 64 were awarded after the Wellington Pit disaster which is the most ever awarded in a single incident. The Edward Mines medal is one of the rarest gallantry medals with only 77 silver and 318 bronze medals ever awarded, making it rarer even than a Victoria Cross. The First World War touched the Hampson family, when John Hampson’s only son, John Hamilton Hampson was killed at the age of 19. The chaplain wrote to his parents following his death ‘‘a sad little note to tell of how a brave and dear son has given his all - his life after being wounded for the salvation of the Empire’’. John Hampson senior’s remarkable life came to an end when he passed away from pneumonia aged just 57. One final tribute came from his fellow deputies from the mine, performing the task of bearers for his coffin.
A Japanese patinated bronze melon form jardiniere, Meiji period, decorated in relief with pheasants amongst blossoming trees, the interior base with Japanese characters, the underside with applied disc mark. Internal diameter 29 cm, height 28 cm. CONDITION REPORT: At the base of one trunk there appears to be an in house repair where the metal is slightly uneven and the interior shows a patch of +/- 13 cm wide x 9 cm high but this is not instantly obvious. The patination of the jardinière is good throughout. The foot rim has a few nicks and dents but nothing too significant. There is a small nick to the top rim. Other than that any small nicks are commensurate with age. Overall the jardinière appears to be in good decorative order.
A Japanese bronze jardiniere, Meiji period, cast in relief with wading herons amongst lotus flowers and bamboo shoots, engraved two character signature to the underside. 23.5 cm diameter, 17 cm high. CONDITION REPORT: This item has been used, there are traces of Verdigris and staining to the interior. The rim is not perfectly symmetrical and is slightly uneven. The patination on the exterior is uniform throughout. The relief decoration is clear. There appear to be no obvious cracks or repairs. Wear and tear commensurate with age.
5th century AD. A bronze steelyard weight filled with lead formed as the upper body of a Byzantine empress with jewelled tiered headdress, earrings, bead necklace, pleated palla or mantle; left hand holding a mappa as symbol of royal authority and right hand raised with two forefingers extended in a gesture of benison; underside with ferrous inclusions, possibly attachment studs for a bottom plate. See Weitzmann, K. (ed.) Age of Spirituality: Late Antique and Early Christian Art, Third to Seventh Century, New York, 1979, no.328. 4.0 kg, 20cm (8"). From an important collection of Byzantine art, the private collection of a Dutch businessman; previously in a European collection formed before 1980. A very similar weight is held by the Metropolitan Museum of Art, New York under accession number 67.154.1. The choice of the image of the empress for an official weight may have been to display fairness and equality before the law in commercial matters, as well as to bolster the authority of the imperial family. Very fine condition.
5th-4th century BC. A sheet bronze helmet of Chalcidian type with keeled bowl and carination above the brow, low neck-guard to the rear and raised flange rim extending to the D-shaped ear and eye-recesses; short lozengiform nasal with rim; three-looped hinge fittings to each side for attachment of separate cheek-guards; the outer face tinned for an imposing appearance and to create a glancing surface; mounted on a custom-made stand. See Masson, M. E., Pugachenkova, G. A. Parfi anskie ritony Nisy (Parthian rhyta from Nisa"). Al’bom illiustratsii (Album of illustrations), Moscow, 1956; Beglova, E. A., Antichnoe nasledie Kubani (Ancient heritage of Kuban) III, Moscow, pp.410-422 (in Russian); Dedjulkin A. V., 'Locally Made Protective Equipment of the Population of North-Western Caucasus in the Hellenistic Period', in Stratum Plus, n.3, 2014, pp.169-184; ????????? ?. ?., '????? ??????????? ??????? ?? ????????? ??????' (Sarmatian Age Helmets from Eastern Europe), in Stratum Plus, n.4, 2014, pp.249-284. 2.8 kg, 38cm including stand (15"). Property of a London gentleman; acquired in 2014 from David Aaron Gallery, Berkeley Square, London, W1; previously with Royal-Athena Galleries, New York, US; formerly in a private collection, London, UK; acquired prior to the mid-1950s; accompanied by a copy of an Art Loss Register certificate report number S00142456 and a copies of the relevant Royal-Athena Gallery published catalogue pages. Fine condition.
Late 2nd-early 3rd century AD. A Roman bronze sport helmet of 'Pfrondorf Type' (type F of the Robinson classification of Roman cavalry Sport Helmets, Robinson, 1975, pls.367-375, pp. 126-127), with female features, possibly representing a gorgon (Medusa), comprising a two-part helmet with a back plate, the face piece originally with a removable inner mask; the skull embossed with stylised representations of hair along the sides and collected at the lower centre of the back to a chignon, the centre decorated by a blue enamel stone; on the upper part of the skull a two-headed snake, whose wide body is decorated with scales chiselled on the surface, long neck protruding on the two sides of the skull until the brow; the edge of the skull is decorated by punched triangles and a line representing the crown of the hair around the face; a small flat neck guard; a hinge is fastened through a pin the skull to the mask allowing it to be raised; the T-opening for the face was not always present in this type of helmet. See Robinson, R., The Armour of Imperial Rome, New York, 1975; Garbsch, J., Römische Paraderustüngen, München, 1979; Born, H.,Junkelmann M., Römische Kampf-und Turnierrüstungen, Band VI, Sammlung Axel Guttmann, Mainz,1997; D'Amato R., A.Negin, Decorated Roman Armour, London, 2017; D'Amato R., A.Negin, Roman Heavy Cavalry (1), Cataphractarii and Clibanarii, 1st century BC-5th century AD, Oxford, 2018; this mask helmet belongs to the category of Roman Mask Helmets employed in the sportive games, acting also as military training, of the so called Hyppika Gymnasia described by Arrian of Nicomedia in his Taktika, written down during the age of the Emperor Hadrian (117-138 AD), however, these kind of very simplified masks were often used in battle as well, especially by the heavy cavalry of the catafractarii (D'Amato-Negin, 2018, p.30,36,38-40), the distinguishing features of this type of masked helmet, diffused in the Roman Army since the Late Antonine Age (second half of second century AD) is the removable central area of the mask covering eyes, nose and mouth and the division of the helmet in two parts on the line of the ears; the Pfrondorf specimen (Garbsch,1979, pl.26; Born-Junkelmann,1997, p.50; D'Amato-Negin, 2017, fig.168 a-b), in Stuttgart Museum, which gives the name to the typology, is the most complete and known of such specimens; three parts helmets are known from Danubian sites, like Ostrov (Romania, Robinson, 1975, pls. 370-373; Garbsch, 1979, pl.27), from the German Limes (Oberflorshtadt, Robinson, 1975, fig.129, p.108, D'Amato-Negin, 2017, fig.172c, p.169) and a magnificent specimen, preserved only in the skull, from the collection Axel Guttmann is kept at the Musée d’Art Classique de Mougins (D'Amato-Negin, 2017, fig.172a, p.169); a further splendid specimen, the mask only preserved, is kept in a large private European collection (D'Amato-Negin, 2017, fig.180, p.177"). 2.1 kg total including stand, 27cm (10 1/2"). From an important East Anglian collection of arms and armour; formerly in a Dutch private collection since the 1990s; previously in a Swiss family collection since before 1980; accompanied by a metallurgic analytical report, written by metallurgist Dr. Brian Gilmour of the Research Laboratory for Archaeology and the History of Art, University of Oxford, report number 144723/HM1364; and an academic 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. 144723-10011. This type of helmet is very rare in such fine condition. Helmets with a facial cut-out have often the female characteristic of Medusa, considering the psychological impact that this creature, with the power to transform men to stone. The apotropaic character of such divinity, inspiring terror on the enemies and confidence to the wearer, was part of the interpenetration of the divine world inside the human world, considered essential for the men who risked their life daily, who needed to feel the protection of the divine beings on the battlefield, or in the travel to the underworld. The main problem of these helmets with face attachment and three-part cutout for eyes, nose and mouth, is the question of the presence of the inner mask. Separate inner masks in bronze are known, some of them silvered (Robinson, 1975, pl.374, p.127, from Stadtpark Mainz), or with slender brows and finely pierced rings in the eye-opening (Robinson, 1975, pl.37,5 p.127, from Weisenberg"). There is no way of ascertaining whether or not our specimen was equipped with an inner mask, though it would appear to be quite possible that it was not, as there are no traces of holes in the point where, in the mask helmets of this typology, the turning pin for the attachment of the mask is usually visible. This suggest that our mask was conceived and used for a more practical use on the battlefield, without excluding its possible employment for the tournaments and the Hyppika Gymnasia. Very fine condition, some restoration. Extremely rare in this condition.
Late 2nd-early 3rd century AD. A beautiful pair of Roman bronze greaves (ocreae) for cavalry or infantry, providing defence for the shins and knees, each with a separate and articulated knee-guard; the first greave showing a slight pronounced central ridge, the lateral tabs for attachment of the leather strings still visible, both on the greave and knee-guard, the offset edge strips are perforated for attachment of the strap eyelets, while on the upper edge is visible the device for the attachment of the knee joint hinge; on the second greave is an undetected leg splint with slightly more marked central ridge, here the offset edges show the remains of four rivetted tabs to which were attached large rings for the attachment straps, the upper edge with the usual recess for the hinge to attach the knee protection; both greaves show at the lower end a slightly pronounced ankle protection. See Robinson, R., The Armour of Imperial Rome, New York, 1975; Garbsch, J., Römische Paraderustüngen, München, 1979; Kolnìk, T., Rímske a Germ?nske Umenie na Slovensku, Bratislava, 1984; Junkelmann M., Reiter wie Statuen aus Erz, Mainz, 1996; Born H. / Junkelmann, M., Roman Combat and Tournament Armours - Axel Guttmann Collection, vol. 4, Mainz 1997; Bishop M.C. & Coulston J.C.N., Roman military equipment, from the Punic Wars to the Fall of Rome, Oxford, 2006; D’Amato, R., Arms and Armour of the Imperial Roman Soldier, London, 2009; D’Amato-Salimbeti, Bronze Age Greek Warrior, 1600-1100 BC, Oxford, 2011; D'Amato R., Negin A., Decorated Roman Armour, London, 2017. 400 grams total, 44-44.5cm (17 1/2"). From an important English collection; acquired in the 1990s; accompanied by an academic report by Roman military specialist Dr Raffaele D'Amato. Greaves (ocreae) were known as protective equipment as early as in the epics by Homer (Ilias, X, 8, 613), with archaeological finds coming from previous and contemporary Achaean warrior graves (D’Amato-Salimbeti, 2011, pp.36-38"). The use of the greaves inside the Roman army is already attested for the age of the Kings, in 6th century BC, provided for the first class of Hoplites forming the Servian army (Dionysius of Halicarnassus, IV, 16-17; Livy, I,43"). Originally the Romans used mainly Greek and Etruscan pieces which protected the whole lower leg, fashioned around the lower part of it and anatomically fitting the leg. Since the late Consular age were introduced greaves of simpler design, which were made of a bronze plate laced to the front of the leg only, sometimes fitted with a separate knee-guard (D’Amato-Negin, 2017, pp.48-49"). Based on the iconographic sources, centurions in the Roman Imperial army wore decorated greaves (Robinson, 1975, pls.442,445), highly decorated greaves for war and sport games (Hyppika Gymnasia) are recorded in the Roman Archaeology from the second to the early fourth century AD (Garbsch, 1979, pls. 3, 11, 38 and fig. 5, p.11; D’Amato-Negin, 2017, figs.111, 115-124"). Based on the images on the metopae of the memorial in Adamclissi, short, plain unadorned greaves evidently came to be used again by the heavy armoured legionaries (milites gravis armaturae) at the beginning of the second century AD, in order to protect their right leg which was not covered by the shield, or both legs (D’Amato, 2009, p.150, figs.205a, 205c"). It is notable that the greaves of the soldiers were shorter than those of the officers, and that the fastening system was partly different. The knee protection was usually missing: the upper part of the greave was cut horizontally just under the knee and fastened by means of a complicate lacing system at the back of the legs. The Adamclisi specimens have been confirmed by archaeology in later specimens datable to the third century AD and found in Kunzing (Robinson, 1975, pl.510"). The use of greaves for infantry and cavalry continued for the whole second and third century AD on, where pairs of greaves came to be used by heavy infantry, as shown, for example, by the image of a pair of greaves on the tombstone of Severus Acceptus of the Legio VIII Augusta (Bishop-Coulston, 2006, fig.111, p.174), or, for the cavalry, by the recent undecorated specimen found on the Abrittus battlefield (D’Amato-Negin, 2017, fig.125"). Undecorated greaves like our specimens have been found in Eining (early third century AD, München, Archäologische Staatssammlung), Lower Italy (second century AD, Brussels, Musée du Cinquantenaire), Hebron (early second century AD, Jerusalem, National Museum), Oberstimm (second century AD, ingolstadt, Museum) (D’Amato-Negin, 2017, figs.112-113"). Other similar specimens from private collections, like the recently published greaves belonging to the Axel Guttmann Collections (Born - Junkelmann, 1997, S.128, Abb. 82, Taf. XV; Junkelmann, 1996, Q 22"). Most probably our specimens are from a battlefield or from a sacrificial grave of a Germanic warrior. Undecorated bronze or iron examples found elsewhere have a vertical ridge along their whole length in the middle and a more-or-less tight bend, copying the outline of the calf (D’Amato-Negin, 2017, figs.113–114) on both sides, there are two or three bronze rings rivetted to them to insert leather straps to attach them to the leg. Since these greaves have a straight edge at top and bottom, they do not protect the knee or ankle, and due to this we can classify this design as an infantry version. This seems logical, as the infantryman’s knee would have been covered by his fairly large shield and on the basis of images showing similar pieces on infantrymen. A more complex shape, such as, for example, from the greave from Eining, has a curved bottom edge or protruding side parts to protect the ankles, like in our specimens. In addition, in such examples there is a hinged knee part with side loops for attaching a strap. According to J. Garbsch, protection of the knee and ankle proves that it is a cavalry version. This should be not considered an absolute rule, because iconography shows also the employment of full protective greaves, fitted with knee guards, also from infantry, since the second century AD (stele of the optio Aelius Septimus, from Brigetio, s. Kolnìk, 1984, fig.30"). [2] Fine condition, usage wear with some restoration.
1st millennium BC. A hand-forged iron spearhead with lentoid-section tapering two-edged blade, flange wings to the neck, broad socket with fixing holes. See Ehrenberg, M. Bronze Spearheads from Berks, Bucks and Oxon, BAR 34, Oxford, 1977 for discussion of type. 715 grams, 58.4cm (23"). From the family collection of a South East London collector; formerly acquired in the 1960s. The spearhead resembles in shape and overall design the bronze example from Taplow, Buckinghamshire, England, of Middle Bronze Age date (British Museum accession number 1903,0623.1"). The iron construction indicates a date at least 1000 years later than that item, in the late 1st millennium BC. Very fine condition; professionally cleaned, restored and conserved.
10th century BC. A bronze short sword with lentoid-section triangular blade, square guard, hilt with socket to each face. Cf. Khorasani, M.M. Arms and Armour from Iran. The Bronze Age to the End of the Qajar Period, Tübingen, 2006, item 41 for type. 230 grams, 34.2cm (13 1/2"). Property of a North London gentleman; formerly in a West German collection, Cologne. Fine condition.
Amarlu, 2nd millennium BC. A bronze leaf-shaped spearhead with median round-section rib extending to the neck, tapering tang with bent tip and square stud; blade with incised fullers 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 295. 760 grams, 55cm (22"). From a private Netherlands collection; previously in an old collection since before 1980. [No Reserve] Fine condition.
Late 3rd millennium BC. A bronze dagger with leaf-shaped blade, two fullers to each side of median rib; slightly curved guard, finely decorated handle with high-relief pellets and geometric lines; with custom-made stand. See Khorasani, M.M. Arms and Armour from Iran. The Bronze Age to the End of the Qajar Period, Tübingen, 2006. 192 grams total, 25cm with stand (9 3/4"). Property of a London gentleman; acquired London art market, 1970-1980. Fine condition.
Circa 1330 AD. A heavy iron war mace, with hexagonal prismatic head surmounted by an iron button, the faces of the hexagon divided by lines preserving traces of gilding; mounted upon an iron staff with traces of silver, characterised by a ring of entanglement at the top and three concentric circles below. See ??????? ?.?. ???????-????????? ?????????? ?????? ???????? XIV - ?????? XV ??. // ??????????? ????? ? ??????? ? ???????? ????? ??????, ?., 1983; Head, 1984, Armies of the Middle Ages, volume 2, Worthing, 1984; Nicolle, D. Arms and Armour of the Crusading Era, 1050-1350, Islam, Eastern Europe and Asia, London 1999; Bashir, M. (ed.), The Arts of the Muslim Knight, The Furusiyya Art Foundation Collection, Milan, 2008. 1.5 kg, 45.5cm (18"). From an important private family collection of arms and armour; acquired on the European art market in the 1980s, and thence by descent; believed originally from Eastern Europe; accompanied by an academic report by military specialist Dr Raffaele D'Amato. The war mace belongs to the group of the eastern war maces used by the Mongol armies in 13th century. In particular it is an interesting parallel to a mace published by Gorelik (1983, pl.27, n.67), having the same hexagonal prismatic shape, dated at the 13th century AD. It is also the same kind of mace that was brandished by the Il-Kh?nid Persian-Mongol warriors (scene of the battle of Ardashir and Artavan) in the very famous manuscript Demotte Sh?hn?mah, made in ?dharbayj?n in about 1335 AD (Nicolle, 1999, figs.632J"). The mace, perhaps because of its ancient associations, acquired a legendary quality, second only to the swords in the Islamic world, and therefore also of the Ilkhanid Turco-Mongol warlike state, that with the Sultan Ghazan adhered to the Islam in 1295 AD. Amongst Mongols and Turkish warriors, the mace became a symbol of office, and maces, gilded like this one, played a role in ceremonies which significance was a mixture of religious and military elements. From a military point of view, it was an extremely effective weapon in close combat, particularly from horseback against an armoured opponent, where a heavy mace could easily damage even the thickest steel armour and crash heads and helmets at the same time (Bashir, 2008, p.235"). The Ilkhanid Empire was originally part of the Mongol Empire founded by Genghis Khan, its Persian branch created by Hulegu, grandson of Genghis Khan himself. Settled in Persia, the Mongols fostered the growth of cosmopolitan cities with rich courts and wealthy patrons, who encouraged the arts to flourish. At the death of Kublai Khan the Ilkhanid Khanate was de facto independent, until his dissolution in 1335 AD. The core of its army were the powerful armoured cavalrymen, of Mongol, Turkish and Iranian origin, covered with Khuyagh armour, a lamellar or laminated corselet, mainly in iron, sometimes in bronze; they wore hemispherical helmets with reinforced brow, a plume tube or a spike, and mail, lamellar or leather aventail, round shields and offensive weapons like sabres, bow and arrows and naturally war maces (Heath, 1984, pp.114-115"). Most probably our specimen is from an excavation. The piece is very rare and is in excellent condition. The mace is a type of short-arms, a weapon of impact-crushing action, consisting of a wooden or metal handle (rod) and a spherical pommel (head), which can be smooth or studded with spikes. The mace is one of the oldest types of edged weapons, a direct heir to the club, which began to be used in the Stone Age. It became widespread in the late Middle Ages, which was due to the excellent 'armour-piercing' qualities of this weapon. The mace was great for breaking through heavy armour and helmets. The heads of some maces were huge. Mace has several significant advantages over bladed weapons. Firstly, a mace (like a hammer) never got stuck in enemy armour or shield, which often happened with a sword or a spear. With the help of maces, it was possible to completely deprive the enemy of the shield, inflicting several strong blows on it. In this case, either the shield broke, or its owner received a fracture of the limb. You can also add that the blows of the mace almost never slide off. Secondly, you can learn to use a mace much faster than a sword. In addition, these weapons were relatively cheap and almost 'unkillable'. The mace has a significant advantage in comparison with the war hammer: the enemy can be beaten with either side of the weapon. The mace was an essential weapon according the Islamic Fur?s?yah during close combat, and some military treatises are devoted to this weapon (for example, the 'Kit?b Ma?rifat La?b al-Dabb?s f? Awq?t al-?ur?b wa-al-?ir?? ?alá-al-Khayl,' held in Paris, BNF MS Ar. 2830 and BNF MS Ar. 6604; Istanbul, Ayasofya MS 3186; on the fur?s?yah treatises dealing with the art of the mace, see also al-Sarraf, 'Mamluk Fur?s?yah Literature and Its Antecedents'"). The most common name for the club/mace was the Persian 'gurz' and its derivatives: garz, horz and gargaz. The written sources describe four methods of conducting battle: throwing at an enemy from a long distance: close combat at a distance proportioned to the length of the club; rotation of the mace when a warrior was surrounded by enemies; defeating the enemy in front of you. The maces or clubs with huge heads and relatively short poles were suitable for throwing. Our mace belongs to a simplified form of maces, a sort of cube-shaped tops with six cut corners transforming it in hexagon (type II"). All the specimens are in iron and date back to the 12th–14th centuries. A very widespread category of finds is made up of type II maces, mainly found in the excavations of the Southern Russian cities that were destroyed during the Tatar-Mongol invasion. They were also found in Novgorod, Moscow, and in the peasant Kostroma barrows. Usually, maces were considered to belong to the nobility, but the simpler specimens probably were widely available as weapons for ordinary soldiers, citizens and peasants. This is also supported by the simplicity and sometimes carelessness in the decoration of the maces themselves. Fine condition.
A CIRCULAR BRONZE MIRROR Cast in shallow relief with stylised trailing foliage on a scroll ground 16cm diameter 420g Provenance: Purchased from International Alex Koh in 1998 Inventory: BM46 Condition: One tiny chip to surface; some tarnishing to the bronze in places commensurate with age _________________________ ABOUT MR QUEK KIOK LEE : Quek Kiok Lee (1921- 2018) arrived in Singapore in 1938. Despite not speaking English, he finished first in his school’s Cambridge exams. He was then appointed Assistant Secretary of the Chinese Chamber of Commerce. This was the start of his rapid ascension in business and society. Mr Quek proved himself to be a very successful businessman, banker, entrepreneur and investor. In his free time, he met with collectors and dealers of Chinese works of art from around the world. He also read and researched as much he could to build his knowledge. He became well known to the leading auction houses and authorities because of his encyclopaedic knowledge and his increasingly impressive collection of Chinese art. In 1970s, the Singaporean newspapers nicknamed him “the Jade King of Singapore”. Mr Quek loved to share his knowledge and experience and was one of the founding members of the Southeast Asian Ceramic Society (SEACS). In 1994, he was appointed by the Chancellor of Singapore University as the Acquisitions Advisor on Chinese antiquities, where he served for 6 years. Mr Quek was not just a collector; he meticulously researched every piece and collated detailed records. For the pieces which are documented, HotLotz is happy to share Mr Quek’s original records on request. Mr Quek’s inventory numbers are recorded in our catalogue. Following successful sales in Hong Kong and London, HotLotz is proud to offer the majority of this unique collection for sale in Singapore.
A CIRCULAR INSCRIBED BRONZE MIRROR Sui Dynasty (A.D.559 - 618), according to the inventory The circular knob surrounded by six roundels featuring alternating birds or animals, an outer inscribed border 21cm diameter 1.3kg Provenance: Purchased from Antique East of China Point in 2000 Inventory: BM75 Condition: Minor tarnishing to the bronze commensurate with age, but overall in very good condition _________________________ ABOUT MR QUEK KIOK LEE : Quek Kiok Lee (1921- 2018) arrived in Singapore in 1938. Despite not speaking English, he finished first in his school’s Cambridge exams. He was then appointed Assistant Secretary of the Chinese Chamber of Commerce. This was the start of his rapid ascension in business and society. Mr Quek proved himself to be a very successful businessman, banker, entrepreneur and investor. In his free time, he met with collectors and dealers of Chinese works of art from around the world. He also read and researched as much he could to build his knowledge. He became well known to the leading auction houses and authorities because of his encyclopaedic knowledge and his increasingly impressive collection of Chinese art. In 1970s, the Singaporean newspapers nicknamed him “the Jade King of Singapore”. Mr Quek loved to share his knowledge and experience and was one of the founding members of the Southeast Asian Ceramic Society (SEACS). In 1994, he was appointed by the Chancellor of Singapore University as the Acquisitions Advisor on Chinese antiquities, where he served for 6 years. Mr Quek was not just a collector; he meticulously researched every piece and collated detailed records. For the pieces which are documented, HotLotz is happy to share Mr Quek’s original records on request. Mr Quek’s inventory numbers are recorded in our catalogue. Following successful sales in Hong Kong and London, HotLotz is proud to offer the majority of this unique collection for sale in Singapore.
A COLLECTION OF REFERENCE BOOKS ON CHINESE PORCELAIN, JADE AND PAINTING Comprising: - The Practical Art of Chinese Brush Painting, by Pauline Cherrett - Chinese Export Porcelain, from the Royal Museums of Art and History in Brussels - The Ceramic Art of China, The Oriental Ceramic Society - Jade, by Louis Zara - Chinese Pottery and Porcelain, by R.L. Hobson - Chinese Jade by George Savage - Antique Jade, by Oscar Luzzatto-Bilitz - The Arts of the Sung Dynasty, by The Oriental Ceramic Society - Treasures from the Bronze Age of China, An Exhibition from the People's Republic of China
Prehistoric, Neolithic or Bronze Age, two flint tools and a slightly degraded bead. The two flint tools consisting a scraper with natural worm-cast hole through its centre, the other being a very nicely made convergent fabricator or borer on a tertiary flake. The bead with a patinated surface but bright orange surfaces underneath, surface covered with surface facets. Glass and of later date than the flint tools. Length of largest flint tool: 60mm. Provenance: English collection, antiquarian finds reportedly from the Barrow-on-Trent area.
Possible Bronze Age, a large chunk of folded and squashed gold sheet that possibly reflects a sheet-metal ornament. The object is now broadly rectangular in plan, apparently folded at least four times over on itself. X-ray fluorescence undertaken at the British Museum has confirmed a gold content of 92-94%. Length: 28mm. Width: 23mm. Weight: 7.98g. Discussion: objects like these are hard to date when they display no diagnostic features. However, it is perhaps notable that many Bronze Age gold ornaments are manufactured similarly from sheet metal, sometimes being folded over before being deposited.Provenance: found Rowlands Castle, Hampshire, 2017. Recorded on the PAS as HAMP-EA6ECD. Treasure reference 2017T1156.
Middle Bronze Age, a virtually complete socketed spearhead from the Taunton metalworking phase, c. 1400-1250 BC. This example belongs to the 'developed side-looped' group, demonstrating an expanding circular-sectioned socket with a slightly recessed collar at its base and a pair of flattened un-drilled lozengiform loop plates projecting from its midsection. The blade is broadly lenticular in plan, narrowing towards its tip (the extreme end of which is now missing in old damage). Preserved in spectacular condition- virtually as found, an attractive chocolatey brown patina underlaying some areas of earthy iron-rich deposit. Very slight bend at tip. Length: c. 137mm. Diameter of socket-base: 21.2mm. Weight: 45.66g. Discussion: the un-drilled nature of the side-loops on this spearhead is comparable with a number of other examples found across Britain, suggesting that this spearhead might have been made specifically for depositing into the ground as a 'votive' offering. The damage to the spearhead's tip may represent the act of ritually 'killing' the object, perhaps symbolically ending its use-life in this world. A solidly made example with an attractive patina and flawless provenance.Provenance: found Bampton, Oxfordshire, 2017. Recorded on the PAS as BERK-441F26.
Ca. 1600 - 1200 BC. A Greek Archaic Period cast Trojan type Bronze Age rapier; consisting of a narrow triangular blade; thick rounded midrib; rounded tip; scooped shoulders with lateral flanges; round-section tang with flattened finial; Good condition, on custom stand; L:620mm/W:65mm;24.41/2.56in; 400gr; Provenance: From a Private London collection, formed in the 1990s on the UK and European art market.
Ca. 2000 BC. Bronze Age, Luristran decorated sword with intact handle; A fine example of a lost wax cast bronze sword with a narrow handle designed to have an inlaid bone or ivory panel; Superb Condition; L:295mm;11.61in; 115gr; Provenance: From an old British collection, acquired on the UK art market in the 1980s.
Ca. 1200 - 800 BC.An interesting bronze age Luristan mace head; composed of a tubular shaft surmounted by ahead with six spikes, each curving backward with curved upper surfaces. At the center and base of the shaft a wide, narrow ridge with disk-shaped ridge at the center and base; Good condition; on a custom made stand;H:130mm.W:90mm;5.12, 3.54in; 345gr; Provenance: Property of a London collector; from an important UK collection of Ancient art, formed in 1970s then passed by descent.
Ca. 1000 BC. A fine example of Bronze Age, Hallstatt culture battle axe.; beautiful cast; Fine green patina. Good Condition; on a custom made stand; H:160mm/L:195mm/H:125mm (without stand);6.3/7.68/4.92in; 1650gr; Provenance: From an old British collection formed in the 1990s; previously acquired in Germany.
Ca. 2000 BC. A fine example of Bronze Age weaponry; luristan cast bronze mace head; upper end covered with groups of projecting nodes separated and encircled by finely incised bands; mimicking a rope design; flared base; fine green patina. Good Condition; on the custom stand; H:150mm;5.91in; 335gr; Provenance: From an old British collection, acquired on the UK art market in the 1980s
Ca.2000 BC. A cast Bronze Age Type VI leaf-shaped blade with multiple median ribs and sharply tapering point; to the shoulder, moon crescent-shaped hilt with conical cotton-reel pommel finial; Good Condition; on custom stand; L:520mm/W:75mm;20.08/2.95in; 730gr; Provenance: Property of a London collector; from an important UK collection of Ancient art, formed in 1970s then passed by descent.
Ca. 2000 - 1600 BC. A fine example of Bronze Age weaponry; a cast bronze mace head; upper end covered with groups of projecting nodes separated and encircled by finely incised bands; mimicking a rope design; flared base; fine green patina. Good Condition; on the custom stand; H:160mm; 6.3in; 470gr; Provenance: From an old British collection, acquired on the UK art market in the 1980s.
Ca.2000 BC.A very rare type of Bronze Age Luristan axe head formed by a heavy bronze crescent-shaped blade Axe head. Good condition; on the custom stand; H:410mm/H:360mm(without stand);16.14/14.17in; 1030gr; Provenance: From a private Oxfordshire collection; previously acquired before 2000 on the UK and European art market
Ca. 2000 BC. A wonderful, rare example of a Bronze Age bell, possibly Indus Valley culture; decorated with Zebu bulls and coiled patterns; full with mortar, suggesting its burial in a ritual context. Good Condition, Museum piece. H:145mm/L:150mm;5.71/5.91in; 2500gr;Provenance: Important estate collection from Oxfordshire; formed in the 1970s-2000;
A painted plaster death mask of Napoleon Buonaparte, after Dr Francis Burton's original and almost certainly cast by Dr. François Carlo Antommarchi, circa 1825, painted to resemble bronze, inscribed around the truncation NAPOLEON 1ERE EMPEREUR, N... AJACCIO, mort St Helena, with indistinct dates, 32cm high, 14cm wide Napoleon's original death mask was created on 7 May 1821, a day and a half after the former emperor died on the island of St. Helena at age 51. Surrounding his deathbed were doctors from France and the United Kingdom. Some historical accounts contend that Dr. François Carlo Antommarchi (one of those present) cast the original parent mould, which would later be used to reproduce bronze and additional plaster copies. Other records, however, indicate that Dr. Francis Burton, a surgeon attached to the British Army's Sixty-Sixth Regiment at St. Helena, presided at the emperor's autopsy and during that postmortem procedure cast the original mould. Antommarchi obtained from his British colleagues a secondary plaster mould from Burton's original cast. With that second-generation mould, Antommarchi in France reportedly made further copies of the death mask in plaster as well as in bronze
Spain: a collection of orders and medals, 20th Century. including: the Order of Africa, medal in bronze, Cruz de Guerra (2), one with palms, one without (1942-75); Medal Commemorating the Coming of Age of Alfonso XIII, bust with laurels, silver; Medal for the Catalan Volunteers, 1914-18; and other items. [13]
DAVID WATSON STEVENSON (1842–1904) MARBLE BUST OF A GIRL (MARIA), DATED 1879 bears inscription verso D.W. STEVENSON A.R.S.A. SC./ EDIN. 1879; raised on an associated mahogany column plinth, with carved floral swag decoration, the fluted sides with husk-carved stop fluting (Dimensions: bust 56cm high; column 108cm high) (Qty: (2))(bust 56cm high; column 108cm high)Footnote: Note: Renowned for his portrait sculptures in bronze and marble, David Watson Stevenson is arguably most recognised for his bronze rendering of William Wallace, which can still be seen on the Wallace Monument in Stirling. His naturalistic depictions of figures such as Mary, Queen of Scots, James VI of Scotland and Robert Tannahill won him many accolades, shortly after his 8 year apprenticeship with sculptor William Brodie in the 1860s. Stevenson frequently exhibited at the Royal Academy in London and, by 1876, he was elected Associate at the Royal Scottish Academy.Condition report: Bust: In good general condition although with quite a lot of surface dirt and a few scuffs to marble here and there, eg fringe, folds of blouse One or two tiny chips here and there; one to lace trim, LH facing puff sleeve and a larger chip to LH facing puff sleeve One or two minor further marks here and there across the piece Matched column: In reasonable condition with crisp carved detail Top rim has two large chips running along the moulding The garland has a few minor chips here and there to petals but nothing significant Otherwise minor marks, nicks, scuffs and surface scratches here and there, consistent with age and use
FRENCH BRONZE, CHAMPLEVÉ ENAMEL, AND ONYX CORINTHIAN COLUMN TABLE LAMP LATE 19TH/ EARLY 20TH the column in champlevé depicting fruiting branches against a turquoise ground, on a stepped onyx base with foliate gilt bronze mounts, fitted for electricity (Dimensions: 50cm high excluding fitting)(50cm high excluding fitting)Condition report: will require re-wiring general good condition and appearance for age gilding worn with some signs of oxidation to the bronze onyx with some minor nibbles to the edges in places, no major chips or losses enamel is in good order
LOUIS XVI STYLE MAHOGANY AND KINGWOOD GILT METAL MOUNTED BUREAU PLAT IN THE MANNER OF JEAN-HENRI the rectangular brass banded top with a brown leather surface over a central frieze drawer mounted with a gilt bronze plaque of cloud-borne putti emblematic of the arts, flanked by panels with swagged garland mounts, raised on square tapered legs and brass leaf moulded feet (Dimensions: 115cm wide, 74cm high, 64cm deep)(115cm wide, 74cm high, 64cm deep)Condition report: Structurally stable. Scratches, marks and knocks consistent with age and use. Minor lifting of some metalwork. Minor knocks to leading edges.
Sculpture/Interior Design: ▲ Geoffrey Dashwood (born 1947), Canada Goose, Signed and numbered 4 of 12, Bronze, Brown patina, 57cm long by 25cm wide by 53cm highGeoffrey Dashwood was born in Hampshire, England in 1947. At the age of fifteen he won a scholarship to study fine art at Southampton College of Art, but left after a brief period, preferring to study directly from nature. In the 1980s Dashwood discovered a gift and a passion for sculpture. His earliest works were small, highly realistic studies in the mainstream of traditional English wildlife art and comparable in style to the famous 19th century French Animalier School of Sculpture. Although these early works brought him commercial success, he became increasingly dissatisfied with the constraints of realism and the lack of personal expression the genre afforded him.Dashwood started to experiment with larger life-size and monumental works and began to eliminate all superfluous details, creating boldly modelled pieces. He refined his sculptures to attain smooth, tactile, pure forms, further enhanced in bronze by the application of coloured and multi-coloured patinas. In these sculptures he combined his own aesthetic ideals, establishing a distinctive style which is now internationally recognised as being quintessentially Dashwood.Although his body of work can be classified within the wildlife art genre it is generally considered by many to transcend the subject matter and has also firmly established acceptance within the wider field of contemporary art. His affinity for and empathy with birds and his unique ability to express these emotions to others through his sculpture is undisputed. Dashwood’s work is exhibited and collected worldwide.
VICTORIAN FRAMED PHOTOGRAPH - BENOIT 'BENNO' HOLLANDER a photograph of Benoit 'Benno' Hollander playing a Violin as a child, mounted in an elaborate bronze surround. Marked on the back Hallstaff & Hannaford, Manufacturers, 228 Regent St, London. Also with a later framed photograph of Hollander in middle age, inscribed From his old pulpit. (2) *Formally owned by Benoit 'Benno' Hollander (1853-1942), Dutch Violinist and Composer.
A pair of circa 1900 Chinese bronze baluster shaped vases chocolate patinated and decorated in relief with birds amongst blossom unsigned CONDITION REPORTS Has some knocks and bumps. In need of a good clean. Has a small dent to one area of the bulbous body. Remnants of some script to the bases. General wear and tear conducive with age and use. Approx 16 cm high x 10 cm diameter at the widest point.
A 19th Century Chinese bronze censer with all over decoration of four toed dragons raised on three foliate decorated feet bearing cast sixteen character mark to base CONDITION REPORTS Weight 1142 g. Size 16.9 cm x 15.5 cm x 10.4 cm high max. Condition - has some holes and in need of a good clean but overall appears good with signs of wear and tear conducive with age and or use - some small knocks, bumps, etc. See images for more details.
A pair of 19th Century Japanese chocolate patinated bronze vases with relief work decoration of panels of birds CONDITION REPORTS No visible signature. One vase has a small hole to the main body on the panel and there are general knocks and bumps throughout. Both bases are somewhat mis-shapen. In need of a good clean. General wear and tear to include surface scratches, verdigris, etc., conducive with age and use. Approx 37 cm high.
H.C., signed and incised to the bronze, bronze with gold patina held in resin and plexiglass (Dimensions: 61.5cm high, 24.5cm across, 7cm deep (24.25in high, 9.67in across, 2.75in deep))(61.5cm high, 24.5cm across, 7cm deep (24.25in high, 9.67in across, 2.75in deep))Condition report: Work appears sound - intentional cracks to resin, part of the creation of the artwork. Some minor surface marks/scratches, commensurate with age. Otherwise, in good condition.
Antique Chinese Ming style bronze duck incense burner, modelled with left leg raised upon six lobed lotus base, unmarked, 26.5cm high. For a similar example see Bonhams Fine Chinese Art, Hong Kong, 28th November 2011 lot 480 Condition: Lacks cover to back, general dings ad pitting to top of Lotus base, has been polished and would benefit from repatination, otherwise general casting flaws including to tail and base of neck as per images - **General condition consistent with age
Early 20th Century Japanese polished bronze and copper plaque or wall mirror, finely decorated in shallow relief with a cockerel and hen observing a chick, in turn observing an insect beside bamboo, copper 'seal mark' and engraved signature centre left, within copper cushion-moulded border, 40.5cm diameter Condition: Field has been polished and exhibits fine light superficial scratches plus a few pock marks, minor polishing to high points of decoration but overall sound - **General condition consistent with age
Large Japanese Meiji period bronze incense burner or koro, the truncated upper section modelled in high relief with birds and bamboo, over a bulging lower section with pierced kidney-shaped panels in turn above still leaf decoration, 61cm high Condition: Uppermost section of the burner is missing, otherwise general wear to foot rim but overall sound- **General condition consistent with age
Antiquities - Mixed selection, including 'Frog' oil lamp believed Egyptian circa 3rd/4th Century AD, Roman oil lamp with collection annotation beneath, a Shabti, Obsidian part hand axe, bronze cloak pins, and a pot of shards allegedly given by Flinders Petrie to a previous owner, etc Condition: Group lot of antique fragments, some excavated, in varying states and sold as seen - **General condition consistent with age
Ferdinand Preiss (1882-1943) - Fine Art Deco cold-painted bronze and ivory (chryselephantine) figure, 'The Skater', model 1149, cast as a young lady with arms outstretched, left leg raised, PK monogram beneath skirt (for Preiss & Kassler, Berlin), on rectangular section, red onyx and black slate base, incised F. Preiss, 34cm high Condition: Hairline crack to ivory face from right eye through centre of forehead into top of hair - **General condition consistent with age
Professor Otto Poertzel (1876-1965) - Early 20th Century cold-painted bronze and ivory figure, after Gainsborough's 'Blue Boy', the standing figure with plumed hat, cast signature to circular base, raised upon stepped octagonal marble plinth, 19.5cm high Artist Resale Right may apply Condition: Head may have been reattached (evidence of old glue at neck), right hand holding hat has been reattached (evidence of glue where joins arm), paint finish has general rubbing to chest and legs plus other high points of drapery etc, minor edge chipping to top of marble base - **General condition consistent with age
Emmanuel Villanis (1858-1914) - French bronze Art Nouveau figural table lamp, 'L'Otage', a maiden chained to a post on naturalistic base, signed and entitled in the cast, 48cm high excluding fittings Condition: Retains much olive-green patination, a little rubbing to right shoulder and breastplate plus feet, has previously been electrified and will require reassembling by a qualified electrician - **General condition consistent with age
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