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Click here to subscribeA Bronze Age terracotta jar with loop handles, height 10.5cm, together with three other pieces of ancient pottery.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A Bronze Age socketed spearhead of slender ribbed leaf form, detailed 'Southdowns Sussex', though style suggests European, length 14.5cm, mounted on a perspex stand. Provenance: Timeline Auctions, 2013, ex Michael Nellist Collection acquired from Bernard Pickard.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A Bronze Age socketed spearhead of ribbed leaf form, length 13cm. Provenance: Timeline Auctions 2013.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A modern replica Bronze Age style socketed type axehead of typical cast form. Provenance: Timeline Auctions 2013, together with a modern replica Bronze Age socketed chisel, detailed as an 'English find' but in our opinion a modern copy.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A large selection of WW2 and later, medals, badges, and other items related to 1624562 Warrant Officer William Porteous R.A.O.C, his brother and others.To include: a WW2 medal group (mounted for wear) comprising of the 1939-45 Star, The Burma Star, Defence Medal, and the 1939-45 War medal, 2 x R.A.O.C cloth shoulder titles, brass shoulder titles, buttons, Warrant Officer brass sleeve rank badges (one mounted on a leather bracelet).Plus, another seemingly unused set of WW2 medals (still in paper wrappers), comprising of the 1939-45 Star, the Africa Star, the Defence Medal, the 1939-45 War Medal.Various WW2 and later military badges, including 2 x RAF 17 squadron badges, an enamel Burma Star association badge, 2 x RSW (Returning Service Women) enamel badges, a Gordon Highlanders cap badges, a WW2 chrome RAF propeller sweetheart brooch, a silver watch chain with affixed with a T-bar and medallion for the London Midland & Scottish Railways (approximately 20g), an enamel badge relating to the LMS railways, a bronze Royal Life Saving medallion, and a 1957 dated Rolls Royce long service award certificate.Condition: generally good to most pieces - some normal light service wear commensurate with age.
An exceptionally rare, and possibly unique WW1 / Interwar / WW2 medal group awarded to Captain, later Major W.J.C. Phillips of the Supply & Transport Corp, and 3/5th Mahratta Light Infantry.Comprising of the BWM and Victory Medal (both unnamed as were issued in India, the General Service Medal (with rank as Captain) with the very rare Southern Desert Iraq clasp, and the South Persia Clasp.Plus, the 1939-45 star, Africa Star, Burma Star, 1939-45 War Medal with bronze oak leaf for being mentioned in dispatches, the 1939-45 India Service Medal, and the 1937 Coronation Medal (with rank as Major).Notes: the Southern Desert Iraq clasp was generally only awarded to personnel serving in the R.A.F, and these themselves are very rare.Awards to British officers serving in non R.A.F units are almost unheard of, with only one other example known having been offered for sale (the group awarded to Major Charles Lyons Mervyn Voules of the Mahratta Light Infantry).The Lyons GSM did not also have the S.Persia clasp that the Phillips example does.The full sized group is swing mounted for wear, and is accompanied by the corresponding court mounted miniature medal group.The medal group is accompanied by multiple pages of copied research papers, including his WW1 era medal index card that confirms the award of his GSM with the rare clasp combination, plus copy photographs of Major Phillips in his uniform.William Joseph Christopher Phillips was born on December 7th 1896.He was originally commissioned as a 2nd Lt in the 3rd Royal Dublin Fusiliers on April 30th 1915.He attained the rank of Lieutenant in January 1917, and was later posted to the Indian army in June 1917.A promotion to Temporary Captain followed in December 1918, and later Captain in 1920.His oak leaf for being mentioned in dispatches was gazetted in April 1945 for gallant and distinguished service - at this time he was a temporary Lt-Col in the 2nd Punjab Regiment.Condition: very good all round.Usual age related toning to the medals plus a small amount of fading to the ribbons.
A WW1 bronze death plaque, commemorating G/49702 Pte Ernest Walter Ward, 32nd Battalion Royal Fusiliers (East Ham).Notes: Pte E.W. Ward died on August 7th 1917, and is commemorated at the Ypres Menin Gate memorial.His medal index card states that he is also entitled to the BWM and Victory Medal.The plaque is complete with the original condolence slip and card transit box.Plus, some other WW1 interest items, to include a padded embroidered Warrant Officer’s sleeve badge, a bullion Kings Crown Warrant Officer’s sleeve badge, plus 3 metal officers ‘pips’.6 items.Condition: good.The bronze plaque has a good colour and is free from any damage.The slip and card box shows some age related wear.Both cloth badges show evidence of uniform removal and are in good condition.The ‘pips’ are also in good condition.
A selection of WW1 and later Austro-Hungarian / German medals and badges.To include: Austro-Hungarian Franz Joseph Military Merit Cross 1916, a Prussian Merit Cross for War Aid, a Cross of Honour with swords, a Kyffhäuser Federation War Commemoration Medal, a black grade wound badge (voided type), a silver grade wound badge, a Possneck Veterans Association medal, a silvered bronze German Hesse Bravery medal, a 1888 Wilhelm II medal, a post WW1 25 year Warrior League Veterans medal.Plus a WW2 era 12 year faithful service in the armed forces medal.11 items.Condition: most items are generally good.Normal age related wear and patina commensurate with use and age.e.g.wear to silvered finishes, minor verdigris etc.The 12 years faithful service medal is missing its suspension ring.
A scarce WW1 casualty pair, with a most unusual double issue death plaques and double issue scroll.Comprising of the British War Medal and Victory Medal, both named to 41156 Pte G. Smith, 11th Battalion Manchester Regiment (26/07/1881-06/09/1917).Plus 2 bronze memorial plaques ‘death plaques’, both named to George Smith, their accompanying scrolls, both named to Pte George Smith Manchester Regiment.There is also a large collection of related period ephemera, including 1917 dated newspapers reporting on Pte Smith’s wounding and later death, a period photograph of Pte Smith in uniform, letters sent home to his wife, and from an Army Chaplain reporting on his passing.The lot also contains George’s army death certificate and last will and testament, plus photographs of his original wooden grave marker and his later stone headstone, plus other documents.Notes: The group comes to auction directly from a family member, having never been offered for sale previously.According to information supplied by the vendor, the 2 death plaques have always been in the family, but the reasons as to the double issue are unknown.It’s possible that the double issue was a rare error by the office responsibe, but this is unable to be confirmed as there are no surviving records of plaque issues.Pte Smith’s medal index card confirms the pair as his full entitlement.Condition: generally very good - the ribbons are original to the medals, but the BMW ribbon has faded.Some of the documents are slightly fragile due to age, sand there is staining and foxing to both scrolls.Viewing of this emotive group is recommended.
A selection of WW1 and WW2 German medals, badges and insignia.To include: a WW2 war merit cross without swords (marked 52 to the suspension ring - missing ribbon) a WW2 tropical pith helmet badge with 3 prongs to reverse, a bronze grade SA sports badge (marked for R.Sieper & Sohne), a WW1 silver grade wound badge (voided type), a WW1 gold grade wound badge (non voided type - possible reproduction), a WW2 NS-RKB cap eagle (3 prongs to reverse, and marked ‘7 Ges,Gesch’ to reverse), a WW2 ‘Shirmmutze’ cap wreath and cockade (2 prongs to cockade and 3 prongs to wreath), a bronzed 1936 pattern marksmanship lanyard badge (all 4 prongs to reverse), a WW1 cross of honour with swords (with ‘G18’ makers mark to reverse), 5 WW1 / WW2 ribbon bars.14 items.Condition: generally good to most pieces.Some normal signs of wear commensurate with age and service wear.The gold grade wound badge has verdigris patches to both the back and front.The 1939 bar to the WW1 Iron Cross ribbon bar appears to be a handmade piece, likely of a much later date and attached to an original ribbon.
JOHN WILLIAM GODWARD (BRITISH 1861-1922)A BIRTHDAY PRESENTOil on canvasSigned and dated 'J. W. Godward 97' (lower left)46 x 56cm (18 x 22 in.)Provenance: Messrs. Thomas McLean, London 21 September 1897Private Collection, UKLiterature:McLean letter to Godward (21 Sept 1897) Mio-Turner CollectionSwanson, Vern Grosvenor, The Eclipse of Classicism¸ 1997, p.195Swanson, Vern Grosvenor, The Eclipse of Classicism¸ 2018, p.275John William Godward (1861-1922) was one of the last of the classical painters of the Victorian age. Slightly younger than his better-known counter parts: Sir Frederic Leighton (1830-1896), Lawrence Alma-Tadema (1836-1912), and John Poynter (1836-1919) he was working in the dawn of a new, modernist era at the end of the 19th century, one which had little place for the Classical ideals of Antiquity which had dominated art for the last 500 years. His career has been described by Swanson as the 'Eclipse of Classicism'. The author goes on to expand that Godward's career 'offers the clearest example of the demise of classical Greco-Roman subject painting' (Swanson, p.8). As a reclusive genius, and someone who almost certainly had Asperger's Syndrome, little is known about Godward's private life. This is partly due to his strict family upbringing and somewhat overbearing mother, Sarah Eboral, who outlived her son by 13 years, dying at the age of 100 in 1932. When Godward moved to Italy with one of his models in 1912, his family broke contact with the artist, destroyed many papers, and removed his image from family pictures. Indeed, only one photo of the artist is thought to exist. Although little is known about the young artist's schooling, as the eldest of five children, by all accounts Godward came from a respectable bourgeois family and ideal Victorian home. It is therefore likely that his family would have been able to afford to send him a private school, as was common for middle class children at that time. What is certain, is that there was pressure for all the Godward children to follow their father's lead into the family profession of insurance, investing and banking. Although his siblings all seem to have succeeded in this expectation, John William did not. Between 1879 and 1881, it is believed Godward studied under the architect William Hoff Wontner (1814 - 1881). This apprenticeship seems the likely source for Godward's ability to render perspective and architectural elements, as well as being able to realistically depict marble and porphyry. It was around this time that Swanson believes Godward turned his aspirations to becoming a fine artist. Whether Godward received any formal art training is purely a matter of speculation as there are no records, but given his family's insistence that he follow in his father's footsteps into the work of business, it seems unlikely that he would have had access to any instructional study. We do know however that by 1881, Wontner had died, and his son William Clarke had taken over the family business. By 1885, Wontner and Godward had become best friends, and the former had taken a post at St. John's Wood Art School. It is perhaps not too much of a leap then, to assume that at least some instruction was taken from his friend. It is most likely that Goward's exposure to specifically Graeco-Roman subject painting came through seeing contemporary work at the Royal Academy or Royal Society of British Artists. In 1887, his own debut work, A Yellow Turban, (No. 721) was accepted into the Royal Academy Summer Exhibition. He continued to exhibit with the Royal Academy until 1905. It was also during 1887, that Godward exhibited for the first time at the RBA, with a painting called Poppaea (No. 401). Three years later, he was officially elected as a member of the organisation. In 1888, Godward exhibited his oil, Ianthe (No. 941), at the Royal Academy. Upon seeing the painting, he was approached by the infamous art dealer Arthur Tooth who asked whether he might include it in his own Winter Show of that year. In addition to Ianthe, Godward produced nine further paintings for Tooth's show. His relationship with Tooth ultimately failed to extend beyond the exhibition however, as he decided to proceed with another dealer and Tooth's next-door neighbour, Thomas Miller McLean (1832-1909). Throughout his career Messers. Thomas McLean would deal hundreds of oils for the artist with great success.The present lot is no exception, and together with another work from the previous year, Winding the Skein (Sawnson, p.69, illustrated), is one of only a handful of works from this period to include more than one figure. Here, in a marble walled garden, we see the skill in which the artist depicts the red and grey tones in the smooth creamy stone set against a planter of poppies and blooming oleanders. Classical motifs are arranged throughout the work, including a small bronze statue of Venus, a white marble carving of Pan pulling a thorn from a hoofed Satyr, a variation of the sculpture in the Pio-Clementine Museum, and to the right of the work, a bronze vase atop a round marble table with lion monopodia leg. Centre stage are two figures dressed in beautiful turquoise and purple tunics. One woman seated on a tiger skin, a common motif in Godward's work, is presented with a birthday gift by her attendant: a beautiful Portland cameo glass vase. The first decade of the new century was one of the best for Godward as an artist. Imperial interest grew as prosperity throughout the British Empire rose. However, by 1911, the art scene in Britain had changed significantly, and this would shortly be echoed throughout the whole of society with the start of the Great War. The founding of the Camden Town Group in 1911, followed by the death of Alma Tadema in 1912, and the emergence of the Vorticist movement just before the start of World War I in 1913-14, as well as the Great War itself, marked the beginning of the end of the Classicist painters. It was amongst this backdrop that Godward moved to Rome, perhaps believing that he could escape the new dawn on the horizon which was already a reality in London. In Italy he found a seductive blend of ancient, medieval, and classical cultures. Unsurprisingly, little is documented of Godward's time in Italy, however by 1916, the new way of painting which he had so hoped to escape in London had made its way to the Continent. Nonetheless, Godward stayed in Rome until 1921. He spent most of his time working out of a studio at the Villa Strohl-Fern despite the villa's one hundred or so studios being filled with younger, more modern looking artists. He returned to England briefly in 1919, to attend his nephew's funeral and again in 1920 to attend his brother's wedding. Returning to Rome, his mood was low. The following year his health deteriorated, affected by Spanish influenza and depression. As a result, he only produced five paintings. This reduced to two in 1921. London was much more hostile to his art than Rome had been, and his depression and ill health did not improve once home. He became a recluse, and failing to feed himself properly, soon became malnourished and fell ill to a peptic ulcer. Rather than continue in his misery, and see his art suffer further at his inability to paint, the artist committed suicide on 13 December 1922, aged 62.
A large Louis XVI-style gilt-bronze cartel clock,late 19th century, having a convex enamel dial inscribed 'Louis Montjoye, Aaria', supporting a French drum movement striking on a bell, the case crest with a sunburst over a cherub seated in a carriage drawn by two doves, scrolling foliage and a seated nude and cherub,120cm highdial 21.5cm diameterLouis Montjoye (1728-c.1815)As an horological expert, Montjoye's name is often associated with some of the finest Louis XVI clocks. The son of Jacques and Marie-Madeleine née Langlois, he was apprenticed to Michel Mathurin Guery in 1736. In 1748, he was received as a Paris maitre, at which date he moved from Quai Pelletier to rue Dauphine; 1758 saw him established at rue de la Vieille Draperie and 1772 at rue Galande. He lived well into old age and died circa 1815 at Jouy-le-Chatel; his sons Louis II (d. before 1783) and Joseph-Bernard (d. after 1817) were both watch-case makers.Much of Montjoye's work was supplied to the marchands-merciers, especially Pierre-Simon La Hoguette and Dominique Daguerre, and through them was acquired by such figures as the duc de Richelieu, the duchesse de Mazarin, the marquis de Montesquiou, the comte de Vaudreuil and the Margravine von Baden. Today, examples of his work can be found among important collections, including the Rijksmuseum in Amsterdam, Zähringer Museum in Baden-Baden, the Huntington Collection in San Marino, California, and the Philadelphia Museum of Art.Condition ReportGlass of door lacking. Re-gilded. Dial worn, cracks and repair around 6 0' clock. Movement restored or replaced.. One floral mount to left-hand side broken at lower end. . Scratches, knocks and some misshapen areas. Movement untested. Please see additional photos.
A pair of giallo antico marble pedestals,20th century, each with a square top, on a turned column and canted square base, with gilt-bronze mounts,top 30cm square108cm high (2)Condition ReportSlight tarnish to metal mounts. In good cosmetic order with slight traces of wear commensurate with age.
After Mathurin Moreau,'Venus au Bain', a patinated bronze figure seated on a rustic outcrop and partially covered by flowing robes, raised on an integral naturalistic base, bearing signature 'Moreau Math',14cm wide47.5cm highCondition ReportIn good general condition with minor traces of age and wear.
A George III mahogany serpentine commode,c.1765, in the manner of Thomas Chippendale, with fluted frieze, brushing slide and cast bronze rococo handles, with angled sides and on bracket feet, with lignum vitae castors beneath, 114cm wide57cm deep80cm highProvenance: Crowcombe Court, Crowcombe, Somerset.Condition ReportThere are marks, surface scratches and imperfections to the veneer to the top. Both front corners damaged with losses. Wear and scuffs to supports. Some losses to beading throughout and frieze. Later backboard and evidence of recent strengthening. Missing lockplate to middle drawer. Historic woodworm to the undersides of feet. Casters run relatively smoothly but with expected tarnish and age. Overall, the drawers are in fair cosmetic condition with traces of wear and small losses, structurally stable and ready for use. See additional photos.
A gilt-bronze mantel clock,late 19th century, French, the enamel dial supporting a two-train striking French drum movement, the case ornately cast with three putti and scrolling fruiting vines,48.5cm wide18cm deep48cm highCondition ReportEnamel dial with very small hairline crack between XII and I and chip to one winding hole. Complete with pendulum and key. Movement appears overwound and not functional. We would recommend seeking professional advice. The scrolling base and foliage around the dial probably overpainted. Evidence of later gilding, which may indicate further repair and restoration to the case. Right hand putto is a little loose. General knocks, scratches and wear commensurate with age and use.
TÊTE DE BOUDDHA EN ALLIAGE DE CUIVRETHAÏLANDE DU NORD, ROYAUME DE LAN NA, VERS 1470-150327.5 cm (10 7/8 in.) highFootnotes:A COPPER ALLOY HEAD OF BUDDHANORTHERN THAILAND, LAN NA KINGDOM, CIRCA 1470-1503泰國北部 蘭納王國 約1470-1503年 銅佛首 Provenance:With Claude de Marteau, Brussels, by 1980s This bronze head of the Buddha is an example of the 'Sihing' type established during the Lan Na Kingdom's golden age under King Tilok (r. 1441-87), that proliferated under King Mueang Kaeo (r.1495-1525). Variously termed 'Early Chiang Saen', 'Phra Singh', or 'Sihing' by different scholars (the latter two meaning 'lion'), this Buddha head invokes the more sensuous and robust treatment of the body of the period. Among the head's Sihing stylistic features are its prominent snail shell curls arranged into a thinly banded heart-shaped hairline. Its high arching brow converging at the nose, gracefully upswept eyes, and soft ovoid shape follow the late 15th and early 16th century Lan Na Buddha images produced in Chiang Mai and neighboring Lamphun. For example, compare with two masterpieces held in Wat Pa Sang Ngam in Lamphun, including one dated 1501 (Stratton, Buddhist Sculptures of Northern Thailand, 2004, pp. xxxiv & 223-5, nos. C.16, C.17, 8.71, 8.73 & 8.78).The Sihing image's dating has been long debated, but numerous examples are dated by inscription to the last quarter of the 15th century, and Woodward, Jr. suggests that 1470-1503, a period bookended by the earliest and one of the later known dated images, provides the range in which most of the uninscribed yet more beautifully-made sculptures can be placed (Woodward, Jr., The Sacred Sculpture of Thailand, 1997, p. 210).This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com
Sehr seltene Bronzeplakette mit TürkiseinlagenChina, Ende Xia/Anfang Shang-Zeit, 16.-15.Jh. v.Chr.15,7x11,1(10)cmLeicht gewölbte Bronzeplatte mit Dekor einer Tiermaske bzw. eines kauernden Tieres in Aufsicht und kleinen, überwiegend quadratischen Türkiseinlagen. Der genaue Verwendungszweck dieser Platte ist unklar. Drei vergleichbare Exemplare wurden zwischen 1981-86 bei Ausgrabungen in Erlitou, Provinz Henan, in den Arealen V und VI (Gräber Nr. 4, 11 + 57) gefunden, darunter ist die Plakette aus Grab 11 aus der späten Erlitou-Phase (ca. 16.-15. Jh. BC), die bereits in die frühe Shang-Zeit überleitet, der vorliegenden Schmuckplatte sehr ähnlich sowohl in Dekor als auch in Größe. Zwei der drei Plaketten wurden in Brusthöhe der Bestatteten gefunden, und man bezeichnet in der Literatur diese Plaketten deshalb als Brustschmuck. Die Vermutung, dass es sich bei der Plakette mit den Türkiseinlagen und wohl auch dem in der vorangehenden Katalognummer vorgestellten mondsichelförmigen Anhänger um Teile des Zaumzeuges für Pferde handeln könnte, wie von Loehr und Poor und anderen angenommen, scheint aus verschiedenen Gründen nicht mehr haltbar zu sein: 1. durch die Fundumstände der in wissenschaftlichen Ausgrabungen in Erlitou gefundenen Exemplare, sie lagen neben der Brust des Bestatteten bzw. direkt neben dem Toten. 2. konnten bisher in Erlitou und anderen Gräbern der Erlitou-Kultur bzw. der Xia-Dynastie (c. 1900-1500 BC) keine Pferdebestattungen oder Streitwagen gefunden werden, und 3. finden sich Türkiseinlagen auf Bronzeobjekten in Nordchina nach der Erlitou-Periode erst wieder in der späten Shang-Zeit (c. 1600-11th C. BC). Auffallend bei allen gefundenen Beispielen, wie auch bei den beiden hier vorgestellten Objekten, ist der erstaunlich guteErhaltungszustand der Türkiseinlagen! Bronze mit grüngrauer Korrosion und Türkiseinlagen.Aus einer bedeutenden Privatsammlung, laut Angaben des Eigentümers seit ungefähr 1920 im Besitz seinerFamilie, versteigert Nagel, 17.5.2006, Lot 803 und nun aus dem Nachlass des KäufersVgl. Loehr, Max: Relics from Ancient China from the Collection of Dr. Paul Singer, New York, 1965, no. 19; Poor, Robert J.: Ancient Chinese bronzes, ceramics and jade in the Collection of the Honolulu Academy of Arts, Honolulu, 1975, no. 13; Zhongguo meishu quanji, Gongyi meishu bian, vol. 4, Qingtong qi; (“Vollständige Sammlung chinesischer Kunst / Complete collection of Chinese art”, “Vollständige Sammlung Kunsthandwerk/ Complete collection of applied arts”), vol. 4, (“Bronzeobjekte / Bronze objects”), Peking: Wenwu chubanshe, 1985, no. 3, plate 3 (1981 in Erlitou, Prov. Henan, ausgegraben); Bagley, Robert W.: Shang ritual bronzes in the Arthur M.Sackler Collections, vol. I of Ancient Chinese bronzes in the Arthur M. Sackler Collections, Washington/Cambridge: The Arthur M. Sackler Foundation and Harvard University Press, 1987, Fig.11, p. 67, Turquoise-inlaid bronze plaque from Erlitou, L: 14,2 cm (gleiche Plakette wie bei Qingtong qi, 1985, no. 3, abgebildet); Gems of China’s Cultural Relics, Peking: Cultural Relics Publishing House, 1992, no. 87;Catalogue of the Miho Museum (South Wing), Miho: The Miho Museum, 1997, no. 77; Croes, Gisele: From ancient kingdoms to imperial China, Brüssel: Arts d’Extröme-Orient, 1998, p. 22+23, Bronze and turquoise plaque, 15,1 x 10,3 cm (schlichter in der Gestaltung); Yang, Xiaoneng (ed.): The golden age of Chinesearchaeology - Celebrated discoveries from the People’s Republic of China, Washington: Board of Trustees, National Gallery of Art, 1999, p. 140 + no. 38, p.146+147 stammen aus Erlitou, Yanshi, Prov. Henan und werden in die Periode II der Erlitou-Kultur datiert, c. 1800-1700 v. Chr.)
AN ARCHAIC STYLE BRONZE TRIPOD CENSER Of Shang style, with twin handles, the body cast with taotie masks, on three cylindrical supports 15.5cm high Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
A GROUP OF SEVEN ASSORTED METALWARE SNUFF BOTTLES To include a Russian style cloisonne enamel example; a copper circular example; a bronze coloured relief moulded example and others * Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
A SMALL BRONZE RAIN DRUM The top with four stylised frogs and repeating geometric decoration 27cm high; 32cm diameter Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
Ca. 1200-900 BC. A cast bronze double axe head characterized by a short cylindrical shaft hole, a flattened top, and a vertical blade with a curved cutting edge. At the back, a smaller horizontal adze blade completes this beautiful design. An adze is designed for tasks that require more precision and finesse, such as carving or shaping wood, and is suitable for a wide range of tasks. In Bronze Age, axes like this one were used not only as tools but also as weapons. The region's abundant resources of copper and tin made it a prime location for the production of bronze weapons, and these axes would have been in high demand for hunting, warfare, and clearing land for agriculture.Size: L:70mm / W:245mm ; 1.5kgProvenance: Private UK collection; From an old London collection formed in the 1990s.
Ca. 1200-700 BC. A bronze dagger with its beautifully-shaped blade tapering to a sharp point and the hilt masterfully crafted, curving inward from a splayed pommel to form concave, flanged sides to receive an inlay. A nearly circular crescent guard encloses the upper part of the midrib, overlapping the hilt and enhancing the blade's durability and strength. Bronze weaponry in the Bronze Age of Western Asia was a crucial element of warfare and social status. The mastery of bronze casting and the use of weapons in warfare and hunting was a significant factor in the rise and fall of many empires during this period. The Western Asiatic region was renowned for its impressive bronze weapons, which were frequently adorned with intricate designs and motifs, as is exemplified by this magnificent dagger. For a similar, see The Metropolitan Museum of Art, Accession Number: 61.261.5.Size: L:315mm / W:40mm ; 145gProvenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1990s.
Western Asiatic/Aegan, ca. 1200-700 BC. A bronze spearhead crafted with great care and attention to detail. This lentoid, triangular-shaped blade boasts a prominent midrib, which runs down the center of the blade, enhancing its strength and rigidity. The shoulders extend downwards, forming distinctive wings that lend both balance and stability to the weapon. The pronounced shaft and long tapering tang allow for secure attachment to a sturdy pole, creating a formidable weapon. During the Bronze Age spears were an essential tool for hunting, fishing, and warfare. These small spears were practical, versatile, and deadly in skilled hands. They could be thrown, thrust, or used in a swinging motion, depending on the situation. Cf. Muscarella, O. W. (1988). Bronze and Iron: Ancient Near Eastern Artifacts in the Metropolitan Museum of Art. Metropolitan Museum of Art, New York, p.290.Size: L:135mm / W:25mm ; 25gProvenance: Private UK collection; From an old London collection formed in the 1990s.
Western Asiatic/Aegan, ca. 1200-700 BC. A group of three cast bronze spearheads, each a stunning masterpiece of ancient weaponry. These triangular-shaped blades boast a prominent midrib that runs along the center, creating a striking visual effect. The shoulders of each spearhead extend downwards, leading to a pronounced shaft and tapering tang for insertion onto a pole. In Bronze Age Western Asia, the spear was a ubiquitous weapon used by soldiers and hunters alike. The pronounced shaft and tapering tang would have allowed for easy attachment to a pole, creating a deadly weapon that could be used from a distance. Cf. Muscarella, O. W. (1988). Bronze and Iron: Ancient Near Eastern Artifacts in the Metropolitan Museum of Art. Metropolitan Museum of Art, New York., p.291.Size: L:55-70mm / W:15-20mm ; 20gProvenance: Private UK collection; From an old London collection formed in the 1990s.
Ca. 1045 - 771 BC. Western Zhou Dynasty. A beautiful bronze ritual wine vessel with cover. The broad spherical body stands on a splayed foot, the broad cover ending in two horns on each side. The body is decorated with a wavy band. 'You' is a ritual wine vessel with a lid and a long U-shaped handle. It entered the religious repertoire in the first century of the Anyang period of the late Shang Dynasty and was in use until the middle Western Zhou period. Incorporating techniques from its Shang predecessors, the Western Zhou dynasty culminated with the prior as the Chinese Bronze Age and established a tremendous material culture of bronze works from 2,000 to 771 BC. The most commonly produced bronzes during the Western Zhou dynasty came in the form of vessels, although other objects included grandiose chariot decorations and fierce weaponry. For more information on this kind of vessels, see Shih, Hsio- Yen (ed.) (1986). Ancient Chinese Bronzes. Oxford University Press.Size: L: 210mm / W: 245mm;3KgProvenance: UK Private Collection; formerly acquired in the early 1990s in Hong Kong.
Ca. 1200-700 BC. A pair of arrowheads crafted with utmost precision and elegance. Each arrowhead features a beautifully shaped blade with a thick midrib, pointed shoulders, and sharp points that are designed for maximum efficiency and accuracy. The blades are crafted from high-quality bronze, for its exceptional durability and sharpness, and they exhibit a lustrous patina that speaks to their age and rarity. At the base of each arrowhead lies a tang, crafted for easy insertion into a wooden shaft. These arrowheads were likely used for hunting and warfare, and their design allowed them to pierce through armor and penetrate deep into their targets. These arrowheads would have been used in a variety of contexts, ranging from tribal conflicts to hunting expeditions, and their significance is immense, both from a historical and cultural perspective. Cf. O. White Muscarella, Bronze and Iron. Ancient Near Eastern Artefacts in the Metropolitan Museum of Art, New York, 1988, p.290.Size: L:105-140mm / W:28-30mm ; 55gProvenance: Property of a European collector; ex. German collection formed between 1990-2010.
Ca. 2nd-1st millennium BC. A storage vessel, crafted from hard stone. Its delicate form features a skillfully carved globular body that elegantly tapers towards the open mouth. The vessel rests upon a flat circular base, proudly displaying its exquisite craftsmanship and the mastery of the artisans who created it. In the Bronze Age, storage vessels played a vital role in the daily lives of the people of the Holy Land. This stone vessel would have served as a sturdy container for various commodities, including grains, oil, and wine. Such vessels were an essential part of the agricultural and economic systems of the time, used for the safe storage and transportation of valuable goods.Size: L:115mm / W:120mm ; 980gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Western Asiatic/Aegan, ca. 1200-700 BC. A cast bronze spearhead featuring a triangular-shaped blade with a pronounced midrib that runs down the center, lending both strength and rigidity to the weapon. The blade tapers to a sharp point, designed to penetrate armor and flesh with equal ease. The shoulders of the spearhead extend downwards to form wings, enhancing its aerodynamic properties and ensuring swift and accurate strikes. The pronounced shaft provides a sturdy grip, while the long tapering tang allows for secure insertion onto a wooden pole, creating a formidable weapon that was instrumental in Bronze Age warfare. In the Bronze Age, the spear was the most common and effective weapon, used for hunting, fishing, and warfare. These small spears were utilitarian tools, invaluable in a wide range of everyday tasks, from hunting to defending one's community. Cf. Muscarella, O. W. (1988). Bronze and Iron: Ancient Near Eastern Artifacts in the Metropolitan Museum of Art. Metropolitan Museum of Art, New York, p.291.Size: L:115mm / W:22mm ; 20gProvenance: Private UK collection; From an old London collection formed in the 1990s.
Ca. 1st-3rd century AD. A bronze statuette of an archer. The figure is depicted standing upright, with his long legs placed on an integral spool-shaped pedestal. The archer is represented with simplified features, including an accentuated nose and double-pointed coiffure. The figure is shown wearing a quiver on his back, which is filled with arrows. The overall form of the figure exudes a sense of power and strength, which is typical of Celtic and Roman depictions of warriors. Celtic-Roman bronze figurines were produced during the late Iron Age and early Roman periods and are characterized by their unique blend of Celtic and Roman artistic traditions. These figurines were often used as votive offerings in religious ceremonies or as decorative items in wealthy households. They were also used to illustrate myths and legends or to depict important historical events.Size: L:55mm / W:25mm ; 15gProvenance: Property of a London Ancient Art gallery, formerly an European private collection.
Western Asiatic/Aegan, ca. 1200-700 BC. A bronze spearhead, crafted with skill and purpose. Its triangular-shaped blade boasts a prominent midrib, providing additional strength and stability to the weapon. The shoulders flare outwards, allowing for a wider penetration upon impact. The pronounced shaft and long tapering tang are designed for easy attachment to a pole, transforming this spearhead into a deadly weapon. During the Bronze Age, spears were an indispensable tool for hunting and warfare. These small spears, like the one here, were utilized for close-range combat and could be thrown or thrust with precision. The design of the spearhead allowed for a swift and powerful strike, capable of piercing armor and delivering a fatal blow. Cf. Muscarella, O. W. (1988). Bronze and Iron: Ancient Near Eastern Artifacts in the Metropolitan Museum of Art. Metropolitan Museum of Art, New York, p.291.Size: L:140mm / W:25mm ; 35gProvenance: Private UK collection; From an old London collection formed in the 1990s.
Ca. 1200-1000 BC. A bronze axe head with a vertical round-section shaft and a curved blade with flaring ends. The exterior side of the shaft is adorned with intricate diagonal etchings. Axes played a crucial role in the lives of the people of the Bronze Age, serving as a tool for agriculture, woodworking, and as a weapon in times of conflict. The curved blade with flaring ends was specifically designed for efficient chopping and cutting, demonstrating the ingenuity and practicality of the Bronze Age society.Size: L:100mm / W:150mm ; 1.34kgProvenance: From the private collection of Mr. R. Unger; previously with a London gallery; acquired in the 1980s on the UK art market.
Western Asiatic/Aegan, ca. 1200-700 BC. A trio of cast bronze spearheads, each a masterpiece of Bronze Age bronze craftsmanship. The triangular-shaped blades of these spears are characterized by a prominent midrib, running down the center to enhance both their strength and beauty. The shoulders of the spears extend downwards, leading to a pronounced shaft and tapering tang for easy attachment to a pole. These small but deadly spearheads would have been wielded by warriors in battle and used by hunters for survival. Their significance extended beyond the battlefield, serving as a display of wealth and social status. These spearheads represent the pinnacle of Bronze Age craftsmanship, showcasing the skill and ingenuity of ancient metalworkers. Cf. Muscarella, O. W. (1988). Bronze and Iron: Ancient Near Eastern Artifacts in the Metropolitan Museum of Art. Metropolitan Museum of Art, New York., p.291.Size: L:60-70mm / W:17-20mm ; 25gProvenance: Private UK collection; From an old London collection formed in the 1990s.
Western Asiatic/Aegan, ca. 1200-700 BC. A finely cast bronze dagger, comprising a triangular-shaped, double-edged blade with raised mid-rib and a flanged, hollowed hilt. The dagger's design is both practical and aesthetic. Bronze weaponry was an essential part of life in the Bronze Age, used for hunting, warfare, and even ritual purposes. Size: L:315mm / W:30mm ; 165gProvenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1990s.
Western Asiatic/Aegan, ca. 1200-700 BC. A group of three bronze spearheads, each boasts a triangular-shaped blade of varying length, expertly tapered to a sharp point. The design of these blades was carefully crafted to ensure maximum impact, capable of piercing through armor and flesh with ease. The midrib of each spearhead adds an element of strength and durability, while the short tang allows for easy insertion into a wooden shaft. The importance of the spear in Bronze Age Western Asiatic cannot be overstated. It was one of the most essential weapons of the era, relied upon by warriors and hunters alike. The spear allowed for quick, efficient attacks, providing an advantage on the battlefield or in the hunt. Its versatility also meant it could be used for a variety of purposes, from thrusting to cutting and piercing.Size: L:100-215mm / W:23-26mm ; 80gProvenance: Private UK collection; From an old London collection formed in the 1990s.
AMAZING SPIDER-MAN #101 - (1971 - MARVEL - UK Price Variant) - Key Book with huge collector interest + First appearance of Morbius the Living Vampire, whose feature film debuted in 2022 - Lizard appearance + currently the 15th most valuable book on Overstreet's Top 25 Bronze Age Comics list - Gil Kane and John Romita Sr. cover with Kane Interior art - Flat/Unfolded - a photographic condition report is available on request
WEREWOLF BY NIGHT #32 - (1976 - MARVEL - UK Price Variant) - HOT Book - First appearance & Origin of Moon Knight, whose Marvel/Disney TV series screened to positive reviews with Oscar Isaac in the lead role + Currently #5 on Overstreet's Top 25 Bronze Age Comics Value List - Gil Kane and Al Milgrom cover with Don Perlin interior art - Flat/Unfolded - a photographic condition report is available on request
MARVEL SPOTLIGHT #5 (1972 - MARVEL) - HOT Book - The first appearance and origin of Ghost Rider (Johnny Blaze) - Rumoured that a Ghost Rider project is planned for 2023, possibly a Halloween special - Currently 4th on Overstreet's Top 25 Bronze Age Comics list - Cover and interior art by Mike Ploog - Flat/Unfolded - a photographic condition report is available on request
TOMB OF DRACULA #10 - (1973 - MARVEL - UK Price Variant) - HOT KEY BOOK & CHARACTER - First appearance of Blade the Vampire Slayer, who is scheduled to return to the Marvel Cinematic Universe in the near future + Currently tied at #7 on Overstreet's Top 25 Bronze Age Comics list - Gene Colan cover and interior art - Flat/Unfolded - a photographic condition report is available on request
Kaminuhr, Frankreich, 19. Jh., Balthazard a Paris, feuervergoldete Bronze, lesender Putto und Weltkugel dunkel, ohne Vergoldung, Zifferblatt mit römischen Ziffern für die Stunden und arabischen Ziffern für die Minuten, Schlagwerk auf Glocke, Ankerhemmung, Werk nicht geprüft, Altersspuren, 30 x 29 x 12 cm. / Fireplace clock, France, 19th century, Balthazard a Paris, fire-gilt bronze, reading putto and globe dark, without gilding, dial with Roman numerals for the hours and Arabic numerals for the minutes, striking movement on bell, lever escapement, movement not tested, traces of age, 30 x 29 x 12 cm.
Glockenfußleuchter, gotisch, 16. Jh., Bronze/ Messing, schwerer glockenförmiger Stand mit Kragen, schaftlose, zylindrische Tülle mit zwei eckigen Reinigungslöchern, gepunzt, H. 13 cm, D. 13 cm. Altersspuren. / Bell base candlestick, Gothic, 16th century, bronze/brass, heavy bell-shaped stand with collar, shaftless cylindrical spout with two angular cleaning holes, hallmarked, h. 13 cm, d. 13 cm. Signs of age
Paar klassizistische Kerzenleuchter, Messingbronze, Pokale auf kubischen Sockeln mit Masken-Verzierungen sowie wendbare Aufsätzen (Tüllen mit kleinen Tropftellern oder Flammen), Altersspuren, 28,5 cm. / Pair of classicist candlesticks, brass bronze, goblets on cubic bases with mask decorations as well as reversible tops (spouts with small drip plates or flames), traces of age, 28,5 cm.
Aufsteller, 1. H. 19. Jh., Messingbronze und Porzellan, vorne Malerei einer Genreszene mit Frau und Kind am Spinnrad, rückseitig geometrische Form, seitlich Sphinxen, teils Farbverluste, Altersspuren, Flügel gebogen, H 27,5 cmFigural stand, 1st half of the 19th century, brass bronze and porcelain, in the front painting of a genre scene with woman and child at the spinning wheel, geometric shape on the back, sphinxes on the side, some loss of paint, signs of age, wing bent, H 27.5 cm
INDIAN CAST BRONZE FIGURE OF PARVATI LATE 19TH CENTURY seated in royal ease, twisting to her right, eyes downcast11.5cm highSmall imperfections to surface in keeping with age. The figure appears to have been originally adjoined to another item/piece - the back of the figure has rivets to suggest this. Please see additional images.
Herbert Ward (British, 1863-1919)The charm doctor signed 'Herbert Ward' (to base), inscribed with the foundry mark 'ALEXIS PODIER/FONDEUR PARIS' (to base), bears inscription 'TO LAURIE AND MARGARET BENET/SOUVENIR OF A LASTING FRIENDSHIP/FROM/SARITA WARD' (on plaque attached to marble base) and bears inscription 'THE CHARM DOCTOR/CENTRAL AFRICA/SKETCH BY HERBERT WARD' (on plaque attached to marble base).bronze on a green marble base45.4 (17 7/8) highFootnotes:ProvenanceGifted to Laura and Margaret Benét by Sarita Ward, Herbert Ward's wife.Thence by descent.The American biographer Laura Benét was the sister of poets and Pulitzer prize winners, Stephen Vincent Benét and William Rose Benét. Herbert Ward struck up a friendship with William Rose Benét in Paris and the two families became close.A charm doctor was considered in several Congo tribes to be the connecting link between mortals and spirits. Another cast of 'The Charm Doctor' can be found in the collection of the Smithsonian Institute (USNM no. E23732-0), donated into the collection by the artist's wife and where it is noted to have been exhibited at the Salon Société des Artistes Français, Paris in 1902. There is also another cast of the sculpture, titled 'Le Sorcier' exhibited at the Musée d'arts de Nantes.Herbert Ward longed for adventure, and at the age of 15, he left England to satisfy his curiosities, spending his youth travelling extensively. In 1884, Ward set out for the Congo where he worked for various companies managing the transport of goods and supplies both to and from Europe. A year into his time in the Congo, Ward joined Henry Morgan Stanley's expedition travelling on the rivers across the country. Ward's appreciation and fascination for the Congo and it's people encouraged him to learn local languages and customs, allowing him to develop good relationships with various communities.Ward left Africa in 1889 and began a career as a touring writer and lecturer, where he paid a particular focus to his time in the Congo. Four years later he turned his attention to the Arts and began his formal artistic training. This led him to Paris to pursue bronze casting and his travel journals from the Congo became a source of inspiration for his sculptures. During his time in Paris, both the French Academy and the general public enjoyed his Congolese subjects. His style adopted a more natural depiction of the human figure, but Ward emphasised that his sculptures were not presented as scientific illustrations, rather they were art to share 'the spirit of Africa in the broad sense'. Throughout his artistic career, Ward begun to question colonialism, especially in Africa. During the First World War, Ward served as a Lieutenant in No. 3 Convoy of the British Ambulance Committee where he distinguished himself. However, his efforts during the war weakened his health and he died in 1919.Saleroom notices:Please refer to the online cataloguing of this lot for provenance details.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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