Small ladle with handle; Rome, 2nd-3rd century AD.Bronze.It has a small oxidation break located at the junction of the handle to the body of the ladle.Measurements: 6 x 8 cm (diameter).Small Roman ladle made of bronze with globular body. It has a rounded decoration in the central body, which ends in the upper area with a geometric design fretwork that is established along the entire outer and inner perimeter. On the sides there are small protuberances with openings that allow to locate the handle of the piece. This type of utensils would have been created with a practical purpose, hence the lack of decorative elements, and would have been used as everyday household items.
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Spearhead. Luristan, Iran 1000 B.C.Bronze.Measurements: 9.5 cm. high.The Luristan culture developed between the XI and VIII centuries B.C., when it was eliminated by the conflicts in the area during that century. It was a nomadic people from southern Russia, settled on the Iranian plateau and composed of different independent groups, without national identity but with common cultural characteristics. They developed a rich metal culture, working mainly in bronze. With it they made all kinds of functional pieces, as well as votive offerings and objects of personal adornment.
Figure of dancing Eros. Rome, I-III century A.D.Bronze.Measurements: 7 cm.Although it has not been preserved with a completely defined appearance, by its posture and morphological characteristics it is intuited that we are in front of a bronze figure of Eros infant, naked and in dancing position. It is a dynamic and naturalistic figure that shows the veneration that the Romans professed for the god Eros. Eros, the Roman Cupid, was the primordial Greek god responsible for sexual attraction, love and sex, also venerated as the god of fertility. In Roman mythology he will have a similar meaning, although he is generally represented in the form of a winged child, while the Greeks depicted him as an ephebe.
Roman Lucerne, 2nd-3rd century AD.Bronze.Measurements: 4 x 11,5 x 6 cm.Roman Lucerne entirely made in bronze, emulating the head and the bulls of a horn. The word lucerna comes from the Greek "lukno". Its basic function was to give light, but it was also used as a votive and funerary element. The first skylights were made by hand, then by lathe, and from the 3rd century B.C. onwards by mold. The mold consisted of two dies, one for the upper part and one for the lower part. The mold manufacturing technique consisted of pressing the clay into the dies and then joining the two parts together.
Figure of Hercules. Etruria, VIII-VI centuries B.C.Bronze.Measurements: 10 x 6 x 2,5 cm.Round sculpture made in bronze in which the figure of Hercules is represented, judging by the abdominal torso and the posture in action that presents, as well as by the skin of the lion of Nemea that hangs from his arm. The hero brings forward one of his feet and stretches out one arm, while he draws the other over his shoulder in a throwing attitude. Herakles is the most famous hero of Greek mythology and perhaps also of classical antiquity. His name derives from the goddess Hera and the Greek word "kleos" (glory), i.e. "glory of Hera".
Etruscan votive head; 6th-5th century BC.Terracotta.Measurements: 21 x 15 x 11 cm.Feminine head of votive character that shows some idealized feminine features, although with a certain naturalism already, with short hair and open eyes, fixed to the front, maintaining a frontality habitual in some Etruscan works of art and some details that slightly remember Greek works. It is an example of the sculptural art of the Etruscan culture, which already in Antiquity was surrounded by an aura of mystery; even their Greek contemporaries were intrigued by the sudden emergence of this people as a maritime and commercial power, by this ancient people who, according to Dionysius of Halicarnassus, "resembles no other in their language and customs". While there are those who consider them as the people that gave rise to the Roman Empire, there are other experts who give more relevance to the differences that exist between the two peoples and consider them mere neighbors or "conqueror and conquered", depending on the time in which one speaks, recognizing a strong influence of some elements of Etruscan culture and art observed on the Romans. In any case, the Etruscans were great artists and craftsmen, known for what has come down to us from them: profusely decorated and very striking tombs, resembling homes in some cases; terracotta sculptures that, apparently, they polychromed with flat and bright tones (similar to ancient Egyptian works), and used to decorate temples, as sculptures etc.; goldsmithing, pottery, etc..Etruscan art received from its beginnings an important influence from Greek art, due to the cultural connection existing between both peoples throughout the history of Etruscan culture. This influence was combined with that of Eastern origin and, from the 1st century B.C. onwards, with Roman influence. However, it will be the Asian and Greek tendencies that will determine the development of Etruscan art to the greatest extent. On this basis, an art of its own was shaped, marked by a taste for stylization and lively colors. One of its main sculptural manifestations will be the portrait, which will have mainly a funerary purpose, since in Etruscan culture funeral rites and iconography will play a key role. However, there are also some examples of commemorative portraiture, such as the bronze head of Lucius Junius Brutus (ca. 300 BC), the legendary first consul of the Roman Republic. The Etruscan portrait is not a simple copy of the Greek one, but an original creation combining serenity and passion, a direct ancestor of the Roman portrait.
Five pins and an applique; Roman Empire, 2nd-3rd century A.D.Bronze.Measurements: between 5,2 and 4,4 cm.(pins); 4 cm.(applique).Lot consists of a wall lamp and five pins for clothes, in bronze. Although they present different typologies, they share the cupulated form of the ends. The appliqués were often decorated with human or zoomorphic figures. These types of pieces were very common in the Roman Empire, but also in other cultures that, directly or indirectly, had contact with them.
Etruscan dish or casserole. V-III B.C.Bronze.Measurements: 7 x 17,5 x 20 cm.Etruscan casserole with double handle, in bronze. The Etruscan culture already in Antiquity was surrounded by an aura of mystery; even their Greek contemporaries were intrigued by the sudden emergence of that people as a maritime and commercial power, by that ancient people that, according to Dionysius of Halicarnassus, "does not resemble any other in its language and customs". While there are those who consider them as the people that gave rise to the Roman Empire, there are other experts who give more relevance to the differences that exist between the two peoples and consider them mere neighbors or "conqueror and conquered", depending on the time in which one speaks, recognizing a strong influence of some elements of Etruscan culture and art observed on the Romans.
Fragment of foot belonging to an Etruscan sculpture, 5th century BC.Terracotta.Measurements: 11 x 24 x 12 cm.The Etruscan art received from its beginnings an important influence of the Greek, due to the cultural connection existing between both peoples throughout the history of the Etruscan culture. This influence was combined with that of Eastern origin and, from the first century B.C., with Roman influence. However, it will be the Asian and Greek tendencies that will determine the development of Etruscan art to the greatest extent. On this basis, an art of its own was shaped, marked by a taste for stylization and lively colors. One of its main sculptural manifestations will be the portrait, which will have mainly a funerary purpose, since in Etruscan culture funeral rites and iconography will play a key role. However, there are also some examples of commemorative portraiture, such as the bronze head of Lucius Junius Brutus (ca. 300 BC), the legendary first consul of the Roman Republic. The Etruscan portrait is not a simple copy of the Greek one, but an original creation combining serenity and passion, a direct ancestor of the Roman portrait.
Roman Lucerne, 2nd-3rd century AD.Bronze.Measurements: 5 x 9,5 x 4 cm.Roman Lucerne entirely made in bronze, representing the head and the bulls of a horn. The word lucerna comes from the Greek "lukno". Its basic function was to give light, but it was also used as a votive and funerary element. The first skylights were made by hand, then by lathe, and from the 3rd century B.C. onwards by mold. The mold consisted of two dies, one for the upper part and one for the lower part. The mold manufacturing technique consisted of pressing the clay into the dies and then joining the two parts together.
Military helmet, period of the Warring Kingdoms. China, 5th century B.C.-221 B.C. Bronze. Measures: 14 x 13,5 cm. Chinese bronze helmet dated to the period of the Warring Kingdoms, which is in very good state of preservation. It is an example of the military technological evolution of classical antiquity. The name Combatant Kingdoms period comes from the Record of the Combatant Kingdoms compiled in the early years of the Han dynasty.
Hand fragment of a Roman sculpture, 2nd-3rd century A.D. Bronze. Measures: 12 x 4 x 7 cm. The Romans brought two important innovations to the world of sculpture: portraiture and historical relief, neither of which existed in the Greek world. However, they followed the Greek models for a large part of their sculptural production, a base that in Rome was combined with the Etruscan tradition. After the first contacts with the Greece of classicism through the colonies of Magna Graecia, the Romans conquered Syracuse in 212 BC, a rich and important Greek colony located in Sicily, adorned with a large number of Hellenistic works. The city was sacked and its artistic treasures taken to Rome, where the new style of these works soon replaced the Etruscan-Roman tradition that had prevailed until then. Cato himself denounced the sacking and decoration of Rome with Hellenistic works, which he considered a dangerous influence on native culture, and deplored the Romans' applauding of statues from Corinth and Athens, while ridiculing the decorative terracotta tradition of ancient Roman temples. However, these oppositional reactions were in vain; Greek art had subdued Etruscan-Roman art in general, to the point that Greek statues were among the most coveted prizes of war, being displayed during the triumphal procession of the conquering generals.
Etruscan jug. V-IV century BC. In bronze. Measures: 16,5 x 15 x 14 cm. The Etruscan culture already in Antiquity was surrounded by an aura of mystery; even their Greek contemporaries were intrigued by the sudden emergence of this people as a maritime and commercial power, by this ancient people that, according to Dionysius of Halicarnassus, "resembles no other in its language and customs". While there are those who consider them as the people that gave rise to the Roman Empire, there are other experts who give more relevance to the differences that exist between the two peoples and consider them mere neighbors or "conqueror and conquered", depending on the time in which one speaks, recognizing a strong influence of some elements of Etruscan culture and art observed on the Romans.
Greek helmet and pectoral, V-IV century BC. Bronze. Measures: 22 x 20 x 22 cm; 55 x 32 cm (front pectoral); 52 x 36 cm (rear pectoral). Helmet and pectoral belonging to a Greek hoplite armor, dated between V and IV BC. The helmet is part of the Corinthian type, which originated in the city of Corinth and spread to different areas of the Mediterranean from the 6th century BC. The Corinthian helmet was made from a single sheet of bronze, cast and forged, so that the weight was not excessive but retained the protective capacity. This type of helmet was also called "kranos". In his later designs the helmet completely covered the head and neck, with openings for the eyes and mouth. A curved shield served to protect the back of the neck. Apparently, based on archaeological and artistic evidence, the Corinthian helmet was the most popular helmet of the Archaic and Classical periods. Extraordinarily popular from the 5th and 4th centuries B.C., when it came to be manufactured in industrial quantities, this type of helmet spread throughout the Hellenistic or semi-Hellenized Mediterranean. Later, the style evolved into the pylos helmet, which was less expensive to manufacture and did not obstruct the soldier's senses of sight and hearing. Numerous examples of Corinthian helmets have been found in excavations, and they are often depicted on pottery illustrations. Given the Greek territorial expansion, many peasants gained access to new agricultural land and saw their incomes increase. With this income they were able to afford military equipment that allowed them to go to war, fighting side by side with the aristocrats. The figure of the hoplite soldier was born, linked to a specific type of combat: the close formation. This type of battle formation had a direct impact on the socio-political organization of the Greek polis. The hoplite peasants and merchants realized that the ideals of solidarity and comradeship that prevailed on the battlefield did not translate into real equality of rights in the city. The aristocrats continued to hold power and administer justice arbitrarily. For this reason, they began to demand greater participation in the public life of the city in order to become part of the community. This demand was the seed of the later emergence of democracy.
Etruscan divinity of the 2nd century BC.Bronze.Etruscan divinity entirely made of bronze. Dressed in a long tunic, which covers almost her entire body, and wearing a crown, the divinity holds in her right hand a circular object, inside of which, most likely, an offering is emulated. Most probably, we are in front of an ex-voto, that is to say, an offering that ancient cultures made to their gods. These offerings were deposited in sanctuaries or places of worship and could consist of figurines representing people or animals, weapons, foodstuffs, etc.
Frog-shaped pendant. Quimbaya, Colombia, 500-1000 A.D. In gold. Provenance: Private collection A. Alonso, Salamanca, formed between 1960 and 1980. In perfect state of preservation. Intact. Weight: 18,23 gr. Measures: 5.5 cm (height); 4.8 cm (length). Frog-shaped pendant made using the lost wax technique, a sculptural procedure that allows to obtain metal figures (usually bronze and gold) through a mold that is made from a prototype traditionally modeled in beeswax, plaster or other material. The archaeological remains of the Quimbaya culture are located north of the Cauca River, on the western slope of the Central Cordillera and the departments of Quindío, Caldas and Risaralda, in Colombia. Among its artistic manifestations, goldsmithing stands out, mainly gold and tumbaga work, and ceramics, characterized by the use of negative painting (in reserve), globular shapes, the use of various pigments and brushed geometric motifs.
Roman jug of the I-II century AD. Bronze. Measures: 23,5 x 14 x 13 cm. Roman jug of globular body, with moldings in its shoulders, in the neck and in the mouth (this last one slightly exvasada). It has a slightly sinuous vertical handle, welded to the mouth. Bronze was one of the most common materials used for tableware and everyday objects in Roman times, and was even used to make small furniture, embossed and cast, such as the brazier from the temple of Isis in Pompeii, supported by four feet in the shape of a feline claw. Bronze was also used in most of the pieces of armor worn by soldiers in parades.
Military helmet, period of the Warring Kingdoms. China, 5th century B.C.-221 B.C. Bronze. Measures: 32 x 24 cm. Chinese bronze helmet dated to the period of the Combatant Kingdoms, which is in very good state of preservation. It is an example of the military technological evolution of classical antiquity. At the time of Alexander the Great heavy infantrymen still wore this type of helmet, especially hoplites.
God Osiris. Ancient Egypt, Lower Epoch (664-323 B.C.). Bronze. Provenance: private collection S.A., Cadiz, Spain. Intact. Measures: 10,7 x 12,5 cm. Statuette of round bulk representing the God Osiris carrying the Heka and the Nekhakha. The God is standing, with his arms crossed over his chest and a series of characteristic elements, such as the Atef crown (a more complex typology of the White crown that is composed of two ostrich feathers, sometimes with two horns at its base, uraeus and a solar disk. It is represented in yellow color and it was thought to help the deceased to be reborn, attribute for which it is carried by the god Osiris). The piece also presents the arms crossed on the chest, with which it holds the whip and the callado, which are two of its main iconographic symbols. Osiris is the Egyptian god of resurrection, related to fertility and regeneration of the Nile, protector of vegetation and agriculture. He also presides over the court of judgment of the dead, and is in fact closely related to the Afterlife. He was considered the firstborn son of Geb, divinity of the earth, and the goddess Nut, representation of the sky. He was therefore brother and husband of Isis, with whom he had a posthumous son, Horus. We find him for the first time in the sources of the V dynasty, although it is most likely that he was worshipped long before. In fact, we find the epithet Khenti-Amentiu ("leader of the Orientals", alluding to his role as king of the Beyond) already used in the I dynasty, both in relation to the divinity and as a pharaonic title. The most valuable information about Osiris is found in the Pyramid Texts of the late V dynasty, the Shabaka Stone of the New Empire and, much later, in the texts of Greek writers such as Plutarch or Diodorus.
Etruscan figure from the 2nd century BC. Bronze. Measures: 3,5 cm. Small Etruscan sculpture entirely made in bronze, representing a character in movement, with its extremities perfectly delimited. As we can verify with the figure that occupies us, already in the antiquity the Etruscan culture was surrounded by an aura of mystery; ; even their Greek contemporaries were intrigued by the sudden emergence of that people as a maritime and commercial power, by that ancient people that, according to Dionysius of Halicarnassus, "does not resemble any other in its language and customs". While there are those who consider them as the people that gave rise to the Roman Empire, there are other experts who give more relevance to the differences that exist between the two peoples and consider them mere neighbors or "conqueror and conquered", depending on the time in which one speaks, recognizing a strong influence of some elements of Etruscan culture and art observed on the Romans.
Bronze bust of a lion, on a stand, h28cm, a mantel clock with Smiths movement, h23.5cm w23cm, a vintage Bakelite rotary dial telephone, a mantel clock in ebonised and faux bamboo case with movement by Marti, h20cm w19cm, an alabaster figure of a Cockatoo, h32.5cm, a Victorian silver plated teapot, a Tudric Pewter Liberty & Co teapot, and a bust of Buddha, h20.5cm
TOMÁS MUÑOZ LUCENA (Córdoba, 1860- Madrid, 1943)."Lady by the window".Oil on canvas.Signed in the lower right corner.Measurements: 55 x 39,7 cm.Tomás Muñoz Lucena begins his formation in the Cordovan school of painting of Rafael Romero Barros. Then, he enters the recently inaugurated School of Fine Arts of Cordoba, where he coincides with Julio Romero de Torres and Mateo Inurria. Thanks to his talent, he obtained a scholarship from the Provincial Council to study at the San Fernando School in Madrid in 1879. There he will be a disciple of Federico de Madrazo. Again with a scholarship from the Diputación, Muñoz Lucena made a trip to Rome, where he acquired the new impressionist tendency, being in fact considered the first Cordovan painter in this style. In 1881, he took part for the first time in the National Exhibition in Madrid, and three years later he sent from Rome his work "Ofelia", which caused admiration, but was not awarded a prize. Frustrated by this unjust marginalization, undoubtedly due to the fact that his works were not the themes sought by the jury of the National Exhibitions, which valued history themes above all, Muñoz Lucena seriously reconsidered the theme of the works he would send to these competitions. Thus, entering the game of history painting, he sent to the National Exhibition of Fine Arts of 1887 his contribution to the genre, giving it also the "necrophiliac" air that was so much to the taste of the jurors. The painting, magnificent, was entitled "The corpse of Alvarez de Castro", exalting the general who resisted for months the siege of Girona by the French, and was finally awarded a second medal. With this official recognition, Muñoz Lucena's prestige increased considerably, and his successes followed. Again he obtained a second medal in 1890 and, finally, a first medal in 1901 for his painting "Plegaria en la ermita de Córdoba". He also took part in foreign competitions, and in 1900 he was awarded a bronze medal at the Universal Exposition in Paris. He was a teacher from 1894, the year in which he was appointed director of drawing at the Institute of Cordoba, and later he also taught in Granada and Seville. In the last years of the 19th century he also began to collaborate with magazines such as "Blanco y Negro" and "La Ilustración Española y Americana", forming part of the group of illustrators who marked a new path in the graphic arts at the beginning of the 20th century. He retired in 1930, and decided to move to Madrid, where he lived until his death in 1943. In addition to painting, he also devoted himself to illustration, collaborating with magazines such as "Blanco y Negro", to whose first generation he belonged. Works by Muñoz Lucena are kept in the Prado Museum, the Museum of Fine Arts of La Coruña, the Diputación de Córdoba, the University of Granada and the Romantic Museum of Madrid.
TOMÁS MUÑOZ LUCENA (Córdoba, 1860- Madrid, 1943)."Family in a courtyard".Oil on canvas.Presents slight restorations and period frame.Signed in the lower left corner.Measurements: 58 x 63 cm; 85 x 88 cm (frame).This work stands out for the luminosity that the artist achieves by using white as a chromatic base, this is complemented with certain flashes caused by orange and red tones, which are arranged both in the characters and in the place described in the work. This type of genre scenes were recurrent in the painting of Tomás Muñoz, who achieved a great recognition by the public thanks to the publication of scenes of this theme in the magazine Blanco y negro, a fact that provided a great diffusion and the approach of his painting to a wide sector of the population.Tomás Muñoz Lucena began his training in the Cordovan school of painting of Rafael Romero Barros. He then entered the recently inaugurated School of Fine Arts in Cordoba, where he coincided with Julio Romero de Torres and Mateo Inurria. Thanks to his talent, he obtained a scholarship from the Provincial Council to study at the San Fernando School in Madrid in 1879. There he will be a disciple of Federico de Madrazo. Again with a scholarship from the Diputación, Muñoz Lucena made a trip to Rome, where he acquired the new impressionist tendency, being in fact considered the first Cordovan painter in this style. In 1881, he took part for the first time in the National Exhibition in Madrid, and three years later he sent from Rome his work "Ofelia", which caused admiration, but was not awarded a prize. Frustrated by this unjust marginalization, undoubtedly due to the fact that his works were not the themes sought by the jury of the National Exhibitions, which valued history themes above all, Muñoz Lucena seriously reconsidered the theme of the works he would send to these competitions. Thus, entering the game of history painting, he sent to the National Exhibition of Fine Arts of 1887 his contribution to the genre, also giving it the "necrophiliac" air that was so much to the taste of the jurors. The painting, magnificent, was entitled "The corpse of Alvarez de Castro", exalting the general who resisted for months the siege of Girona by the French, and was finally awarded a second medal. With this official recognition, Muñoz Lucena's prestige increased considerably, and his successes followed. Again he obtained a second medal in 1890 and, finally, a first medal in 1901 for his painting "Plegaria en la ermita de Córdoba". He also took part in foreign competitions, and in 1900 he was awarded a bronze medal at the Universal Exposition in Paris. He was a teacher from 1894, the year in which he was appointed director of drawing at the Institute of Cordoba, and later he also taught in Granada and Seville. In the last years of the 19th century he also began to collaborate with magazines such as "Blanco y Negro" and "La Ilustración Española y Americana", forming part of the group of illustrators who marked a new path in the graphic arts at the beginning of the 20th century. He retired in 1930, and decided to move to Madrid, where he lived until his death in 1943. In addition to painting, he also devoted himself to illustration, collaborating with magazines such as "Blanco y Negro", to whose first generation he belonged. Works by Muñoz Lucena are kept in the Prado Museum, the Museum of Fine Arts of La Coruña, the Diputación de Córdoba, the University of Granada and the Romantic Museum of Madrid.
A French Marble And Gilt Bronze Mantle Clock in the Louis XV1th Style, Movement Marked For Martie & Cie, enamelled chapter dial with Arabic numerals, central visible escapement, surmounted by bronze garland of flowers and trailing flora. Marbled base with supports, central figure of Pan, the whole with bronze ormolu mounts. Height 19". Recent invoice from Jillings of Gloucester for complete strip down of movement and polish all parts, strip down of case and clean and polish all marble, for the sum of £828, with an insurance quote for £5.500.
Two Boxes of Mixed Ceramics and Glass, including two Denby 'Greenwheat' jugs, a Wade 'Harvest' jug with bronze and floral decoration, a Poole pottery lidded jam pot, Poole pottery biscuit barrel with handle, Poole pottery shallow trough vase, a small Butley Pottery teapot, a small floral milk jug and matching planter, a Malvern platter No. D6197, a bud vase, together with a collection of five tall green tumblers, and ten assorted glass tumblers, with a green glass star shaped bowl.
Collection of Military / Royal Life Society Badges / Medals. Includes Royal LIfe Society Badge Awarded to F. Cruickshank For Services Rendered to the Royal LIfe Society Badge, Royal Navy A.S.A Badge, Swimmers Baths Blackpool 1925 Carnival Coin, Royal Life Society 1934 Badge Awarded to F. Cruickshank Dec 1934 With Silks and Box, Royal Life Saving Society Bronze Cross / Medal Awarded to F. Cruickshank June 1946 with Silks and Box, Blackpool Carnival Badge to the Opening of the Open Air Swimming Baths Badge ( 8 ) In Total.
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