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Lot 361
Troy Anderson (Cherokee, b. 1948). Bronze sculpture titled "From the Sacred Fire" depicting a winged figure of a Native American man rising from the flames. Signed, titled, numbered 12/25, and dated 1985 along the bronze base.(Including wooden base) Height: 22 1/4 in x width: 11 in x depth: 8 in.
Lot 362
Jacques Coquillay (French, b. 1935). Bronze sculpture depicting a crouched nude woman. The woman twists to look to the side, her toes are flexed, and her arms hang in front of her with her fingers grazing the ground. The figure rests on a bronze irregular rectangular base. Signed, numbered 2/8, and with the impressed foundry mark along the base.Provenance: Collection of Bruce Dayton & Ruth Stricker Dayton, Minnesota.Height: 14 in x width: 10 1/4 in x depth: 6 in.
Lot 363
Jacques Coquillay (French, b. 1935). Bronze sculpture depicting a prone nude woman. The womanÃs knee and one arm are bent, her face rests on her inside elbow, and the other arm is under her body. Signed, numbered 3/8, and foundry marked to the underside of the figure's thigh.Provenance: Collection of Bruce Dayton & Ruth Stricker Dayton, Minnesota.Height: 4 1/4 in x width: 10 in x depth: 13 in.
Lot 396
After Frederick Remington (American, 1861-1909). Bronze sculpture titled "Bronco Buster," depicting a cowboy atop a bucking bronco. Incised along the bronze base "National Cowboy Hall of Fame, 1983 Dave Grossman Designs." The sculpture rests on a wooden base with a brass nameplate.Height: 15 3/4 in x width: 12 1/2 in x depth: 7 1/2 in.
Lot 397
Jack Bryant, Sr. (American, 1929-2012). Bronze sculpture titled "Larry Mahan, the All Around Cowboy," depicting famed rodeo cowboy Larry Mahan (b. 1943) atop a charging horse. Signed, titled, dated 1976, and numbered 12/20 to the bronze base. The sculpture rests on a wooden base.Height: 14 3/4 in x width: 19 1/2 in x depth: 12 in.
Lot 512
Dutch musical tall case clock, 18th c., Johannes Van Wyk, Amsterdam. The brass dial is engraved with a profusion of scrolling foliage. The engraved silvered chapter ring with Roman numerals signed Johannes van Wyk Amsterdam, foliate pierced hands and subsidiary seconds, apertures for date and moonphase with delicate Classical inspired illustrations. With twelve bells, and the hour strike on a separate bell. The case is burlwood veneered with marquetry decoration, and rests on four claw and ball feet. With a bell top surmounted by a gilt bronze figure of Atlas holding a polychromed globe, flanked by two gilt bronze winged figures. The lenticle decorated with a gilt bronze figure with an hourglass, surrounded by elaborate scrolling decoration.Provenance: Charles Kengen Antiquairs, Amsterdam; distinguished private collection, Minnesota.Height: 108 in x width: 25 1/2 in x depth: 14 in.
Lot 526
R. Lalique and Baccarat Rose D'Orsay perfume bottle, circa 1912. Frosted crystal bottle and cap with an inner crystal stopper. The bottle is mounted with gilt and silver finished bronze brands. One depicting neoclassical dancing figures. Impressed RL mark to the decorated band. The number 35 is etched along the underside of the stopper.Height: 5 1/2 in x diameter: 1 3/4 in.
Lot 104
Buckle. Celtiberian culture, 4th-2nd centuries BC.Bronze.Provenance: Private collection of the Berenguer family.Measurements: 16,5 x 6 x 3 cm .Bronze buckle from the Celtiberian culture, decorated with horizontal and vertical grooved shapes and two rows of conical ornaments.The term Celtiberian refers to a series of pre-Roman Celtic or Celticized peoples who inhabited the area of the Iberian Peninsula known as Celtiberia in classical sources from the end of the Bronze Age (approx. 13th century BC) until the Romanisation of Hispania (2nd century BC to 1st century BC), which could include the current areas of Burgos, Soria, Zaragoza, Guadalajara and down to Cuenca, in other words the central-western part of the Iberian Peninsula. Where the villages were settled. Arevacos, Pelendones, Belos, Titos, Berones, Lobetanos, Lusones, etc.
Lot 105
Pair of ornamental cavalry appliques. Late Roman Empire period, 4th century AD.Bronze.Provenance: Private collection of the Berenguer family.Measurements: 9 x 8 x 1.5 cm (largest).Pair of horse bridle bits, from the Roman period, made in bronze, decorated with lion heads.The Lower Roman Empire is the historical period from the rise of Diocletian to power in 284 until the end of the Western Roman Empire in 476. This is the period in which the institutions of the Empire began to deteriorate, particularly that of the emperor himself, leading to the year 476 as the date that definitively marks the fall of the Roman Empire and the beginning of the Middle Ages.
Lot 109
Pendant. Celtiberian culture, 5th-1st centuries BC.Bronze.Provenance: Private collection of the Berenguer family.Measurements: 7 x 2,5 x 1 cm .Pendant from the Celtiberian culture, with a curved shape decorated at the ends with two ornaments simulating acorns with chiselled geometric designs.The bronze was mainly used to create numerous ornaments that illustrate the Celtiberian world's taste for personal adornment. Fibulae or safety pins in the shape of animals (birds, horses), belt clasps, bracelets, decorative plaques or 'pectorals', bracelets... All are pieces that stand out for their richness of detail and symbolism as well as the techniques used (damascene, granulated, filigree and others). The Celtiberian goldsmiths, unlike other places on the Meseta, did not develop goldsmithing.
Lot 116
Pair of Visigothic fibulae, 5th-8th century AD.Bronze.Provenance: Private collection of the Berenguer family.Measurements: 9 x 3 x 1.5 cm.Pair of Visigothic bronze fibulae with a blade or bridge, with chiselled decorations of geometric shapes.The function of a fibula is to hold garments in place; the sense of utility and functionality has meant that this object, changing its shape, model or decoration, has survived to the present day, and is nowadays our safety pins. In every fibula, we must consider the following parts: spire, head, bridge and foot.A great variety of shapes and decorations can be found on fibulae, which proves the importance that this type of object had in personal adornment. The fibula was both functional and ornamental, as men and women used them to fasten their cloaks and cloaks. Similar functions were fulfilled by pins, designed to hold heavy garments such as cloaks.
Lot 119
Three Visigothic crosses, 5th-7th century AD.Bronze.Provenance: Private collection of the Berenguer family.Measurements: 4 x 3 cm (largest).Three Visigothic bronze crosses, Latin, with widened arms ending in pairs of diamond-shaped appendages. Incised decorations. Two of them have a hole for hanging.The cross became widespread as a symbol of Christianity during the 5th century, which was marked by increasing insecurity - especially the invasion of the Huns led by Attila - and deteriorating living conditions.As imperial power weakened, religious power emerged as the new unifying element, especially in the Eastern or Byzantine Empire, which would survive for another thousand years and in which the Church would play a crucial role; while in the West, the struggle between royal and papal power would mark the whole of the Middle Ages. The symbol of the cross would remain in both cases as the promise of an afterlife reward for the sufferings of a world in which war and famine were the norm.
Lot 120
Fibula. Celtiberian culture, 5th-1st centuries BC.Bronze.Provenance: Private collection of the Berenguer family.Measurements: 3 x 5,5 x 2 cm .Celtiberian bronze fibula, known as the "turret" fibula because of the way in which its foot ends. This shape evolved from the "turned foot" type and is characterised by the prolongation of the foot towards the area of the bridge.The origin of turret fibulae can be traced back to Central European Celtic culture, extending to the rest of the continent by two means of penetration into the Iberian Peninsula, one through Mediterranean maritime trade contacts and the other through the inland passes of the Pyrenees. The La Tène models, in particular, were widely accepted throughout the Iberian Peninsular Plateau, imported through Iberian culture, and which led to the creation of their own models.They are metal pieces used to hold garments. In addition to this functional factor, they also served as objects of adornment, becoming luxury products and exponents of wealth.
Lot 122
Roman fibula, 3rd-4th century AD.Bronze.Provenance: Private collection of the Berenguer family.Measurements: 4,5 x 4,5 x 0,2 cm .Curious Roman fibula with a zoomorphic shape, representing a deer, made of bronze with hammered punch decorations.Roman fibulae come in a wide variety of shapes and decorations, which proves the importance of this type of object for personal adornment. In the Roman Empire the fibula was both functional and ornamental, as men and women wore them to fasten their peplums and cloaks. Similar functions were fulfilled by pins, designed to hold heavy garments such as cloaks.
Lot 23
Osiris. Egypt, Saita period, Dynasties XXVI to XXX (663-341 BC).Bronze with green oxidised patina.In a good state of preservation. The lower part of the god is missing. The marble base is damaged.Attached is a report issued in the 1970s by Ricardo Batista Noguera, former director of the Archaeological Museum of Barcelona, the Archaeological Museum of Olérdola (Barcelona), the Archaeological Museum of Catalonia and the municipal archaeologist of Tossa de Mar.Attached is a photocopy of the purchase invoice from 1984.Provenance: Private collection in BarcelonaMeasurements: 10.5 cm (height of the sculpture); 15 cm (height with the base).Mummiform figure of the god Osiris in hieratic position. On his head he wears the "white" headdress, flanked by ostrich feathers, and on his forehead the "ureus". His arms folded over his chest and holding in his hands the scourge and the sceptre, which were the symbols of power attributed to Osiris. These figures were considered to be votive offerings and were deposited in shrines near the most important temples in Egypt, where they have been found. Osiris is the Egyptian god of resurrection, symbol of fertility and regeneration of the Nile; he is the god of vegetation and agriculture, and also presides over the court of judgement of the dead. Osiris is almost always depicted mummified, with the crown Atef, the staff and the whip or sceptre uas.
Lot 42
Figure of Isis. Egypt, Saita period, Dynasties XXVI to XXX (663-341 BC).Bronze with green oxidised patina.In good state of preservation.Attached is a report issued in the 1970s by Ricardo Batista Noguera, former director of the Archaeological Museum of Barcelona, of the Archaeological Museum of Olérdola (Barcelona), of the Archaeological Museum of Catalonia and municipal archaeologist of Tossa de Mar.Attached is a photocopy of the purchase invoice from 1984.Provenance: Private collection in BarcelonaMeasurements: 18.5 cm (height of the sculpture); 23 cm (height with base)Representation of the goddess Isis seated and in the act of suckling the god Horus. She is wearing the Hathorica diadem. The hairstyle is tripartite with horizontal striations on the top of the head. The goddess holds, seated on her knees, the little god Horus, identified by the braid on his head. These bronzes had exclusively a votive value and have been found in large numbers near the most important temples in Egypt. Pilgrims carried and deposited these votive offerings to give thanks to the gods.Isis is part of the Osirian triad together with her husband Osiris and her son Horus, called the great magician, great mother goddess and queen of the gods, considered the fertilising force of nature and goddess of motherhood and birth. Her main iconographic symbol is the throne, although she can also be represented with a headdress with the solar disc, as she is the daughter of Ra, and with the wings of a dove. She can also take the form of a tree, as a nurturing goddess. From the beginning of the 18th Dynasty she will also be depicted with the horns and moon of Hathor, the Ankh and other symbols. A widespread iconography of Isis depicts her with Harpocrates, the infant form of Horus, on her lap. Harpocrates symbolises the weak sun of dawn or the winter sun, naked and unprotected. Just as this sun is transformed into a powerful star, the weak child will become the adult Horus, armed and warlike, who will avenge the death of his father, Osiris.
Lot 44
Axe. Atlantic Bronze Age, 2nd millennium BC.Bronze.Provenance: private collection Q.M. Barcelona, acquired in the 1970s. Acquired from heirs.Conservation: intact.Measurements: 20 cm. long.Bronze axe belonging to the Atlantic Final Bronze Age culture. This is a time phase or group of chronocultures characterised by metal deposits. In the Iberian Peninsula it dates from 1250 BC to 850 BC and extends from the Algarve and Huelva to the Bay of Biscay and links up with the continental Atlantic Late Bronze Age. It is divided into three stages: Atlantic Final Bronze Age I (1250-1100 BC), II (1100-940) and III (940-850). This historical process is parallel to the cultures of the first urn fields, Cogotas I, the southwestern stelae and the Phoenician colonisation. Its end coincides with the beginnings of Tartessos.
Lot 83
Horus on a falcon sarcophagus. Ancient Egypt, Late Antiquity, 26th Dynasty, 664-525 BC.BronzeProvenance:- Adam A. Weschler & Son, auction of 27 February 1971.- Private collection, Maryland (USA), since 1971.Publications:- Adam A. Weschler & Son. 27 February 1971. Lot 403.In good condition, intact. It has lost the curly protuberance, which curls out from inside the Red crown, probably representing the antenna of a bee, symbol of northern Egypt. It would have been made as a separate piece to be inserted into the quadrangular recess in the crown. The sarcophagus is empty and lacks a lid to close it at the back. Due to the passage of time, the back of the sarcophagus has been displaced inwards, losing some of its straightness.Bibliography:- Animals and Pharaohs. The animal kingdom in ancient Egypt. Somogy Editions D'art. -2015.- BLEIBERG, E. BARBASH, Y. BRUNO, L. Soulful Creatures: Animal Mummies in Ancient Egypt. Brooklyn Museum. Giles. 2013.- WILKINSON H. R. The Complete Gods and Goddesses of Ancient Egypt. London. 2003.Parallels:- Falcon Sarcophagus. Bronze. Late Antique - Ptolemaic, 664 - 30 BC. 12.2 cm high. Metropolitan Museum of Art, New York. Inv. 15.6.2.-Ibis sarcophagus. Bronze. Dynasty XXVI, 664 - 525 BC. Brooklyn Museum, New York. Inv. 37.417E.- Falcon mummy. 4th - 1st century BC. Height 52 cm. Szépm?vészeti Múzeum, Budapest. Inv. 98.4-E.- Narmer's palette (detail). Slate. c. 3050 BC. 61 cm high. Discovered in 1897 in the Great Temple of Horus at Hierakompolis. Egyptian Museum, Cairo. Inv. JE32169.- Amulet of the Eye of Horus with wing and falcon's foot. Fayenza. Third Intermediate Period - 26th Dynasty, 1070-525 BC. 5 cm long. British Museum, London. Inv. EA29222.Measurements: 16.3 cm high and 19 cm long.Sculptural representation of the falcon god Horus in a standing position with his wings folded backwards and wearing the double crown of Egypt, a royal crown that symbolises the union of Lower and Upper Egypt, and emphasises the role of Horus as the legitimate ruler of the whole earth. The different elements of the crown are clearly visible: the red crown of Lower Egypt, which lacks its curled spiral on the front, and the white crown of Upper Egypt. It is richly decorated with the anatomical details of the animal, worked by means of incisions. The hooked beak, two large globular eyes that focus the attention on the face, and the identification of each of its feathers on the wings and tail stand out. The thick heavy ridges on the legs and the rough skin of the talons contrast with the delicacy of the feathers, showing the power and majesty of the falcon.The deity stands on a rectangular box in the shape of a shrine or truncated pyramid, identified by temple architecture, wide at the base with walls sloping towards the centre and an exvesseled cornice. The interior is hollow, with an opening at the back that would have contained an animal mummy or skeletal remains as a reliquary. Once the mummy was inserted, it was sealed with a simple inlaid plate. The falcon and the box were made separately using the lost-wax technique and then joined together.Such falcon mummy boxes, or sarcophagi, would have been offered for deposit in animal necropolises, in chapels dedicated to the god, or in the quintessential temple of Horus itself at Edfu (see the specimen housed in the Metropolitan Museum of Art, New York, inv. 15.6.2). Although not only in relation to the cult of Horus, but also in more general terms related to the solar cult.In ancient Egypt, the practice of mummifying animals became widespread in the first millennium BC. Animals were given a post-mortem treatment similar to that given to humans, and hundreds of mummified animals were found in the great necropolises.
Lot 96
Applique; Celtiberian culture, 3rd century.Bronze.Provenance: Private collection of the Berenguer family.Measurements: 11.8 x 4 cm.The term Celtiberian groups together a series of pre-Roman Celtic or Celticized peoples who inhabited the area of the Iberian Peninsula known as Celtiberia in classical sources from the end of the Bronze Age (around the 13th century BC) until the Romanisation of Hispania (2nd-1st century BC). One of the main sources of information on the material culture of the Celtiberian peoples are the funerary trousseaus, with metal objects (generally bronze and iron, but also silver), including weapons, ornaments and tools, and also ceramic pieces, ranging from the cinerary urn itself to beads and fusayoles. These grave goods were made up of functional objects from everyday life as well as others of purely symbolic and social value, indicating the status of the deceased. The important role of weaponry and, in particular, swords is particularly noteworthy, as they speak of the privileged place occupied by warriors in Celtiberian society.
Lot 97
Pendant amulet. Celtiberian culture, 3rd-2nd century BC.Bronze.Provenance: Private collection of the Berenguer family.Measurements: 1,8 x 6 x 2,3 cm .Pendant amulet from the Celtiberian culture made in bronze, representing an eagle hunting a rabbit.The term Celtiberian groups together a series of pre-Roman Celtic or Celticized peoples who inhabited from the end of the Bronze Age (approx. 13th century BC), until the Romanisation of Hispania (2nd century BC to 1st century BC), the area of the Iberian Peninsula called Celtiberia by classical sources, which could include the current areas of Burgos, Soria, Zaragoza, Guadalajara, going down to Cuenca, in other words the central-western area of the peninsula, where the peoples settled. Arevacos, pelendones......., all with a common language.
Lot 30
Miscellaneous pens, Parker ink pen with 14k nib, Tower pen with 14ct nib, black roller ball, Conway Stewart with 14ct "Dinkie 550", Parker ink with 14k nib, Parker navy 17" lady ink pen with 14k nib, a bronze medallion commemorating the restoration of the Cologne Cathedral 1851, approx 60 mm diameter and a bronze mortar engraved with a feathered motif, approx 6 x 7 cms.
Lot 345
A 1950's 18ct gold gentlemans manual wind wristwatch, the bronze and silvered 32mm dial signed GLADIADOR and with Arabic quarter hours and dot markers with subsidiary seconds dial, unsigned 15 jewel movement, the stamped ARGENTINE 18ct .750., weight of case back 10.38g.Winds and runs. This is 18ct gold. Gross weight 27.65g.
Lot 307
A late 19th century Japanese brass box with hinged cover, decorated in high relief with various objects and flowers and the lid with open-winged bird upon a branch with chrysanthemums and leaves etc. (5.5cm wide). Also to include a 19th century circular turned tortoiseshell and pewter inlaid box-and-cover, a pair of early-style bronze crotal bells and four carved Chinese cinnabar lacquer beads (small selection)
Lot 322
An early Egyptian original patinated bronze: the figure in seated position, with long Pharaoh-style headdress and with a child supported on the knees, the figure with a left arm supporting the child's head, mounted / glued within late 19th / early 20th century unassociated carved wooden picture frame (the bronze 10.5cm)
Lot 70
GILL PARKER (British b.1957) - a late 20th century bronze of a racehorse with jockey up. The base signed and dated Gill Parker 1989/1984?, upon conforming polished wooden oval base (18cm high x 15.5cm wide)Condition Report: The felt to the underside of the moulded wooden plinth base is a little rubbed. It is noted that one side of the plinth base is darker than the other (sun damage). The bronze itself has nice patination and is in good original untouched condition with no problems noted, from a solicitor's estate clearance.
Lot 77
A large and extremely heavy cast gilt-bronze sculpture of a chariot scene with cherubic figures. (Probably mid-20th century.) The charioteer with headband and seated on a rose-filled chariot, one further figure attending and aiding the right-hand wheel of the chariot while a further figure falls from the back of a long-horned goat which looks down upon him. The lower section cast with flowerheads, branches and further foliate-style decoration, mounted upon a multi-coloured rectangular onyx base (full depth crack to underside and one further smaller spandrel-shaped crack to front right). The onyx base within a conforming gilt-metal frame and raised on four squat circular feet engraved with a continuous laurel-leaf-style design. (64.5cm wide foot to foot x 26.5cm deep x 44cm high)
Lot 81
A large and heavy pair of limited edition (marked 1-20 and 2-20) modern bronze figural sculptures by RUSTY PHELPS (American, b. 1936): each depicting a female subject in long flowing cape and headdress (one decorated in oils) and reaching up to four open-winged birds in flight, each bronze full signed and numbered and on conforming moulded oak plinth base (damage to one wrist, hand now away and requiring re-fixing upon original pinion) (each approx. 68cm high including plinth)
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