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Lot 32
RAFAEL MUYOR, (Madrid, 1943)."Ajos", 2008.Patinated bronze, unique piece.Signed and dated on the back.Measurements: 20 cm (diameter)Primarily a sculptor, Muyor studied Industrial Design in Madrid, later completing his training in Milan and Paris, where he perfected his modelling technique. Throughout his career he has held solo exhibitions in Segovia, Salamanca, Malaga and Madrid, where he has shown his work in leading galleries such as Leandro Navarro, Espacio Nolde and Marita Segovia, among others. He has also taken part in art fairs in Madrid, London, Paris, Miami, Bogotá, Dusseldorf, Caracas, Ghent and New York. In 1999 a retrospective exhibition was devoted to him in Murcia. As a sculptor, Muyor focuses on working in bronze, revealing a great creative capacity to produce organic statues, with volume and movement, which reproduce nature while giving each of his pieces a personality of its own. His greatness lies in the fact that his leaves, fruit, vegetables and plants have a soul, a life of their own that transcends the coldness of the material from which they are made. Warmth, immediacy and realism are the key components in each and every one of his pieces. As a painter, he has been commissioned by Bodegas Lan to paint the portraits in the Grandes Cocineros series, which will eventually comprise a total of fifteen portraits, including those of Martín Berasategui and Koldo Royo.
Lot 40
JOSEP MARIA SUBIRACHS SITJAR (Barcelona, 1927 - 2014)."Diàleg. 1994.Sculpture-painting: bronze and mixed media on wood.Unique piece.Signed.Size: 22,5 x 27 x 12,5 cm.After entering the workshop of a gilder who was fond of sculpture at the age of fourteen, where he modelled his first works in clay, in 1942 he entered the workshop of the sculptor Enrique Monjó as an apprentice. Five years later he began to work as an assistant to Enrique Casanovas. In 1948 he showed his work for the first time at the Casa del Libro in Barcelona, and in 1950 he founded, together with other artists, the group Postectura. In 1951 he travelled to Paris to complete his training, with a grant from the Institut Français in Barcelona. He returned to Barcelona in 1953 and was awarded the Sculpture Prize at the Salon del Jazz. After two years working and exhibiting in Belgium he returned to Spain, and in 1958 he was awarded the Gran Premio San Jorge by the Diputación de Barcelona and the "Julio González" by the Cámara Barcelonesa de Arte. Since then he has been commissioned for a succession of public works, among which his important sculptural work on the façade of the Passion of the Sagrada Família stands out. He has held numerous solo and group exhibitions in various Spanish cities, as well as in Lisbon, Geneva, Antwerp, Brussels, Taipei, Chicago, Paris, New York, Zurich, Stockholm and Copenhagen, among others. His awards include the Ynglada-Guillot Drawing Prize (1966), the San Martín Prize (1971) and the Medal of Merit in the Fine Arts (1988). In 1980 he was elected member of the Royal Academy of Fine Arts of San Jorge. He has participated in the main international biennials, such as São Paulo, Venice, Havana, Antwerp, Cairo, Alexandria, Lausanne and Budapest. He is represented at the Centro Reina Sofía, the MACBA Museums in Barcelona, Ibiza, Seville and New York, the Fine Arts Museums of Bilbao, Birmingham, the Vatican, Taipei and Nebraska, the Museo al Aire Libre del Paseo de la Castellana in Madrid, the Petit Palais Museum in Geneva and the Millesgärden in Stockholm, among others.
Lot 37
Jamil Naqsh (Pakistani, 1938-2019)Homage to San Marino Series signed Jamil Naqsh of London lower rightwatercolour on paper62 x 51.2cm (24 7/16 x 20 3/16in).Footnotes:ProvenanceAcquired from the artist and gifted to a family friend;Acquired by the vendor from the above. CompareFor a similar work sold in these rooms, see Islamic & Indian Art including Contemporary Indian and Pakistani Paintings, 13th October 2005, London, lot 250.Naqsh did a series of paintings depicting horses and women having been inspired by Marino Marini (1901-1980), the Italian sculptor and educator, who worked mainly in bronze on a few favourite themes, notably the horse and rider. Naqsh was drawn to Marini's works as Marini maintained his individualism and had not allied himself with avant-garde movements of the time, reminiscent of Naqsh's approach to his work. The present lot likely comes from Naqsh's Homage to Marino Marini series, given its distinct sculptural and overlapping fragmented forms that merge into intricate textures and patterns. To see other works from the series, featuring both, horses individually, and horses with women, see Mohatta Palace Museum, Karachi, Jamil Naqsh: A retrospective, 2003, pp. 169-205.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
Lot 254
*Priscilla Hann (b. 1943)a bronze figure of a jockey and racehorse jumping a fence, on a rectangular mahogany base, signed and dated 1988, marked 5/6,51cm wide33.5cm high*Artist's Resale Right may apply to this lot.Marks and wear to the base, with chips to the edges and losses to two of the corners. The fence is slightly loose and moves.
Lot 294
A pair of Regency style bronze and gilt bronze candelabra,in the manner of Ferdinand Barbedienne, with five branches, having stork centre on fluted column with leaf detail on four paw feet, 25cm diameter63cm highWear and blemishes commensurate with age.Everything appears intact, including the chains. Nothing particularly significant to mention. Columns were loose but can be tightened by turning. Please see additional images for detailing.
Lot 138
1st-2nd century A.D. A bronze ladle comprising a hemispherical bowl with a flat-section handle, ribbed bulb above and round-section hook with collar detailing, finial formed as a swan head with punched eyes. Cf. Tassinari, S., La Vaisselle de Bronze, Romaine et Provinciale, au Musée des Antiquités Nationales, XXIXe supplément de Gallia, Paris, 1975, items 40-3, for ladles with similar animal-head finials; cf. also Boucher, S., Inventaire des Collections Publiques Françaises - 17 Vienne: Bronzes Antiques, Paris, 1971; pp.168-169, for similar specimens. 145 grams, 27 cm (10 5/8 in). UK private collection before 2000. UK art market. Property of a London gentleman. This type of ladle was used for libations of wine to the gods during sacrifices. The shape of the simpulum was that of a small cup, with a single elongated handle. The material of which it was made varied according to the wealth of the altar; there were specimens in silver; some were of brass and others made of wood or terracotta. This simpulum or simpuvium is often found depicted on Roman medals. Thus a coin of the gens Seslia bears on the reverse a tripod having on its left a sacena oracieris, or pontifical axe (securis pontificalis) and on its right a simpulum. Another coin, belonging to the gens Sulpicia, displays a simpulum between a knife and a sacena oracieris on the reverse. Fine condition.
Lot 143
c.2nd-3rd century A.D. A gemstone engraved with a naked man wearing two branches of foliage upon his shoulders; set into a possibly later bronze ring with D-section hoop expanding towards the oblique shoulders decorated with deep fluting and ending in volutes; high ellipsoid bezel. Cf. Ruseva-Slokoska, L., Roman Jewellery, Sofia, 1991, p.73, for type; cf. Chadour, A.B., Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994, item 127, for the iconography or Eros in a similar position. 15.30 grams, 28.73 mm overall, 20.70 mm internal diameter (approximate size British W, USA 11, Europe 25, Japan 24) (1 1/8 in). Acquired 1960s-1990s. Late Alison Barker collection, a retired London barrister. The man or young boy represented naked could be Eros, wearing the fruits of the sea upon his shoulders, suggesting that the owner of this ring was a seafarer for which Eros gave his protection. Fine condition.
Lot 149
7th-8th century A.D. A bronze cruciform bifacial pendant comprising: low-relief central robed and nimbate figure in orans pose with four busts in annular frames; reverse with impressed text naming the bust (St. George, St. Theodore, etc.); wire suspension loop and length of silver trichinopoly suspension chain with balustered finials. Cf. Ross M.C., Catalogue of the Byzantine and Early Mediaeval Antiquities in the Dumbarton Oaks Collection, Volume 2: Jewelry, Enamels and Art of the Migration Period, Washington, 2005, item 15, for type. 48.15 grams, 55 cm long (21 5/8 in). Acquired Munich, Germany, late 1990s. Property of an East London gentleman. Fine condition; chain broken.
Lot 152
11th-12th century A.D. A bronze plaque fragment with the image of Saint Theodore Stratilates, in military accoutrement, wearing a military cloak (chlamys), muscled armour (thorax heroikon) worn over a zoupa (undershirt) with pteryges, military tunic (spekion) and holding the shield near his leg with the left hand; the sword (spathion) is worn through a baldric passing over the right shoulder across the breast; the zona militaris is knotted upon his breast; small fastening hole still preserved on the upper right side; mounted on a custom-made display stand. Cf. Kalavrezou-Maxeiner, Byzantine Icons in Steatite, Wien, 1985, pl.2, fig.7, pls.6,7, pl.13, no.21, pl.15, no.24a, pl.16, no.28, pl.68, no.144, for the iconography of Saint Theodore Stratilates in military uniform; see also Buckton, D., Byzantium, treasures of Byzantine Art and culture, London, 1994, no.160. 20 grams total, 66 mm high including stand (2 5/8 in). German art market before 2000. With a European gentleman living in the UK. Property of a Surrey gentleman. The image of Saint Theodore Stratilates, military saint and protector of the Roman army, is very clear, with his rich curled hair and long pointed beard. The military costume which consists of cuirass, military tunic, officer's sash and the knee-length mantle fastened on the right shoulder, and especially the sword's hilt, are consistent with representations from the 11th -12th centuries. The function of the plaque is unclear, but it was probably inserted into some form of stand or frame, serving as a votive or protective amulet, perhaps for a soldier. Fine condition, very detailed artwork.
Lot 153
11th-13th century A.D. A low bronze vessel with drum-shaped body, the sides with panels of Arabesque knot patterns and geometric figures; the inside base with a six-petalled flower ornamented with dotted arabesques and foliage; the flat base decorated with concentric circles. Cf. Darkevich, V.P., Byzantine Secular Art in the 12th and 13th centuries, (in Russian) Moscow, 1975, pp.220ff. 155 grams, 10.5 cm wide (4 1/8 in). Ex Mayfair gallery, 1990s. The decorative floral pattern of the vessel finds correspondence with various ornaments on the Byzantine vessels of 11th-13h centuries A.D. Similar ornaments were widespread also among the Seljuks of Rum in the same period as result of commercial interchange between the two enemy empires. Very fine condition.
Lot 154
8th century A.D. A magnificent Khazaro-Byzantine bronze buckle set, the plate ornamented with fine decoration composed of interlaced humans and animals in the midst of openwork foliage scrollwork; the detached buckle with a collared tongue, attached to an articulated bar with knop finials. Cf. Daim, F., Die Awaren am Rand der Byzantinischen Welt (The Avars on the Border of the Byzantine World), Bad Vöslau, 2000, figs.61-72; Danich, A.V. & Krylasova, N.B., 'New Belt of the Byzantine Circle from the Medieval Bayanovsky Burial Ground in the Perm territory' in Archaeology Ethnology & Anthropology of Eurasia 42/3, (2014), pp.87–94, figs.1-2. 84 grams, 11.1 cm (4 3/8 in). Acquired 1970-1999. From an important collection of a deceased Mayfair gentleman. In general, the belt shows broad parallels with belts of the so called “Byzantine circle,” common for the late Avar and early Saltov assemblages occurring over a wide area, which, as noted by various scholars, were a part of the Khazar Khanate or were in its sphere of influence. Tips with ornamental decoration of palmettes and vine tendrils have been found in related graves, so far as to the Urals regions (Kama territory), where a particular belt from the medieval burial ground of Bayanovsky, in the Perm territory, shows a unique decoration including representations of human figures together with foliage decoration. Fine condition.
Lot 174
18th-15th century B.C. A banded agate 'eye' bead with plano-convex profile, central piercing and very slender drilled hole across the diameter retaining an amount of bronze wire. 24.6 grams, 50 mm (2 in). Acquired 1970-1999. London collection of the late Mr S.M., thence by descent. Fine condition, chipped.
Lot 204
6th-4th century B.C. A bronze horse figure modelled couchant in the round with stylised detailing to the head, face, ears, legs and tail, mane cropped and dressed; accompanied by a custom-made display stand. 35 grams, 29 mm (153 grams total, 59 mm high including stand) (1 1/8 in. (2 3/8 in). Acquired before the early 1970s. Ex London, UK, gallery. Property of a London gentleman. Fine condition.
Lot 205
23rd-20th century B.C. A bronze compartmented seal in the form of a horned quadruped, with bulge to the chest, large eye and short tail, strip handle to the reverse. 34 grams, 56 mm (2 in). Acquired 1980s-early 1990s. The Signo collection, the property of a West London businessman. Collection number Z-264. Academically researched and catalogued by the late Professor Lambert in the early 1990s. Very fine condition.
Lot 206
3rd millennium B.C.-17th century A.D. A mixed group of six bronze stamp seals including four accompanied by typed and signed notes by the late W.G. Lambert, Professor of Assyriology at the University of Birmingham, 1970-1993, which state: (Q-39) 'Bronze Disk, 20.5 x 21 x 5mm. This is a round disk with strengthened and beaded edge, on the back of which a loop has been attached, made from a small strip of metal. On the face is a standing horned animal with a cross between its legs, a linear motif above its back, three dots behind its legs, and a crescent above them. This comes from west central Asia and dates most probably to c. 1400-1700 A.D. It was no doubt a button for a formal garment such as a uniform. The loop is bent, but otherwise the piece is in very good condition.'; (L-90) 'Stamp Seal of Bronze, 26.5 x 31 x 9mm. This is an oblong plate with flat face and very slightly convex back on which is mounted a pierced handle (the hole now filled with incrustation). On the face is shown a standing humped bull and below it some motifs not now clear. This is a seal from west central Asia and dates to c. 1500-800 B.C. The surface is worn, but the seal is generally in good condition.'; (T-410) 'Stamp Seal of Bronze, 21.5 x 21.5 x 9.5mm. This is a square plaque, white thin, with handle of inverted V-shape on the back. The design engraved on the face shows a single complex motif not easily interpreted to show something from the natural world. This comes from west central Asia and dates to c.2300-2000 B.C. It is nicely engraved and is in fair condition.'; (D-4) 'Stamp Seal of Bronze, 22 x 23 x 12mm. This is a flat round disc of sheet metal, with a handle of the same, pierced, mounted on the back. The design shows a stag in full gallop. This comes from eastern Iran or west central Asia and dates to c. 1000-500 B.C. It is in very good condition.' 49 grams total, 15-34 mm (1/2-1 1/4 in). Acquired 1980s-early 1990s. The Signo collection, the property of a West London businessman. Academically researched and catalogued by the late Professor Lambert in the early 1990s. Accompanied by scholarly notes issued by the late Professor W.G. Lambert with collection numbers Q-39, L-90, T-410, D-4. [6] Fine condition.
Lot 209
2nd century B.C.-2nd century A.D. A group of ten rings including seven accompanied by typed and signed notes by the late W.G. Lambert, Professor of Assyriology at the University of Birmingham, 1970-1993, which state: '(V-218) A Finger Ring of Bronze, 24 x 23.5 x 22 mm. The bezel is a round disc, and the hoop is formed of three strands. The design on the bezel consists of background of circles as if of trailed metal, and on top thicker trails with dots superimposed at key points. This is a little studied type of ring, known to come from northern Iran, but which may well have been made in other areas also. Its date is probably c. 100 B.C- 100 A.D. The surface is incrusted, but this incrustation could be removed. The piece is generally in good condition. The design appears to be abstract, not depicting anything; (V-442) A Finger Ring of Bronze, Bezel: 24.5 x 25, Overall height: 22 mm. The hoop is a neatly twined band, and the bezel is a round disc decorated first with many concentric circles, on top of which was put a central dot, a circle around, and a zig-zagging line around dot in circle. This comes from north Iran and dates to c. 200 B.C - 200 A.D. It is in good condition; (V-432) A Finger Ring of Bronze, Bezel: 29 x 29 , Overall height: 25.5 mm. The hoop if formed of three strands forming a band, and the bezel is a thin disc, in the centre of which is a dot, surrounded by many concentric circles, over which are laid looping trails. This comes from north Iran and dates to c. 200 B.C - 200 A.D. The bezel is bent and damaged at one point, but otherwise the ring is in fair condition; (V-434) A Finger Ring of Bronze, Bezel: 23 x 23 , Overall height: 21 mm. The hoop is a plain band. The bezel is a thin round disc with central dot and many concentric circles over which are trailed two wavey lines ending in dots, perhaps meant as snakes. This comes from north Iran and dates to c. 200 B.C - 200 A.D. There is a little wear at a few points, but generally it is in good condition; (V-408) A Finger Ring of Bronze, Bezel: 29 x 30 , Overall height: 23 mm. The hoop is a band with four strands on the outside. The bezel is a disc and plain on the underside, but has decoration on the outside: on a base of concentric circles with dot in centre there is a trailed zig-zag line with dots at the outer tips of the line. This comes from north Iran and dates to c. 200 B.C - 200 A.D. It is in good condition; (V-409) A Finger Ring of Bronze, Bezel: 29 x 29 , Overall height: 23 mm. The hoop is a band of three joined strands, and the bezel a disc plain on the underside but decorated on the face with three concentric circles, a dot in the central one, and rows of dots in the two outer bands. This comes from north Iran and dates to c. 200 B.C - 200 A.D. It is in fair condition; (V-417) A Finger Ring of Bronze, Bezel: 21 x 21 , Overall height: 19 mm. The hoop consists of three joined parallel strands, and the bezel is a disc with decoration on the face: a base of concentric circles over which are trailed two looping lines crossing in the middle with dots added in the middle and around the edge. This comes from north Iran and dates to c. 200 B.C - 200 A.D. It is in only fair condition.' 128 grams total, 22 - 30 mm (1 - 1 1/4 in). Acquired 1980s-early 1990s. Property of a West London businessman. Academically researched and catalogued by the late Professor Lambert in the early 1990s. Accompanied by seven scholarly notes issued by the late Professor W.G. Lambert; collection numbers: V-218, V-408, V-409, V-417, V-432, V-434, V-442. Fine condition.
Lot 251
11th-10th century B.C. A ceramic tripod with the main body decorated with four images of warrior-hunters dressed in long chitons and armed with spears, axes and swords; divided from each other by four sections of double pilasters ornamented with lozenge pattern; the legs, terminating with a stylised lion paw, also decorated with lozenge motifs, the upper part divided in six sections with stylised plants and suns; everted rim fitted with two small handles, each with painted net decoration. Cf. Myres, J., Handbook of the Cesnola collection of Antiquities from Cyprus, New York, 1914, no.513, p.67. 500 grams, 14.5 cm high (5 3/4 in). Acquired on the London art market, 1993. Property of a North London gentle6man. Clay tripods, though not very common in Cyprus, are characteristic of the geometrical art of Greek lands during the early Iron Age, imitating bronze tripods. The lozenge and checker motifs evoke the openwork of bronze furnishings. This tripod, painted with plants, animals, and human figures, illustrates the rude vigour, but also the naïve style of pictorial art in Cyprus during this period. This decoration combines indigenous and Aegean iconography. [A video of this lot is available to view on Timeline Auctions Website] Fine condition.
Lot 283
15th century A.D. A bronze figurine of the god Vishnu standing erect wearing pleated paridhana and columnar headdress; the six hands each holding a sacred symbol (shanka conch, gada mace and others) attached to a crescentic frame; mounted on a custom-made stand. 2.08 kg total, 32.5 cm high (12 3/4 in). Acquired 1955-1985. Private collection of Eric Saunders, Haverfordwest, Pembrokeshire, Wales. Private collection of an East Sussex gentleman. [A video of this lot is available to view on Timeline Auctions Website] Fair condition; some loss to one lower leg and arms.
Lot 284
c.2nd century A.D. A bronze Uddiyana Buddha modelled in the round seated on a lotus flower, hands held in a teaching mudra, with detailing to the hair, face, garments and floral base. 520 grams, 13.5 cm high (5 1/4 in). Acquired 1996. Dr. Paul Singer, New Jersey, USA. ‘Buckingham Collection’, the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert. Accompanied by a copy of Nik Douglas's collection cataloguing document, two pages of collectors illustrations and notes with price (US$43,000). This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11220-188547. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website] Fine condition.
Lot 286
c.5th century A.D. A bronze stele with trefoil body, mounted on a four-legged base, Uddiyana-style Buddha standing at the centre, Bodhisattvas to each side; after the Gandharan style. 1.04 kg, 23.8 cm high (9 3/8 in). Acquired 1960s to early 1970s. ‘Buckingham Collection’, the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert. Accompanied by a copy of the relevant ‘Out of Uddiyana’ exhibition catalogue pages including an image of this lot featured in one of the display cases (p.176): Exhibition catalogue cat.no.UD-28, p.30 & TB012, p.162. Accompanied by a copy of Nik Douglas's collection cataloguing document, three pages of collectors illustrations and notes with price (US$30,000). This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11219-188544. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website] Fair condition.
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