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Lot 15
LARGE KUSURA IDOL ANATOLIA, EARLY BRONZE AGE, C. 2700 – 2100 B.C. carved marble, the disk-shaped head on a long tapering neck, with a sqaure shaped body(15.5cm long)Provenance: From the estate of Clodagh Waddington (1945 - 2019), London, United Kingdom, previously with Leslie Waddington by 1992. Please note that a letter detailing the provenance in further detail will be provided to the winning buyer. Note: The anonymous Bronze Age sculptor who produced this beautiful schematic idol has reduced the human form to a mere suggestion. The sense of abstraction offered by the ancient Bronze Age idols of Anatolia and the Cyclades stimulated many of the great twentieth century artists, including Brancusi, Modigliani, and Picasso. Perhaps the artist most closely linked with these ancient forms was the Scottish sculptor and painter William Turnbull. There are many suggestions of these influences in his work, perhaps none is more overt than Large Siren, a monumental bronze celebrating the evocative content of primitive art, its form closely following the "Violin" idol seen overleaf (lot 17). Interestingly, lots 15, 16 & 17 all originate from the estate of the late Clodagh Waddington, wife of Leslie Waddington, co-founder and chairman of Waddington Galleries (later Waddington Custot Galleries) who exhibited and championed William Turnbull’s work for more than four decades.
Lot 16
ANCIENT GREEK CYCLADIC IDOL CYCLADES, BRONZE AGE, C. 3200 - 2800 B.C. "I love and admire Cycladic sculpture. It has such great elemental simplicity." Henry Moore carved marble, of slender form, the head with flat facial plain and large aquiline nose, the arms folded over midriff, the legs subtly bent at the knees, placed together and articulated with a groove(21.8cm tall)Provenance: From the estate of Clodagh Waddington (1945 - 2019), London, United Kingdom. Please note that a letter detailing the provenance in further detail will be provided to the winning buyer. Note: The Cyclades, an archipelago in the southwestern Aegean, comprises thirty-nine small islands and many more islets. In ancient Greek they were referred to as the kyklades, envisioned as a circle (kuklos) around the sacred island of Delos, home to the most sacred temple of Apollo. In the fourth millennium B.C. a distinctive culture emerged in the islands which ran for over two thousand years. Existing largely tangentially with the great civilisations of the Minoans and Mycenaeans, Cycladic people are counted among the three major Aegean cultures. It was the Cycladic people who produced the very first masterpieces of Greek marble sculpture. “Idols” such as the present example were spread throughout the archipelago, with the tradition of carving such figures lasting for well over one thousand years. Their exact use is unclear, some resemble fertility figures encountered across the Near East. Others have been interpreted as images of the deceased or servants for the afterlife. It is clear however that they were used in both funerary contexts and day-to-day ritual life, as some have been found with ancient repairs. Though they are today notable for their minimalist appearance, scientific analysis has shown that the surface of the marble would originally have been painted with mineral-based pigments, azurite for blue and iron ores or cinnabar for red. Many of the figures show a remarkable similarity in their proportions, suggesting that the production of these idols was regulated using a type of early compass. The present piece is a wonderful example of the type, though carved over four thousand years ago its geometric appeal remains distinctly modern.
Lot 25
LURISTAN MASTER OF ANIMALS CHEEKPIECE ZAGROS MOUNTAINS, EARLY 1ST MILLENNIUM B.C. cast bronze, at the centre stands a horned deity, flanked at either side by mythical beasts that he appears to be taming or mastering, his midriff forms the loop through which the bit would have been placed, presented on a bespoke mount(12.3cm tall)Provenance: Private collection, United Kingdom, acquired 1990s Note: In the early first millennium B.C. the inhabitants of the Zagros Mountains to the north of Persia produced a rich variety of bronze objects; from weaponry and standards to vessels and horse tack. The magnificence of the items associated with equestrianism, such as the present example, point to the nomadic lifestyle of the people who fashioned them. The motif depicted here of an anthropomorphic figure standing between and grasping two confronted animals is a particularly ancient one. Known as The Master of Animals, it likely represented a deity or talismanic figure with dominion over nature. The Master of Animals appeared throughout the ancient Near East and Egypt for thousands of years, with its roots sitting deep in prehistory. The earliest known example appears on a terracotta stamp seal excavated in southern Mesopotamia dated to c. 4000 B.C. The initial emergence of this motif at the time and place of the very first agricultural societies is likely not coincidental. It reflects the seminal change in our relationship with nature, from hunter gatherer to farmer. The desire to operate above, rather than within the natural world. For a similar example please see: The Cleveland Museum of Art, Ohio, accession number 1961.33.
Lot 51
FINE ANCIENT EGYPTIAN BRONZE ARM EGYPT, LATE PERIOD, C. 664 - 332 B.C. cast bronze, of exceptional quality, the detailed left arm with the musculature, fingers and nails finely rendered, a small gap in the palm suggests the statue once held a staff or ankh, vibrant green patina, raised on a bespoke mount(13.3cm long)Provenance: Dr Lisfranc, Paris, France, acquired 1970s, please note this piece is accompanied with its associated French cultural property passport.
Lot 52
ANCIENT EGYPTIAN BRONZE CAT EGYPT, 21ST - 26TH DYNASTY, c. 1075-525 B.C. cast bronze and gold, shown seated in the classic dignified pose, the tail curled around to meet the front paw, the ears raised and alert, the right pierced with a gold ring, raised on a bespoke mount(9cm tall, 15cm mounted)Provenance: Gilles Grimm collection, Paris. Subsequently French art market October 2017 with French passport. Note: Ancient Egyptians revered the cat as magical creatures, capable of bringing good luck to the people who housed them. Their popularity was also practical due to their ability to keep the house safe from vermin and snakes – cobras in particular. Bronze cats such as the present example were often cast reverence to the goddess Bastet, whose main cult centre was at Bubastis in the eastern Delta.
Lot 54
BRONZE AGE SWORD CENTRAL EUROPE, C. 1300 B.C. long blade gently broadening below the tip and with medial ridge the hilt with arched guard riveted to the blade and decorated with a series of concentric circles, a concave disc pommel enclosing knob terminal, adorned with elaborate chased linear decoration of waves and dots, rich green patina(60.4cm long)Provenance: Private collection, United Kingdom, acquired 1990s. Note: This stunning sword dates to the Late Bronze Age, an era in which bronze working technology was refined to its peak. It was in this period that multiple piece moulds and lost wax casting was introduced - techniques evidenced in the present example. The skill of the smith who produced this magnificent weapon is fully in evidence, an item of warfare and prestige, it is undoubtedly also a work of art.
Lot 130
A group of Chinese enamelled bronze vessels in the Archaic style: the largest of baluster form, with zoomorphic handles and two enamel bands, character marks to base; the second also of baluster form, with zoomorphic handles and applied with cabochons; the third of shaped baluster form. (3) 29cm, 25cm and 24cm
Lot 143
A group of Chinese bronze vases comprising: a pair of shouldered baluster form, each with a band of bosses to the neck and engraved decoration: a square Gu-form vase; an oval baluster vase with elephant handles; and a twin-handled censer with relief floral panels, raised on zoomorphic legs. (5) First 28cm
Lot 129
A group of silver and metalwork comprising: a Moller, Trondheim, 830 standard zoomorphic salt (lacking liner); a polished bronze aquamanile in Medieval style; a white metal shield-form plaque cast with a Polish eagle; a patinated metal zoomorphic container, the cover modelled as a chicken's head; and a spherical cover with buffalo head finial. (5) First length across tail and head 11.5cm
Lot 139
A group of miscellaneous metalwork comprising: a white metal armlet with etched decoration; a bronze spherical pot; a brass dish of quaich form; an Indian circular dish; an Islamic bowl of kashkul type with chains suspending coins; a circular brass dish with stamped decoration; and a brass-mounted leather purse. (7) First diameter 14cm
Lot 278
After Giambologna (Flemish 1529-1608) a 19th century French bronze 'Grand Tour' type figure of Mercury, signed 'J de Bologne', on a marble plinth base, together with a companion figure of Fortuna after Louis Guillaume Fulconis (French 1817-1873), she holds a cornucopia and stands on a wheel, signed indistinctly, overall height 49cm (2).
Lot 74
A World War II South African six piece medal group to A H Crumpton comprising Africa Service medal, 39-45 star, Africa star, Italy Star, Defence medal, 39-45 war medal, each named, with ribbons, sheet of issue, etc; Portuguese Alfredo Da Silva inauguration bronze medal, 1971, boxed; Imperial Service Medal etc
Lot 227
James Osborne (British, 1940 - 1992) a bronze figure group of ‘Becher’s Brook’, The National Horseracing Museum Grand National 150th Anniversary Sculpture, depicting two racing horses, one ridden by a jockey, on a veined marble base, with presentation plaque to the underside, 27cm highScuff and scratches to the base. Spots of verdigris throughout.
Lot 228
Claude Lhoste (French, 1929-2010),a cast bronze modelled as a recumbent lion, 1990, signed 'Lhoste', numbered '244/250', bearing foundry mark of Fonderie De La Monnaie De Paris,17cm wide12cm highProvenance: The residual contents of Bixley Manor by instruction of the executors of Sir Timothy Colman KG..
Lot 258
A pair of 19th century bronze portrait plaquesof oval form, with silvered Roman heads, each 18.5cm hightogether with a miniature portrait of a gentleman in a black coat, in a frame that tests as 15ct gold but with later 9ct fittings5.5cm high (3)Two plaques - no apparent defectsMiniature - frame has losses at top and bottom, tests as 9 and 15ct gold, and with solder repairs.
Lot 56
An Imari vase,20th century, the slender neck leading to a globular body, with gilded decoration,22cm hightogether with a similar bowl,of hexagonal form,18.5cm widea collection of blue and white porcelain,comprising a vase, 24cm high, a large jar and cover, 20cm high, and a butter dish, 18.5cm wideand a bronze bust,of Pope John Paul II, commemorating his 'British Visit 1982', on a square marble base,16cm high (qty.)The Imari pattern in good condition with no obvious defects, the armorial items with some rubbing and wear to the painted coats of arms, the remainder with general ware
Lot 75A
A Japanese bronze koro and cover,Meiji period (1868-1912), of globular form on three tall tapering cylindrical feet, flanked by two oni handles, decorated with a dragon or a kirin among clouds in shaped panels, the domed cover with a Buddhist lion knop,20cm high, wood stand (3)Surface scratches and dents. Knocks to edges. Finial loose. Decoration tired.Wood stand with surface scratches and chips. One foot glued.
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