A European bronze sword and a European bronze and iron sword Late Bronze Age-Iron Age, circa 13th-8th Century B.C.the sword with partial limestone inlay remaining, the iron blade possibly not belonging to the bronze hilt, sword 70.5cm long, sword blade 74cm long, (2)Footnotes:Provenance:Kuizenga collection, the Netherlands, acquired in Austria 2nd May 1981 and in May 1982.Published:J. Kuizenga, 'Neun Mitteleuropäische Schwerter der Bronze- und Urnenfelderzeit aus Niederländischem Privatbesitz', Archäologisches Korrespondenzblatt, Römisch-Germanischen Zentralmuseums, Mainz, vol. 14.2, 1984, p.155 & 160, taf. 19.1 & 19.9, taf. 20.1 & 21.9.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
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Three large European bronze axeheads Late Bronze Age, circa 13th-9th Century B.C.one decorated with a human figure in raised relief, 16cm-18cm long (3)Footnotes:Provenance:Kuizenga collection, the Netherlands, acquired in 1993.The axehead with the human figure in relief is comparable to A. MacGregor, Antiquities from Europe and the Near East in the Collection of the Lord McAlpine of West Green, Oxford, 1987, p.128, no. 17.12; the McAlpine example is decorated with a swastika motif.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
An Anatolian marble idol Kusura type, Early Bronze Age, circa 2700-2100 B.C.9.7cm highFootnotes:Provenance:Acquired by the present owner at auction, Hotel des Ventes d'Auxerre, France, 20 October 1991, lot 19.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A European bronze helmet Iron Age, circa 9th-8th Century B.C.18cm highFootnotes:Provenance:Kuizenga collection, the Netherlands, acquired in Dusseldorf 18th December 2002.Cf. A. Bottini (et al), Antike Helme, Mainz, 1988, pp. 181-194, for a discussion of related Bronze Age helmets, including an example with repoussé punched geometric decoration.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A group of nine European bronze razors and sickles Iron Age, circa 9th-6th Century B.C.10cm-24.5cm long (9)Footnotes:Provenance:Kuizenga collection, the Netherlands, formed from 1970s onwards.For similar trapezoidal and crescent-shaped razors from Etruria cf. S. Cassani, The Art of the Italic Peoples, 1993, pp 107-109, figs. 18 and 19. For comparable sickle blades, see A. MacGregor, Antiquities from Europe and the Near East in the Collection of the Lord McAlpine of West Green, Oxford, 1987, p. 100, no. 10.9 and 10.10, and p. 120, no. 16.6 for a lunate razor.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Six small European bronze socketed axeheads and a palstave Late Bronze Age, circa 13th-9th Century B.C.5.5cm-8.5cm long (7)Footnotes:Provenance:Kuizenga collection, the Netherlands, formed from 1970s onwards.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A European bronze sword Late Bronze Age, circa 13th-11th Century B.C.72cm longFootnotes:Provenance:Kuizenga collection, the Netherlands, acquired in Austria January 1983.Published:J. Kuizenga, 'Neun Mitteleuropäische Schwerter der Bronze- und Urnenfelderzeit aus Niederländischem Privatbesitz', Archäologisches Korrespondenzblatt, Römisch-Germanischen Zentralmuseums, Mainz, vol. 14.2, 1984, p.157, taf. 19.5 & 20.5.For the type, see the Metropolitan Museum of Art, New York, acc. no. 54.46.8.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A European bronze sword blade Late Bronze Age, circa 13th-10th Century B.C.68.5cm longFootnotes:Provenance:Schloss Rheinstein collection.Kuizenga collection, the Netherlands, acquired 10th November 1977.Published:J. Kuizenga, 'Drei Mitteleuropäische Bronzeschwerter in Holländischem Privatbesitz', Archäologisches Korrespondenzblatt, Römisch-Germanischen Zentralmuseums, Mainz, vol. 12.3, 1982, p.332, taf. 33.3.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A large group of Christie's, Drouot, and assorted Antiquities sales catalogues, together with an assortment of Münzen und Medaillen, Ars Antiqua and assorted Antiquities dealer catalogues Including Christie's London catalogues (Hope collection, 23 July 1917, Cook collection, 14 July 1925, Portland Vase, 2 May 1929, Lansdowne collection, 5 March 1930, Oppenheimer collection, 22 July 1936, Northwick Park Antiquities, 21 June 1965, Harewood gold vase, 23 June 1965, Antiquities, 19 October 1965, Antiquities, 12 December 1967, Antiquities, 1 December 1978, Castle Ashby vases, 2 July 1980, Marbury Hall, 10 July 1987, Stanford Place, 26 April 2006); Christie's New York, Antiquities, 14 June 1979; Phillips London catalogues (Antiquities, 6 July 1993, Antiquities, 6 December 1994); Anderson Galleries, Cypriote pt.1, 30-31 March 1928; American Art Galleries, Kouchakji collection, 26 February 1912; Drouot catalogues (Antiquities, 16 November 1973, Antiques, 11 April 1986 (x2)); Münzen und Medaillen catalogues (1958, 1968, 1971, 1984, 1969, 1974, 1964, 1960); Ars Antiqua AG, Luzern catalogues (1960, 1964, 1967); Rupert Wace Ancient Art 1990; The Thomas Hope table, A rediscovered masterpiece, 2007; Memorial exhibition for Christo Michailidis, Robin Symes, 1999; The Red Pharaoh, Sycomore, 2011; Gawain McKinley Ancient Glass and Glazed Wares; Gawain McKinley, Ancient Glass and Glazed Wares x 2; Emmerich Gallery, Masterpieces of Greek vase painting, 1964; Emmerich Gallery, Early Art in Greece, 1965; Robin Symes, Ancient Art, June 1971; Robin Symes, 2000; Safani Gallery, Ancient Art: the Unknown Artist; Michael Ward, Origins of Design: Bronze Age and Celtic masterworks; Daedalus Gallery, 1990; Vollmoeller, no. 9, 1989; Galerie Nefer, cat. 1-4, 6-9 (QTY)For further information on this lot please visit Bonhams.com
A European socketed spearhead Late Bronze Age, circa 13th-9th Century B.C.37.2cm highFootnotes:Provenance:Kuizenga collection, the Netherlands, acquired in Dortmund 4th November 1989.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Eight small European bronze socketed spearheads Late Bronze Age, circa 13th-9th Century B.C.10.5cm - 18.5cm high (8)Footnotes:Provenance:Kuizenga collection, the Netherlands, formed from 1970s onwards.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Auguste Rodin, 1840 Paris – 1917 MeudonL‘ÂGE D‘AIRAIN, 1922Höhe: 63,8 cm.Breite: 18 cm. Tiefe: 18,2 cm.Auf dem Sockel Signatur „A Rodin“, seitlich Gießermarke „ALEXIS RUDIER / Fondeur Paris“, im Sockelinnern „A.Rodin“ mit darüber stehendem „M“.Beigegeben ein Zertifikat des Comité Auguste Rodin, Paris, vom 24. Nov. 2021.Das Zertifikat bestätigend, dass das vorliegende Exemplar in das Archiv und in die in Vorbereitung befindliche Publikation des „Catalogue Critique de l‘Oeuvre Sculpté d‘Auguste Rodin“ unter der Leitung von Jérome Le Blay aufgenommen wird, und zwar unter der Nummer: „2021-6479 B“.Bronze, nahezu schwarz patiniert. Mit der lebensgroßen Figur, die das Zeitalter der Bronze symbolisiert, trat Rodin erstmals an die Öffentlichkeit. Seine Neuerung dabei war, dass er auf Attribute verzichtete, die auf das Bildthema hinweisen würden. Der im Kontrapost stehende Jüngling hält den Kopf leicht nach oben gerichtet, die rechte Hand daraufgelegt, die Augen ebenso nachdenklich wie seherisch geschlossen. Diese Darstellung und der Gesichtsausdruck ermöglichen unterschiedliche Interpretationen, was zusammen mit der Nacktheit damals einen Skandal auslöste. Nicht zuletzt deshalb, weil angenommen wurde, Rodin hätte hier lediglich einen Personenabguss geschaffen, was jedoch vor einem Gremium widerlegt werden konnte, darunter Carrier-Belleuse, Falguière, Dubois etc. Einerseits war die Figur als Erwachen der Menschheit zu verstehen, andererseits lässt sich aufgrund seiner Körperhaltung auch denken, er hielte einen Speer in der Linken und verdecke mit seiner Rechten eine Wunde am Kopf. Die Deutung hat Rodin damit dem Betrachter überlassen, eine Novität, die seit Rodin die Kunst bis heute beeinflusst. Zu dieser Figur, die auch als Mensch der ersten Zeiten gedeutet wurde, hat der 20-jährige Belgier Auguste Neyt Modell gestanden. Noch während der Zeit der Entstehung und zu einem Zeitpunkt, an dem die Figur noch nicht völlig fertig war, begab sich Rodin nach Florenz, um Werke des Donatello zu studieren. Zufrieden mit seinem Vergleich, soll er an die Weiterarbeit gegangen sein. Diese Quellenberichte sind umso wichtiger, als auch andere Bildhauer der Zeit in der zweiten Hälfte des Jahrhunderts sich an der Renaissancekunst, etwa an Donatellos „David“ zu orientieren suchten, wie etwa Mercié, Dubois, Falguière oder Saint Marceaux. 1877 hat Rodin die Figur in Lebensgröße im Salon ausgestellt. 1880 vom Staat erworben, steht sie heute im Musée d‘Orsay. Zu Beginn des 20. Jahrhunderts stellte er sowohl eine Vergrößerung als auch eine reduzierte Ausführung her (1903-1904). 1904 entstand eine Ausführung in ¼ Größe, nicht mechanisch, sondern vom Mitarbeiter Henri Lebossé bewerkstelligt. Zu Lebzeiten Rodins hat Alexis Rudier zwischen 1907 und 1917 fünf Abgüsse hergestellt (Antoinette Le Normand-Romain, Rodin et le bronze. Catalogue des oeuvres conservées au Musée Rodin, 2007). Zwischen 1918 und 1963 werden weitere 32 Exemplare aufgelistet. Die vorliegende Bronzeausführung mit dem mitgegossenen Buchstaben „M“ (= für das genannte Museum) über „A. Rodin“ im Inneren des quadratischen Sockels zählt zu den weit selteneren Exemplaren. Der Oeuvrekatalog 2007 nennt lediglich etwa zehn Güsse mit diesem „M“, die wohl nur in den wenigen Jahren zwischen 1919 und 1924 entstanden. Das vorliegende Exemplar wurde 1922 gegossen. Es wurde von Baron Morimura V, Tokyo erworben. (S. Provenienz).Braun-schwarz patiniert, mit grünlicher Reflexion. Rodin legte großen Wert auf die Patina seiner Skulpturen, da der Farbton einen großen Einfluss darauf hatte, wie die Skulptur und ihre Oberfläche mit ihrer Umgebung interagieren. Zu Beginn des 20. Jahrhunderts arbeitete Rodin mit Jean-Francois Limet (1855-1941) zusammen, seinem bevorzugten Patinier. Nach Rodins Tod setzte Limet seine Zusammenarbeit mit der Gießerei Alexis Rudier bis Anfang der 1930er Jahre fort. A.R.Provenienz: Musée Rodin, Paris.Baron Morimura V. (Céramiques Noritake), Nagoya par l‘intermédiaire de Henri d´Oelsnitz /agalerie de l‘Art Francais et Japonais, Tokyo (Acquis du ce-dessus, Janiver 1923. Von den Erben: Sotheby‘s New York, 11. Nov. 1999, Lot 227.Galerie Krugier-Ditesheim & Cie., Genf (Aquis à la vente ci-dessus) Etikett im Sockel. (1380854) (11)Auguste Rodin,1840 Paris - 1917 MeudonL‘ÂGE D‘AIRAIN, 1922Height: 63.8 cm. Width: 18 cm. Depth: 18.2 cm.Signed “A Rodin” on base, foundry mark “ALEXIS RUDIER / Fondeur Paris” on the side. On the inside of the base “A. Rodin” surmounted by “M.”Accompanied by a certificate from the Comité Auguste Rodin Paris, dated 24 November 2021.The certificate confirming that the present example will be included in the archive and the publication of the Catalogue Critique de l’Oeuvre Sculpté d’Auguste Rodin (Brame & Lorenceau) currently being prepared under the direction of Jérôme Le Blay with no. “2021-6479 B”.Rodin exhibited in public for the first time with the life-size figure that symbolizes the Age of Bronze. It was innovative that he dispensed with attributes that would indicate the subject of the sculpture. During Rodin’s lifetime Alexis Rudier produced five castings between 1907 and 1917 (catalogue raisonné, The Bronzes of Rodin, 2007). Between 1918 and 1963 a further 32 examples were listed. The bronze version on offer for sale in this lot with the cast letter “M” (for the museum mentioned) above “A. Rodin” on the inside of the square base is one of the much rarer examples. The catalogue raisonné from 2007 only names around ten castings with this letter “M”, which were probably only made in the few years between 1919 and 1924. The present example was cast in 1922, therefore counts to the very early posthumous casts of the sculpture. It was acquired by Baron Morimura V, Tokyo. (See provenance). With brown- black patina and green refelction, which was always very important for Rodin, as the tone of the patina had a great impact to how the sculpture and its surface interacts with its surroundings. From the beginning of the 20th century Rodin was working with Jean-François Limet (1855-1941), his favourite patineer. After Rodin past away, Limet continued his collaboration with the foundry Alexis Rudier until the beginning of the 1930s.
Rowan Gillespie (b.1953) Peace II (1998) Bronze on a circular limestone base 78cm (30¾") high Signed, inscribed and dated on the base No. 2/9Provenance: With the Solomon Gallery, Dublin, where purchased by the present owners. Literature: Roger Kohn, Rowan Gillespie Looking for Orion, O'Brien Press, 2007, illus. p. 97Female figures are quite prominent in Gillespie’s work, with his depiction of the body often acting as a celebration of female liberty and the vitality of life. They are not treated in the same way as a classical sculpture in which the female form was often depicted as an object of beauty. Instead Gillespie strives to create thoughtful expressions of the free-spirited and independent nature of modern women.Freedom is a constant thread in Gillespie’s work, something his sculptures seem to always be striving towards, whether they are scaling the side of a building, Aspiration (1995) or perched on a window ledge, Birdy (1997). His figures seem to affect an act of defiance in the face of gravity. While Gillespie’s sculptures are often struggling under the weight, literal and metaphorical, of the base, elemental forces of life there is also a lightness, a joy found within his depictions of the human form.There is a visual link between the outstretched arms in Peace II and the Blackrock Dolmen (1987), although on this occasion the figures are not supporting the heavy weight of the stone. Instead with their arms outstretched, reaching upwards towards an imaginary light, one is reminded of his respective large-scale public commissions in Italy and Dublin, Leta della donna (2009) and The Age of Freedom (1992). On both occasions the figures stand, similar to the present work, naked, offering some form of thanksgiving to the sun. The two figures in Peace II, seem to grow upwards from the same source, their bodies intertwined with one another. It is an expression of gratitude, a gesture of sublimation and hope.While he is known for his emotionally arresting Famine memorial, here there is a delicacy to the treatment of the material which seems to hark back to his earlier investigations into the human form. The finish of the bronze in this work is the antithesis of the cracking, raw patinas of his Famine figures. However, once again he has created a visual as well as physical connection to the raised arms of his Jubilant Man (2007) sculpture in Irelands Park, Toronto, who upon safe arrival in Canada is utterly overcome with emotion.Niamh Corcoran, 2023
![[*] Marconi, Gaudenzio -- Male nude study. Circa 1875. Albumen print. 26,4 x 17,4 cm. Number in negative in lower portion, mo](https://cdn.globalauctionplatform.com/38096143-df28-45b5-8f6b-b0b600a3287b/8ad1edcc-6c7c-45eb-abc0-b0b600b5bab3/468x382.jpg)
[*] Marconi, Gaudenzio -- Male nude study. Circa 1875. Albumen print. 26,4 x 17,4 cm. Number in negative in lower portion, mounted to board (43,1 x 31,1 cm, slight edge wear and buckling, light soiling). Gaudenzio Marconi was a Swiss-Italian photographer celebrated for his academic nude studies, which are notable examples within the 19th-century French tableaux vivants tradition. In these compositions, often set against unadorned backgrounds or simple landscapes, Marconi displayed a keen focus on the sculptural qualities of the human form, emphasizing the dynamics of muscular movement. His photographs became a valuable resource for accomplished artists and students alike, with Auguste Rodin (1840-1917) enlisting Marconi's assistance during the creation and subsequent documentation of his influential sculpture "The Age of Bronze" in 1877. – Some light surface scuff marks, otherwise a strong print in very good condition.
A Silver R.V.M. group of seven awarded to Sergeant-Major J. H. P. Standford, Royal Horse Artillery, later Yeoman State Porter at Buckingham Palace Afghanistan 1878-80, 3 clasps, Peiwar Kotal, Charasia, Kabul (823. Actg. Bomr. J. Standford. F/A. R.H.A.); Queen’s South Africa 1899-1902, 4 clasps, Cape Colony, Orange Free State, Johannesburg, South Africa 1901 (1341 S. Major J. Standford, R.H.A.); Royal Victorian Medal, G.V.R. Silver, unnamed; Coronation 1902, bronze; Coronation 1911; Army L.S. & G.C., V.R., 3rd issue, small letter reverse (1341. B.Q.M. Sgt. J. Standford. R.H.A.); Army Meritorious Service Medal, G.V.R., 1st issue (S. Mjr. J. Standford. R.H.A.) naming largely officially re-impressed, contact marks, otherwise nearly very fine or better (7) £500-£700 --- R.V.M. (Silver) 3 June 1925: Yeoman State Porter, Buckingham Palace. M.S.M. Army Order 166 of 1928, with Annuity. Medal issued in the name of ‘Stanford’ and returned for amendment and re-issue (M.S.M. Card refers). James (Henry Prescott) Standford was born at Aldershot, Hampshire, on 2 February 1857, and attested for the Royal Horse Artillery at Westminster on 28 November 1874, aged 18, a storekeeper by trade. He served in Afghanistan between 1878 and 1880, and in South Africa from 1899 until 1901, and was discharged in the rank of Sergeant-Major at Woolwich on 3 January 1902, aged 45 years 1 month, ‘having reached the age for discharge’. He was appointed Yeoman State Porter at Buckingham Palace on 1 April 1902, and retired on 1 April 1928. Sold with copied discharge papers and M.S.M. Card, together with information from The Royal Archives.
A pair of late 19th Century Sèvres style comports, the porcelain bowls with floral spray decoration mounted in Empire style gilt bronze mounts with laurel swag swing handles and beaded edge on acanthus decorated supports to the oval scroll foot base 41 cm wide x 20 cm deep x 19 cm high CONDITION REPORTS There is some rubbing to the edges of the bowls along the lines of the metal ware. Losses to the gilt and polychrome decoration variously, primarily to the gilt. The metal work is in need of a clean. The metal frames on one of the bowls has been bent slightly out of shape and is gapping. There is verdigris showing to the brass variously. In need of a good clean and some of the brass lacquer has worn in places. Some scratches to the gilt work and decoration. General wear and tear conducive with age and use. See images for further detail.
11th-10 century B.C. Comprising four tanged arrowheads, two with elongated triangular blades and raised midrib, sharp central groove, cylindrical stem with handle for the shaft; one with barbed shoulders and convex sides; one with narrow and flattened blade and short tang; the javelin head with slightly rounded shoulders, lanceolate shape and flattened blade. See Khorasani, M.M., Arms and Armour from Iran. The Bronze Age to the End of the Qajar Period, Tübingen, 2006, figures 463, 468, for some of these types. 164 grams total, 13.1-17.8 cm (5 1/8 - 7 in.).From London art market, acquired in 1990s. Ex C.J. Martin, London, UK. Accompanied by a copy of the Spanish export licence.These types of arrowheads were commonly used in Anatolia and Mesopotamia from the 2nd millennium B.C., but it appears that their employment began earlier in this area, where types like these occur alongside the non-barbed, predominantly ribbed and tanged types. [5] For this specific lot, 5% import VAT is applicable on the hammer price
13th-12th century B.C. Showing a long tapering blade with rounded shoulders and prominent mid-rib, the tang straight and rectangular in section. Cf. Khorasani, M.M., Arms and Armour from Iran. The Bronze Age to the End of the Qajar Period, Tübingen, 2006, s. cat 280, for type; Christies, Axel Guttmann collection of Ancient Arms and Armour, Part 2, London, South Kensington, 28th April 2004, lot 40. 348 grams, 43.4 cm (17 in.).Acquired 1980-2015. Ex Abelita family collection.The weapon belongs to the type 1 of the Khorasani spearhead classification, mainly from Marlik or Amlash areas. Similar pieces have been dated by Stutzinger to 1200-1100 B.C., but the period of use is attested to at least until 1000 B.C.
20th century A.D. and earlier. Comprising: a translucent glass token with a profile male to one side and an eagle attacking to the other; a restrung string of African terracotta beads; four seal impressions; four carnelian mounts; a carved rock crystal pendant; a bronze Dark Age style eagle mount; a ceramic tongue-shaped finial with a standing figure; a bronze standing figure of male wearing a bowler hat; a bronze fob seal with calligraphic inscription and a Belgian coin pendant; a large tinned lead mount; and a small floral lead(?) mount with an old handwritten label. 106 grams total, 1.6-74 cm (5/8 - 29 1/8 in.).UK private collection formed 1970s-1990s. Property of an East Sussex, UK, gentleman. [17, No Reserve]
Circa 1000 B.C. The blade with a tapering profile, triangular in overall form, with slender shoulders, penannular guard with strong midrib, flanged hilt with crenellated grip, widening slightly into a fan-shaped pommel, cracked. Cf. similar sword in Khorasani, M.M., Arms and Armour from Iran. The Bronze Age to the End of the Qajar Period, Tübingen, 2006, cat.12, for a similar weapon. 421 grams, 42 cm (16 1/2 in.).Acquired 1980-2015. Ex Abelita family collection.These types of short sword or dirks were usually cast in one piece, and the penannular rib in relief was cast on at the same time with the handle of the blade. In some cases, however, the penannular rib was later cast on the dagger, possibly to strengthen a weak point at the junction of hilt and blade. The flanged hilt was originally inlaid with organic material such as bone.
1976-1980 A.D. Lloyd laing - Pottery in Britain 4000 BC to AD 1900 - A Guide to Identifying Pot Sherds - 2003, card covers, 133 pp, colour photographs, line drawings; H.N. Savory - National Museum of Wales - Guide Catalogue of the Early Iron Age Collections - 1976, card covers, 119 pp, monochrome photographs, line drawings; H.N. Savory - National Museum of Wales - Guide Catalogue of the Bronze Age Collections - 1980, card covers, 258 pp, monochrome photographs, line drawings. 1.58 kg total, 24.6 x 18.5 - 25 x 19 cm (9 5/8 x 7 1/4 - 9 7/8 x 7 1/2 in.).Property of a Stowmarket, UK, gentleman. [3, No Reserve]
Circa 8th century B.C. The head covered by a small low-top cap; sharp and pronounced nose, prominent eyebrows, small swollen mouth; the hair divided into two braids; mounted on a custom-made display stand. Cf. Lilliu, G., Sculture della Sardegna Nuragica, Nuoro, 2008, figs.4, 5, 7, 28, for similar heads. 53 grams total, 91 mm including stand (3 5/8 in.).Ex Frank Sternberg collection, Zürich, Switzerland, circa 1980-1985. Property of an East Sussex, UK, private collector.These bronzes are stylised representations, although very detailed as regards to the elements of material culture, of warriors, tribal leaders, priests, athletes, male characters and women of society of the late Sardinian Bronze Age and the Iron Age.
14th-11th century B.C. With triangular blade, having a barbed deltoid shape and a rounded projecting midrib tapering towards the sharp point, cylindrical stem and rectangular sectioned tang: accompanied by a custom-made display stand. See Khorasani, M.M., Arms and Armour from Iran. The Bronze Age to the End of the Qajar Period, Tübingen, 2006, figure 470, for the type. 36 grams, 21.5 cm (140 grams total, 22.5 cm high including stand) (8 1/2 in. (8 7/8 in.)).Acquired 1980-2015. Ex Abelita family collection.According to Khorasani, this type of arrowhead belongs to a subcategory of the category of type V of Luristan arrow points. In the four categories of triangular bronze arrowheads from Luristan, Marlik and Northern Iran individuated by Negahban, subtypes C and D of type V are larger arrow or javelin heads, C with barbed shoulders and D with round shoulders.
Circa 10th century A.D. or earlier. A slightly bent irregular bar of hacked gold with rectangular cross-section, showing evidence of compression and fracture to each end, some subtle transverse lines on both of the main surfaces. See Hårdh, B., Silver in the Viking Age. A Regional-Economic Study, Acta Archaeologica Lundensia no.25, Stockholm, 1996; West, S. A., Corpus of Anglo-Saxon Finds From Suffolk, East Anglian Archaeology 84, Ipswich, 1998; Blackburn, M., Viking Coinage and Currency in the British Isles, London, 2011; Fern, C. Dickinson, T. & Webster, L., The Staffordshire Hoard: an Anglo-Saxon Treasure, London, 2019, items 657, 672, 673. 14.43 grams, 51 mm (2 in.).Found whilst searching with a metal detector on 1st May 2022 on a Romano-British site in Cambridgeshire, UK, by Trevor Singleton. Accompanied by a handwritten letter from the finder. Accompanied by a copy of the British Museum's Portable Antiquities Scheme (PAS) report no.CAM-D819F0 and workflow review page where it states: 'There is evidence that the bar fragment has been cut from both ends, suggesting Early Medieval (Viking Period) parallels.'This ingot was declared under the Treasure Act and subsequently determined by the British Museum to be of 'undiagnostic' date and therefore returned to the finder. Trevor Singleton maintains that it was recovered from a known Romano-British site, while in neighbouring fields Early Medieval (Late Saxon & Viking) items have been recovered and logged with the Portable Antiquities Scheme. Ingots of gold and silver were regularly produced in the Early Medieval period when trade took place between monetised economies (Anglo-Saxon England, Francia, Frisia) and their non-monetised neighbours in southern Scandinavia (West, 1998; Blackburn, 2011). Ingots were a convenient means of storing wealth which could be converted into display items (weapon fittings, clothing fasteners, tableware) or used to gild silver and bronze items (Hårdh, 1996).
Circa 8th century B.C. The head covered by a small low-top cap; sharp and pronounced nose, prominent eyebrows and eyes, small swollen mouth; the hair divided into two braids; mounted on a custom-made display stand. Cf. Lilliu, G., Sculture della Sardegna Nuragica, Nuoro, 2008, figs.4, 5, 7, 28, for similar heads. 55.8 grams total, 91 mm including stand (3 5/8 in.).Ex Frank Sternberg collection, Zürich, Switzerland, circa 1980-1985. Property of an East Sussex, UK, private collector.These bronzes are stylised representations, although very detailed as regards to the elements of material culture, of warriors, tribal leaders, priests, athletes, male characters and women of society of the late Sardinian Bronze Age and the Iron Age.
14th-10th century B.C. Comprising ten triangular arrowheads with tangs. See Khorasani, M.M., Arms and Armour from Iran. The Bronze Age to the End of the Qajar Period, Tübingen, 2006, figures 467 and 470, for some of these types. 203 grams total, 8.1-15 cm (3 1/8 - 5 7/8 in.).Acquired 1980-2015. Ex Abelita family collection.Some of these arrowheads seem to belong to the type V, subcategory types A and C according to the classification of Khorasani and Negahban. In the four categories of triangular bronze arrowheads from Luristan, Marlik and Northern Iran described by Negahban, subtypes A and C of type V are larger arrow heads with barbed shoulders and triangular heads. These types of arrowheads were commonly used in Anatolia and Mesopotamia from the 2nd millennium B.C., but apparently their employment began earlier in this area, where types like these occur alongside the non-barbed, predominantly ribbed and tanged types. [10]
Circa 9th-7th century B.C. Leaf-shaped blade with a ribbed raised central ridge. Cf. MacGregor, A., Antiquities from Europe and the Near East in the collection of the Lord MacAlpine of West Green, Ashmolean Museum, 1987, no.11.45; pl.10, p.18. 118 grams, 17.5 cm (6 7/8 in.).From the collection of Dr Günter Wiedner, Bavaria, Germany, 1980s-2015. Property of an East Sussex, UK, private collector.These kind of spearheads are similar to the spearheads found in Irish Late Bronze Age hoards of Dowry period, although there are no channelled blades.
Circa 2nd-1st millennium B.C. Shaped as a crescent moon with pearled border. Cf. Ilan, D., 'The Crescent-Lunate Motif in the Jewellery of the Bronze and Iron Ages in the Ancient Near East' in Proceedings, 9th ICAANE, Basel 2014, Vol. 1, 137–150, figs.1,4, for parallels. 5.08 grams, 45 mm (1 3/4 in.).Acquired 1980-2015. Ex Abelita family collection.The gold lunula was a characteristic type of necklace, collar, or crescent-shaped pendant of the late Neolithic, Chalcolithic, and most often early Bronze Age. The crescent appears in various forms in the material culture of the southern Levant. It also appears in Mesopotamian and Egyptian iconography. It is most frequently associated with the crescent moon and its related deity. Such pendants were worn at the neck, in contact with the body, as protective amulets.
Middle Bronze Age, 1400-1150 B.C. Triangular flange on each side rising from the butt to the stop bar; below the septum, a hollow to each face; narrow body expanding to a wide triangular blade with curved edge and raised median rib. See Evans, J., The Ancient Bronze Implements, Weapons and Ornaments of Great Britain and Ireland, London, 1881, pp.76-84, and figs.56-68, for similar types. 443 grams, 17 cm (6 5/8 in.).Found Spridlington, Lincolnshire, UK.
Circa 4th-3rd century B.C. Comprising an embossed fragment of a breast-plate from muscle-type armour (thorax statos) representing Herakles fighting against the Hydra of Lerna; three-quarters of the hero's body preserved showing him naked in a dynamic position, wearing a fluttering short cloak (chlamys), overlooking the body of the monster of which the long tail covered with scales and fins is visible; fragment of cloak preserved separately. See Marazov, I., Thracian Warrior, Sofia, 2005, p.55, for a cheek-piece with Herakles in identical position; see also parallels with the warriors of the Panagyuriste treasure, pp.115-116; and Herakles against the Amazons in the Rogozen treasure; for similar elements on a bronze anatomical cuirass from Siris (BM) see D'Amato, R., Negin, A., Roman Decorated Armour, from the Age of the Kings to the death of Justinian the Great, Barnsley, 2017, p.46, fig.43. 122 grams total, 3.4-17.5 cm (1 3/8 - 6 7/8 in.).Acquired on the French art market before 2000. From an EU collection before 2020.This kind of armour is very rare, especially for this period, when most of the attested armour is plain or only slightly decorated. The young Herakles appears in heroic nudity running to the right, but, as on the cheek-piece from Gurlo, his head was probably turned in the opposite direction. The plasticism of the scene finds a good match in the Thracian tradition of the representation of weapons and armour, and the embossed elements with the highly prized work of the Panagyurishte treasure. The warrior-theme and the representation of Herakles or other fighting scenes on the Thracian and Hellenistic armours was a reference to the spirit of the immortal fighter. [2]
10th-9th century B.C. Comprising mainly tanged arrowheads, the most of them having large elongated triangular blades and raised midrib, sharp central groove, cylindrical or squared stem for the shaft, barbed shoulders and convex sides; others with lanceolate head and rounded shoulders with long tang and foliate-section. See Khorasani, M.M., Arms and Armour from Iran. The Bronze Age to the End of the Qajar Period, Tübingen, 2006, figures 463, 467, and 471, for the types. 103 grams total, 29-68 mm (1 1/8 - 2 5/8 in.).Acquired 1980-2015. Ex Abelita family collection.The most of these arrowheads, having a lozenge-section midrib with thin blades filed sharp at the edges, are typical of the early Iron Age in Luristan. These arrowheads seem to belong to the type V, subcategory types A, C and D according to the classification of Khorasani and Negahban. In the four categories of triangular bronze arrowheads from Luristan, Marlik, and Northern Iran individuated by Negahban, subtypes C and D of type V are larger arrow or javelin heads, C with barbed shoulders and D with round shoulders. Subtype A is substantially similar to C, but smaller. Similar arrowheads are also visible in the Western Iberian and Balkan cultures in the Early Iron Age. [20]
Circa 11th century B.C. With heavy penannular rib, tapering triangular blade and round shoulders, flanged hilt with straight grip, widening to a fan-shaped pommel; accompanied by a custom-made display stand. Cf. Khorasani, M.M., Arms and Armour from Iran. The Bronze Age to the End of the Qajar Period, Tübingen, 2006, s. cat 12, for type. 554 grams total, 35 cm (37.5 cm including stand) (13 3/4 in. (14 3/4 in.)).Ex P.A., Hertfordshire, UK, specialist collection of Greek art, 1980-1990s.These short daggers and dirks were mainly cast in one piece, and especially the penannular rib was cast on at the same time with handle and blade according to Medvedskaya. On the contrary, Moorey said that the penannular rib was later cast on the dirk, possibly to strengthen a weak point at the junction of hilt and blade.
2nd-1st millennium B.C. Of fine quality, showing an open cast crescentic pommel with raised midrib and two parallel shallow lines across the top; pommel open on both sides to reveal the tip of the blade, tang rising from the grip; the solid cylindrical grip decorated with fourteen circumferential ribs, angular guard and triangular blade with strong midrib. Cf. Khorasani, M.M., Arms and Armour from Iran. The Bronze Age to the End of the Qajar Period, Tübingen, 2006, s. cat 37, for type. 1.05 kg, 58 cm (22 7/8 in.).Ex P.A., Hertfordshire, UK, specialist collection of Greek art, 1980-1990s.The dirk has its hilt cast onto the blade. Moorey published a very similar piece with fourteen encircling ribs on the grip and attributed similar pieces to the North-West, also based upon examples of similar dirks from the Iranian and Russian Talesh region. He dated these pieces to the late 2nd millennium B.C. Similar examples were excavated at Marlik. Stutzinger attributed these types with a wider dating (13th-9th century A.D.)
Late 2nd millennium B.C. With solid cast hilt, straight horizontal guard with turquoise inlay; plain narrow grip with conical hollow cast mushroom pommel decorated with dots and lines; wide shallow midrib on the blade tapering to a sharp tip. Cf. Khorasani, M.M., Arms and Armour from Iran. The Bronze Age to the End of the Qajar Period, Tübingen, 2006, s.cat 36, for type. 505 grams, 52 cm (20 1/2 in.).Ex old English collection. London art market, pre 2000. Property of a London, UK, gentleman.Moorey and Khorasani dated swords with mushroom pommels to the end of the second millennium B.C. The weapon belongs to Category IX of the Khorasani classification, the ones with a mushroom or bell-shaped pommel. A similar example is in the National Museum of Iran, Tehran.
13th-12th century B.C. Showing a long tapering blade with rounded shoulders and prominent mid-rib, the tang straight and rectangular in section. Cf. Khorasani, M.M., Arms and Armour from Iran. The Bronze Age to the End of the Qajar Period, Tübingen, 2006, s.cat 280, for type; Christies, Axel Guttmann Collection of Ancient Arms and Armour, Part 2, London, South Kensington, 28th April 2004, lot 40. 411 grams, 40.5 cm (16 in.).Acquired 1980-2015. Ex Abelita family collection.The weapon belongs to the type 1 of the Khorasani spearhead classification, mainly from the Marlik or Amlash areas. Similar pieces have been dated by Stutzinger to 1200-1100 B.C., but the period of use is attested to at least until 1000 B.C.
Circa 1400-1125 B.C. Leaf-shaped with loops incorporated into the base, the blade in two pieces, the centre of the blade divided by an expanding lozenge-sectioned midrib, conjoined at the base of the blade are two oval-shaped loops, the socket conical in shape with remains of the wood shaft inside. 250 grams total, 9.7-17.2 cm (3 7/8 - 6 3/4 in.).Found whilst searching with a metal detector near Rylstone, North Yorkshire, UK, circa 2018. Accompanied by a copy of the British Museum's Portable Antiquities Scheme (PAS) report no.YORYM-7A5023.Middle Bronze Age spearheads have been categorised by Davis (2017) and this example falls into Group 8, and are dated to the Taunton and Penard phases (1400 B.C.-1125 B.C.). [2, No Reserve]
10th century B.C. With triangular blade and flat mid-rib, flanged hilt for the insert of a wood or bone inlay, hilt with expanded guard and crescent-shaped pommel. Khorasani, M.M., Arms and Armour from Iran. The Bronze Age to the End of the Qajar Period, Tübingen, 2006, item 8. 474 grams, 43.5 cm (17 1/8 in.).Acquired 1980-2015. Ex Abelita family collection.This type of dirk belongs to the type III of Medvedskaya classification and is very common among daggers and dirks attributed to Luristan. The same scholar suggests that the dating for the whole series of type III daggers is an inscription on a type III dirk with the name of Marduk Nadin Ahhe (1100-1083 B.C.).
Circa 2350-800 B.C. Rectangular sheet-gold ribbon, plaque or cordon with reeded outer face and plain reverse, mounting hole to each end. Cf. similar items in the British Museum under accession nos. 1906,1224.1, 1906,1224.2; cf. Eogan, G. The Accomplished Art. Gold and Gold-Wrkingin Britain and Ireland During the Bronze Age, Oxford, 1994. 4.73 grams, 73.56 mm (3 in.).Found whilst searching with a metal detector in Alresford, Essex, UK, on Thursday 2nd June 2022 by Peter Wilson. Accompanied by a copy of the British Museum's Portable Antiquities Scheme (PAS) report no.ESS-71837F. Accompanied by a copy of the Treasure Act 1996 DCMS object receipt. Accompanied by a copy of the Report on find of Potential Treasure for H M Coroner from Alresford, Essex. Accompanied by a copy of the letter from the British Museum disclaiming the Crown's interest in this find with Treasure case reference no.2022T575. Accompanied by a typed and signed letter from the finder explaining the circumstances of discovery.The exact purpose of these gold ribbons is unclear although it is very likely that they were used to adorn either personal adornments or tableware. The Rillaton Cup (Royal Collection accession no. RCIN 69742) is one such item made of gold with a corrugated appearance. The strip is rather more substantial than the majority of Bronze Age finds and resembles those found in the Staffordshire Hoard (Fern, C., Dickinson, T. & Webster, L., The Staffordshire Hoard: an Anglo-Saxon Treasure, London, 2019).
2nd-1st millennium B.C. Egg-shaped with spiked sleeves or prongs, the top of the weapon with narrow edge, the sleeves with small internal tangs for mounting. 237 grams, 14 cm (5 1/2 in.).Acquired 1980-2015. Ex Abelita family collection.The 'claw mace' was an enigmatic ancient bronze weapon from the Bronze Age Near East. The hollow bulbous head was trailed by tines of varying lengths. It is believed that it was affixed over a wooden shaft and used like a club in combat, and not necessarily used as ceremonial weapon. The knife edge bulb end could have broken bones and proven to be a formidable striking weapon requiring no skill to wield. The tines would have not only been decorative, but have served to add strength below the striking end to prevent breakage. In battle, maces were often used by commanders to display rank when giving orders in battle and leading soldiers, inspiring leadership and power.
Iron Age, Northern Britain, bronze Dragonesque plate brooch, Brigantian, late 1st century AD, 50mm long by 26mm wide by 5mm deep, expanded body decorated with trumpet motif above and below a central boss. Complete except for the pin, very fine with a smooth brown patina £120-£150 --- Provenance: found at Burnsall, North Yorkshire
The Sutton Scotney Iron Age Brooch Celtic, La Tene bronze horse harness brooch, 1st century BC, 71mm x 57mm; flat openwork lyre loop design with a decoration consisting of inscribed lines of curvilinear motifs with basket-hatching filling the field; conjoined petals within incised circles on each side, above in the centre are two circled tricornes; on the back is a catch plate and hinge with the remains of an iron pin, below in the centre is a rectangular bar for attachment. Good very fine with a smooth green patina £2,000-£3,000 --- Provenance: found at Sutton Scotney in Hampshire Only two brooches for a horse harness are recorded from the UK and these are both enamelled; they are cast in two pieces, with the brooch as the upper part combined with a hinged lower part (see PAS no. DENO-2BAD49; also plate 298 in Early Celtic Art by Jope).
Celtic, bronze artefacts (6), including part of a horse bit; woad grinder, crescent shape with central loop; annular bracelet; penannular bracelet; large bead with grooved decoration; double boss and petal belt mount; together with a Bronze Age spear head (tip missing), 7cm [7]. Varied state £60-£80
Bronze Age, c. 1200-800 BC, small knife, 75mm x 41mm, expanded curved butt with three rivet holes, two with circular rivets; the end for the attachment of a bone handle, the horseshoe outline of which is still visible, triangular-shaped blade with bevelled cutting edge on both sides. Fine with a green patina £60-£80
Bronze Age, c. 800 BC, socketed chisel, 36mm x 17mm, with a curved cutting edge; together with Celtic bronze openwork strap junction, 1st century BC, 34mm diameter, decorated with a central bull’s head and four lobes connecting to a circular frame; Celtic bronze rouelle or ring money with multiple lobes [3]. All fine with green patina £80-£100 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- Eastern European in style
MEISSEN, Prunkschale, 1780-1814, 1. Wahl, feine Bemalung einer galanten Szene eingerahmt von in Goldstaffagen platzierten Blumenarrangements, Unterseite unterglasurblaue Schwertermarke Nach Ausführung zeitnah angebrachte vergoldete Bronzemontur. HxBxT (Gesamt): 17,5/32/32 cm. Altersspuren, Vergoldung teilw. berieben. | MEISSEN, ceremonial bowl, 1780-1814, 1st choice, Fine painting of a gallant scene framed by floral arrangements placed in gold decorations, underglaze blue sword mark on the underside. Gilded bronze fittings promptly attached after execution. HxWxD (total): 17.5/32/32 cm. Signs of age, gilding partly rubbed.
Große Prunkpendule mit Boulle-MarketerieFrankreich, Samuel Marti et Cie, gegr. 1832 für Balthazar Paris, mechanisches 8-Tagewerk mit Halbstundenschlag auf Glocke, Rückplatine bezeichnet Medaille d'Bronze S. Marti et Cie., hoher, seitlich gerader Aufbau auf zugehörigem geschweiftem Sockel, oben halbrund segmentbogig geschlossen, bekrönt mit einem sich nach oben verjüngenden Aufsatzsockel, darüber vergoldete Bronzefigur einer posauneblasenden Nike, Marketerie in Boulletechnik und Verwendung von geflecktem Schildpattgrund mit Messingeinlagen, die Sockelkanten mit Messing belegt, mit fein ziselierten Profilen und Eckapplikationen in Form von weiblichen Hermen, Treize pièces-Zifferblatt mit schwarzen römischen Ziffern für die Stunden und arabischen eingravierten Minutenziffern, bezeichnet Balthazar Paris, über dem Zifferblatt weiblicher Maskaron, Höhe ohne Sockel 74 cm, Sockel Höhe 24 cm, 1 Uhrenschlüssel anbei, Gebrauchs- und Altersspuren, ein Fuß loseA large grand pendulum with boulle marquetryFrance, Samuel Marti et Cie, founded 1832 for Balthazar Paris, mechanical 8-day movement with half-hour strike on bell, back plate marked Medaille d'Bronze S. Marti et Cie., tall, laterally straight construction on an associated curved base, semi-circular segmental arch closed at the top, crowned with an upward tapering attachment base, above gilded bronze figure of a trombone-blowing Nike, marquetry in boulle technique and use of spotted tortoiseshell ground with brass inlays, the base edges inlaid with brass, with finely chiselled profiles and corner appliqués in the form of female herms, three pièces dial with black Roman numerals for the hours and Arabic engraved minute numerals, inscribed Balthazar Paris, above the dial a female mascaron, height without base 74 cm, base height 24 cm, 1 clock key enclosed, traces of use and age, one foot loose
AN IRON SUJIBACHI KABUTO WITH A PARCEL-GILT BRONZE ONI MAEDATEJapan, Edo period (1615-1868)The components laced predominantly blue and fitted with copper hardware. The 62-plate hachi topped by a six-tiered chrysanthemum-form tehen kanamono, the lowest tier decorated with foliate designs against a nanako ground, the mabizashi neatly incised with foliate designs around the rim and fitted with a late parcel-gilt bronze maedate in the form of a fierce long-horned demon, flanked by the pair of black-lacquered fukigaeshi partly applied with printed leather inscribed with a mark for Shohei leather, all above the five-lame shikoro with a white horsehair trim.HEIGHT 33 cm (incl. horn), WIDTH 37 cmWEIGHT 3,235 gCondition: Good condition with wear, traces of use, the leather with small losses and few minor tears, the lacquer with expected age cracks and minor flaking.Auction comparison: Compare a related iron sujibachi kabuto at Christie's, Arts of the Samurai: the Dolphyn Collection, 13 December 2017, London, lot 7 (sold for GBP 9,375).
TSU JINPO: A SUPERB SHAKUDO TSUBA WITH HAKURYO FROM THE NOH PLAY HAGOROMO By Tsu Jinpo, signed Tsu JinpoJapan, Goto School, 18th century, Edo period (1615-1868) Published: Ponting, Herbert (1922) In Lotus-Land Japan.The shakudo tsuba of marugata shape, bearing a masterfully executed nanako ground applied with takazogan nanako lattice and with a gilt rim. The kozuka and kogai hitsu-ana with shakudo nanako ategane, the nakago-ana with some suaka sekigane. Finely worked in iro-e takazogan of gold, silver, suaka, and shibuichi, depicting Hakuryo, the protagonist of the Noh drama Hagoromo, draped in the magical feather-cloak of the tennin as he watches her perform the celestial dance, suggested by the mesmerized look on his face, two Chidori flying high above. The reverse with a few birds flying as the haze moves in, signed TSU JINPO.HEIGHT 7.2 cm, LENGTH 7 cmWEIGHT 154.1 gCondition: Very good condition with minor wear and rubbing to the gilt.Provenance: Ex-collection Herbert Ponting (1870-1935). Herbert George Ponting was a professional photographer. He is best known as the expedition photographer and cinematographer for Robert Falcon Scott's Terra Nova Expedition to the Ross Sea and South Pole (1910–1913). In this role, he captured some of the most enduring images of the Heroic Age of Antarctic Exploration. Less well known, he also left behind thousands of evocative images of Japan, and three Japan-themed books. Tsu Jinpo (1720-1761) is listed in the Haynes Index of Japanese Sword Fittings and Associated Artists on pp. 432 (H 02047.0) and was the student of Nomura Masamichi (H. 04166) and Goto Tsujo (H. 10775).Note the description provide by Herbert Ponting in the publication quoted above: "An exceedingly fine tsuba in rich black shakudo by Tsu Jinpo, illustrates the beautiful legend of Mio-no-matsu-bara. A fisherman finds a robe of feathers hanging on a tree and is about to carry it off, when a beautiful fairy appears and claims it. The fisherman declines to give it up until she dances before him one of the dances known only to the gods. This she does to an accompaniment of celestial music, and then flies away to the moon, her home. These simple touches, so characteristically Japanese — the net, the feather coat, and the fisherman looking upwards at the unseen fairy dancing in the air — are quite sufficient to convey the whole story, for everyone knows it by heart. The tsuba has a gilt band round it, the birds are gold, the fisherman's face is silver-bronze, and the feather-coat is of gold and copper."
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