1st-2nd century AD. A penannular gold neck-ring with body formed from twisted rods, loop finials. See Farley, J. and Hunter, F., Celts Art and Identity, London, 2015, p.105-7 and 123-4, for discussion of torcs and their role in British society. 88.52 grams, 14cm (5 1/2"). From the private collection of Jon Lawton, Surrey, UK; ex Nicholas Wright collection; formerly with Maurice Braham in the early 1980s; accompanied by an Art Loss Register certificate no. 8708(8).AR; a positive metal analysis report and a copy of the collector’s notes; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.163548-10099. Neck-rings were a symbol of power in Iron Age society - as much a badge of rank as a personal decoration or adornment. While bronze and silver examples are relatively widespread, examples in gold are rare and it is believed that the use of this metal marked the wearer out as significant - either an important political leader or a religious officiant, or both. Very fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
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6th century AD. A gilt-bronze great square-headed brooch comprising a rectangular headplate with two panels of chip-carved Style I ornament flanking a beast-head with triangular muzzle and two pellet eyes, raised three-sided frame and outer band of pellets above beast-heads with lentoid eyes; the shallow bow with raised median rib, flanges to the edges and punched pellet detailing; footplate with beast-head between curved pellet lines, pierced horse-head lappets, lozengiform central panel with knot of Style I limbs; two lateral discs, one pierced to accept a stud and the other with a domed stud in place; the finial a disc with human mask inverted; pin-lug and part of catch to the reverse. See Hines, J., A New Corpus of Anglo-Saxon Great Square-Headed Brooches, London, 1997. 75 grams, 13.4cm (5 1/4"). Found by the vendor's grandfather while searching with a metal detector in Oving, near Chichester, West Sussex, UK, in 2001. The various elements of the brooch find similar counterparts on others in the series, such as the form of the bow which corresponds to those on brooches from Herpes (Pas-de-Calais, France) and Sarre (Kent) (Hines's plates 10, 11) and the outer band of masks on the headplate which can be found on a brooch from Tuddenham (Hines's plate 15"). Fine condition. A large display piece.
9th-10th century AD. A discoid gilt bronze pendant with integral loop, pelletted border enclosing a low-relief image of a stylised facing male mask between two birds. 2.98 grams, 23mm (1"). From a London W1, UK, collection; acquired on the German art market before 2000. [No Reserve] Very fine condition.
Mid-late 6th century AD. A crisply cast bronze radiate-headed brooch from Melton Mowbray, far from the area normally associated with this class of find; the headplate features strong zoning, with two series of triangular mouldings inside a row of pellets; seven knobs radiate from the outer edge, each set with a cabochon garnet; the bow shows a central zone with ring-and-dot decoration flanked by zones of moulded ladder-motif; the central zone of the footplate continues the ring-and-dot theme; outside this are the zones of triangular mouldings, with further bands of pellets outside; the base consists of a transverse band of triangular mouldings surmounted by two features which may be stylised birds' heads. See Hattatt, R., Ancient Brooches And Other Artefacts, A Fourth Selection of Brooches from the author's Collection, Oxbow Books, 1989, p.229, fig.110, Item 1706, for a very similar example; see MacGregor, A., and Bolick, E., A Summary Catalogue of the Anglo-Saxon Collections (Non-Ferrous Metals), British Archaeological Reports, British Series 230, Ashmolean Museum, Oxford, 1993, p.148, 16.2, for a very similar example; see Pollington, S., Kerr, L., Hammond, B., Weyland's Work, Anglo-Saxon Art, Myth & Material Culture from the 4th to 7th Century, Anglo-Saxon Books, 2010, p.238, for a comparable brooch. Hammond, B., British Artefacts, Volume 1 - Early Anglo-Saxon, Witham, 2009, p.38, fig.1.1.4.4-c, where it is illustrated with a scale of 1:1; See Pollington, S., Kerr, L., Hammond, B., Weyland's Work, Anglo-Saxon Art, Myth & Material Culture from the 4th to 7th Century, Anglo-Saxon Books, 2010, plate 26, for this item. 24 grams, 10.3cm (3"). Found Melton Mowbray, Lincolnshire, UK; accompanied by a signed copy of British Artefacts, Volume 1 - Early Anglo-Saxon, where it is published on page 38. Brett Hammond wrote the following about English Radiate-Headed Brooches in his book published in 2009: 'Radiate-headed bow brooches are found in the south-east of England, mainly in Kent; they were originally a Gothic fashion copied by the Lombards and Franks, and then transferred to the court at Canterbury. In England, the brooches appear to date from c.525 to c.600. They occur with high-status female burials. There are occassional finds in England of Gothic bow brooches with lozenge-shaped feet, a type which springs from the same background design tradition but this does not appear to have been a common English design, and the finds were probably imported.' Very fine condition. A rare opportunity to acquire a published English Saxon brooch of a rare type.
6th century AD. A substantial matched pair of silvered bronze bow brooches, each comprising a D-shaped headplate, deep bow with corrugated crescent collar to each end, tongue-shaped footplate; headplate with rivetted strips to the edges; catchplate to reverse of the footplate with spine and piercing to the lower end. Cf. Menghin, W., The Merovingian Period. Europe Without Borders, Berlin, 2007, item IX.6.9, for type. 216 grams total, 17-17.5cm (6 3/4 - 7"). From a private London, UK, collection; formerly in the collection of a Cambridgeshire gentleman; acquired in the 1990s. [2] Fine condition.
9th century AD. A bronze equal-arm brooch with central dome featuring two pairs of 'framed eyes' surrounding a central spike, each arm trilobate with repeated 'framed eyes' motif to each lobe; catch and remains of the ferrous pin to the reverse; with old collector's label '90.112'. See Arbman, H. Birka I: Die Gräber, Uppsala, 1940, pl.76 (grave 854"). 32 grams, 86mm (3 1/2"). Property of a UK gentleman; previously acquired on the Belgium art market; formerly in an old Belgium collection; old collection label with inventory number to the reverse. Very fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
10th-12th century AD. A bronze annular brooch formed as a serpent with ribbed body curled into a ring and the tail looped behind the head with lentoid eyes and short muzzle; pin-lugs, pin and catch to the reverse. 15.4 grams, 49mm (2"). Ex private English collection, 1980s-1990s. Very fine condition.
10th century AD. A bronze Byzantine inspired reliquary pendant, possibly Rus or Varangian Guard, with polyhedral loop, hinged discoid body with low-relief iconography: obverse with facing nimbate warrior saint holding spear and sword, legend '[.]???C[.] / [.]E????'; reverse with with central bust surrounded by beast-heads. 78.9 grams, 88mm (3 1/2"). From a private London collection; formerly acquired from a professional in the 1980s. Fine condition.
10th-12th century AD. A bronze pendant of a human face with ridged brow, rectangular eyes, trapezoidal nose, thin moustache extending across the face, mouth open exposing the teeth, long neck; pierced suspension lug above. 2.21 grams, 33mm (1 1/4"). Ex private collection of a Belgian gentleman, Brussels, 1960s-1980s. Very fine condition.
9th-11th century AD. A substantial bronze necklace set comprising: a chain of doubled links, pendant formed as a double-sided comb with attachment loop. 115 grams total, 70cm (27 1/2"). Property of an English gentleman; formerly with an East Anglia gallery; previously in a UK collection, acquired before 2000. Fair condition.
9th-12th century AD. A firesteel comprising a rectangular iron block with striking face mounted in a bifacial openwork bronze handle formed as two large ravens perching with necks bent over a facing figure with two pellet eyes. Cf. Arbman, H., Birka I: Die Gräber, Uppsala, 1940, pl.144. 47.3 grams, 61mm (2 1/2"). From the family collection of a UK gentleman, by descent in the early 1970s; previously acquired before 1960. Fine condition.
9th-12th century AD. A firesteel comprising a rectangular iron block with striking face mounted in a bifacial openwork bronze handle formed as two large ravens perching with necks bent over a bull's head(?"). Cf. Arbman, H., Birka I: Die Gräber, Uppsala, 1940, pl.144. 40 grams, 54mm (2"). From the family collection of a UK gentleman, by descent in the early 1970s; previously acquired before 1960. [No Reserve] Fine condition.
9th-11th century AD. A bronze firesteel with openwork handle depicting addorsed horsemen riding on stylised horses with curved necks; iron blade. See Arbman, H., Birka I: Die Gräber, Uppsala, 1940, pl.144, item 1. 27.2 grams, 65mm (2 1/2"). Property of a professional collector; acquired before 1990. [No Reserve] Fine condition.
Spain, 15th century AD. A fragment of a sheet-bronze paten with repoussé ornament including a central heater shield with 'YHS' monogram, crown above and quatrefoil with profile lion supporter, possibly the lion of St Mark indicating that the paten would have originally carried all four of the Evangelists symbols (eagle, calf and angel"). 113 grams, 18cm (7"). Formerly acquired in 2002 from Maggs Bros., London, WC1. Fair condition.
9th-6th century BC. A bronze statuette of a male with elongated features to the face, small ears to the side, hair represented by lines forming a ponytail; large cloak covering the body, open to the front revealing arms, tunic and bare legs. See Insoll, T., The Oxford Handbook of Prehistoric Figurines, p. 808-819, for discussion. 288 grams, 15.5cm (6"). Ex North London collection; formerly in a Swiss family collection; acquired in the 1970s. The Nuragic bronze statuettes are typical Sardinian bronze sculptures of the final phase of the Bronze Age and the early Iron Age. These votive statuettes have been found mainly in places of worship like the holy wells and the so-called Megara temples but also in villages and nuraghes, a type of tower-fortress. Several statues were also found in excavations carried out in central Italy in Etruscan tombs of the ninth to eighth century BC. The statuettes were most likely made by the lost wax method, and represent scenes of everyday life of the Nuragic people, depicting characters from various social classes, animal figures, warriors, chiefs, divinities, everyday objects and ships. Some Nuragic bronzes clearly portray the figures of chief-kings, recognisable by their wearing a cloak and carrying a staff with bosses. The Nuragic civilisation was probably based on clans, each led by a chief, who resided in the complex nuraghe, with ordinary people living in the nearby villages of stone roundhouses with straw roofs. Fine condition. Rare. ( A video of this lot can be viewed on Timeline Auctions website.)
2nd-3rd century AD. A life-sized bronze hand with open palm, the fingers raised as a stop sign with well-marked detailing, socketted at wrist to accept the staff insert, the socket rim formed as a coiled snake with its head resting at the centre of the wrist, a Gnostic symbol above; the palm with Greek inscription 'ΙΟΥΛΙΟϹ [Α]ΛΛΑΞΙMΟϹ ΚΑTΕΥKHN ΑΝΕΘΗΚΕΝ' for 'dedicated by Ioulios Allaximos as a prayer' or 'dedicated by Ioulios Allaximos as one would wish'; most likely a standard finial or a votive; mounted on a custom-made stand. See for a similar item from Martigny, in Zürich, Schweizerisches Landesmuseum, inventory no. 41434; see Von Gonzenbach, V., Fides Exercituum, eine Hand von Vindonissa, in Jahrbuch der Gesellschaft Pro Vindonissa, 1951-1952, pp.5ff.; D’Amato, R., Arms and armour of the Roman Imperial Soldier, 112 BC - AD 192, London, 2009, p. 170, fig.239; Toepfer K.M., Die römischen Feldzeichen in der Republik und im Prinzipat, Mainz, 2011, NZ52; D’Amato, R., Roman standards and standard-bearers, (1), 112 BC - AD 192, Oxford, 2018, p.31. 1.7 kg total, 28cm including stand (11"). Property of a London gentleman; acquired on the London art market in the 2000s; accompanied by an academic report by Dr. Raffaele D’Amato; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.161840-10064.. Roman military signa decorated by a phalera and surmounted by a right hand have been used since the Late Consular Age, as can be seen on the Scafa reliefs (Toepfer, 2011, WF10, pl. 125, pp. 396 ff.) and in the Church of San Domenico in Sora (D'Amato, 2009, p.127), where the presence of the hand suggests the representation of Signa Manipulorum (Standards of the maniples"). The hand (manus) symbolised the fides, ie. the allegiance between the soldiers and the Res Publica. Also during the Imperial Age, the identification element of the signum manipularis was possibly a hand, a small shield, or another symbol on the top of the standard. Fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
1st-2nd century AD. A beautifully modelled left hand from a statue of a hero, athlete, god or an emperor; formed as a clenched fist with fine anatomical detailing; mounted on a custom-made stand. See Formigli, E., La tecnica di costruzione delle statue di Riace in Ministero dei Beni e delle attività culturali e del turismo, VI serie volume speciale, Roma, 1984, pp.107-142; Bol P. C., Antike Bronzetechnik, Monaco, 1985; Lahusen, G., and Formigli, E., Ergebnisse der kunsthistorisch-technischen Analysen von zwei römischen Grossbronzen in den Museen des Vatikan, in BMonMusPont, VIII, 1988, pp.21-53. 1.4 kg total, 21.5cm including stand (8 1/2"). Property of a London gentleman; acquired on the London art market in the 2000s; accompanied by an academic report by Dr. Raffaele D’Amato; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.161841-10065. The strong welding technique of the bronze was mastered by the craftsmen of the Graeco-Roman world; the thin construction of the bronze of this fragment is a further confirmation of its Roman origin; it is known that the Romans were able to create very thin bronze items, perhaps due to the use of high percentages of lead in the bronze alloy. Prof. Roncalli considers this trend to be linked to cheaper production costs, but also to being in better control of the thickness, a trend which represented an incentive for all the ancient techniques of bronze production. The great bronze statues of the ancients were, without exception, were built in separate parts welded together by casting. Fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
1st century BC-1st century AD. A hollow-formed bronze left foot and lower leg from a bronze statue; the leg shown angled forward, foot pivoted at the toes, ankle flexed, toes slightly splayed; slightly larger than life-size; ancient rectangular holes cut to the heel, shin and sole to allow repair; mounted on a custom-made display stand. 3.3 kg total, 42.5cm including stand (16 3/4"). Property of a London gentleman; acquired on the London art market in the 2000s.; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.161843-10066. The attitude of the leg, ankle and toes suggests that the posture of the statue was the 'contrapposto' pose with weight carried on the right leg and the left leg bent and slightly trailing. This pose is seen on e.g. the Doryphoros (Spear-Bearer) statue of Polykleitos in the Naples National Archaeological Museum and the Augustus of Prima Porta in the Vatican's Chiaramonti Museum. Fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
2nd-1st century BC. A bronze element from a seat frame comprising a rectangular openwork panel with two lateral legs and square tiered bases, transverse band with openwork wave-pattern, upper section with facing female bust and openwork scrolled tendrils; mounted on a custom-made stand. Cf. similar (though less ornate) bronze openwork footstool in the British Museum under accession number 1856,1226.667. 1.6 kg total, 28cm wide including stand (11"). From a private New York collection; previously with Christie's, New York, 9 December 2008, lot 140; formerly in a private North German collection, since in the 1950s; accompanied by a printout of the relevant Christie's, London, catalogue pages; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.163209-10067. Fine condition. Repaired.
Dated 26th October 153 AD. A bronze rectangular diploma tablet with dense text in two paragraphs of capitals to one face and to the other a single block in rustic capitals laid out perpendicular to the first; dated 26th October (a(nte) d(iem) VII K(alendas) Nov(embris)) AD 153 (dateable by the names of the consuls C. Cattius Marcellus and Q. Petiedius Gallus) issued by the emperor Antoninus Pius to troops serving in the province of Mauretania Tingitana under its governor (procurator) Flavius Flavianus; the name and rank of the particular soldier who received this diploma is not easy to decipher, but the unit in which he served was the Cohors III Asturum C(ivium) R(omanorum)) commanded by a [?] Flavius [….?]. The text of the diploma - apart from the details singular to the particular soldier who received the individual diploma is known from a small number other copies in various states of completeness; they can be found assembled in L. Mihailescu-Birliba & I. Dumitrache, Diplomes militaires-carrières équestres: le cas de Flavius Flavianus, in Moesica & Christiana. Studies in honour of Prof. Alexandru Barnea, (2016), pp. 67-74. 108 grams, 13cm (5 1/4"). Property of a British collector; ex Bussey collection, London, UK; previously studied and partially translated by P. John Casey F.S.A, Reader in Archaeology at Durham University between 1999 and 2000; formerly with Adolfo de Velasco; acquired in the 1950s; accompanied by a scholarly note by Dr Ittai Gradel, report number 160191. Fine condition, cleaned and conserved.
1st-2nd century AD. A bronze rectangular plaque with stepped herringbone border, facing bust of Cybele with segmented headdress, symbols in the field. 432 grams, 95 x 78mm (3 3/4 x 3"). From the collection of a European gentleman living in South London; acquired 1970-1980. Very fine condition.
1st-2nd century AD. A patinated bronze jug with bulbous piriform body, narrow neck with rolled rim and open spout; handle with figure of Juno standing robed holding a goose to her chest; below a facing putto mask with frame of curls. Cf. Roberts, P., Life and Death in Pompeii and Herculaneum, London, 2013, item 49, for profile; Rolland, H., Bronzes Antiques de Haute Provence, Paris, 1965, for figural handles. 1.4 kg, 26cm (10 1/4"). Property of a London gentleman; acquired on the UK art market since 2011; previously in English collections since before 2000; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.163380-10068. The goddess Juno was associated with geese and a flock of these birds was kept in her temple on the Capitoline hill in Rome. The ancient writer Dionysius of Halicarnassus in his work Antiquitates Romanae notes that an annual procession carried Juno's image in the form of a goose from the temple of Juno Moneta to the Capitoline temple. It finally placed the image between the cellae of Jupiter and Minerva. Very fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
1st century BC-1st century AD. A sceptre comprising a slender round-section iron rod and bronze handle with bulb to each end, the finial a janiform bust of two female faces each with curls to the sides, cucullus head-covering and diadem with plate to the brow; mounted on a custom-made stand. 2.1 kg total, 70.5cm including stand (27 3/4"). From an important London collection; previously with Bonhams, London, 13 April 2011, lot 149 (£10,000-£12,000); formerly in a private French collection, formed in the 1970s; accompanied by copies of the relevant Bonhams catalogue pages; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.163491-10069. The Latin word sceptrumfrom which we derive 'sceptre' is based on the Greek σκῆπτρον denoting a staff or walking-stick. The janiform female bust is unusual and may represent e.g. the priestesses of Vesta in Rome. Fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
1st-2nd century AD. A substantial bronze figure of Juno (Greek Hera) standing with right hand in gripping pose, left hand extended palm-upwards, engraved collar to the neck and diadem to the hair, palla gathered at the waist, slipping from the right shoulder; mounted on a custom-made stand. 692 grams total, 25cm including stand (10"). Property of a central London gentleman; with Bonhams, Knightsbridge, 21 October 1999, lot 178; previously in the family collection of Kyros Melas; formerly with Horatio and Patsy Melas; the early 20th century collection having been moved from Alexandria in 1967; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.163504-10070. The figure's pose recalls that of the statue of Juno Sospita in the Vatican museum, Rome. Very fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
1st-2nd century AD. A bronze bust of Silenus with bare chest and open tunic, head turned to his left, thick beard, wreath of vine leaves to the brow. Cf. Rolland, H., Bronzes Antiques de Haute Provence, Paris, 1965, item 377, for type. 105 grams, 79mm (3"). From the collection of a European gentleman living in South London; acquired 1970-1980. Very fine condition.
1st-2nd century AD. A hollow-formed bronze mount comprising a female head with flange rim, elaborately dressed hanks of hair and stub wings to the brow, fleshy facial features; pierced in four places for attachment. Cf. Rolland, H., Bronzes Antiques de Haute Provence, Paris, 1965, item 314, for type. 164 grams, 6.5cm (1 1/2"). Property of a gentleman; acquired in the late 1960s-early 1970s. Very fine condition.
2nd-3rd century AD. A bronze oil lamp formed as a bull's head with ovoid base, hinge-lugs to the brow with draped chains to each side, filling hole to the brow, loop handle to the rear with pschent crown reflector, nozzle emerging from the bull's mouth. Cf. Bailey, D. M., Catalogue of the Lamps in the British Museum IV, BM, 1996, Q3599, for a less detailed example. 283 grams, 9.5cm (3 3/4"). From an old Dutch collection formed in the 1970s. Very fine condition. Rare. ( A video of this lot can be viewed on Timeline Auctions website.)
1st-3rd century AD. A bronze chariot pole terminal, a tapering socket with domed end and central knop, two lateral attachment holes, hook formed as a duck's head with scooped beak. 632 grams, 10cm (4"). From the collection of a North London professional; previously in a 1980s collection. Fine condition.
2nd-3rd century AD. A bronze hollow-formed statuette of a lion resting on the ground, forepaws stretched in front of his body, back legs tucked beneath hindquarters, tail held close to body and curled to front, full mane delineated by broad lines cascading to front and rear, ears erect, expressive eyes, flared nostrils and snarling mouth flanked by whiskers. 85 grams, 66mm (2 1/2"). Property of a London collector; acquired on the London market, 1990s-2000s. Very fine condition.
2nd-4th century AD. A substantial key with bronze handle formed as a crouching lion devouring a calf, emerging from a square-section calyx; iron shank with angled bit. Cf. Pall, M., Schlüssel und Schlösser, Graz, 2012, item 5978. 159 grams, 11cm (4 1/4"). From the collection of a European gentleman living in South London; acquired 1970-1980. Very fine condition.
7th-9th century AD. A sheet bronze panel fragment with repoussé frieze comprising Christ in splendour in a rounded panel with beaded border supported by flying angels, partial legend '[.]IC' to the halo and '???' below the upper angel; arcade with knots and lateral column; group of five facing bearded figures (one with keys, St. Peter; one with a book, St. John) with legend 'VM A?ITE' beside nimbate Mary Theotokos with 'MP ?V' legend in orans pose and partial head to the left with '...AIT' legend above. 68 grams, 17.2cm (6 3/4"). From a private New York collection; acquired in the 1980s. Fair condition.
10th-12th century AD. A large bronze enkolpion reliquary cross pendant comprising two hinged plates and an articulated suspension loop with vertical rib; obverse with circular central recess for a jewel(?), robed, winged and nimbate figure in orans pose, legend '???????' (Saint Gabriel) above, banner to left with legend '??HOC' in two lines, plaque to right with legend 'A? A? ?? CA ?H' over five lines; reverse with legend '?ANA?IA' (Panagia) above, 'HC' and 'XC' under lines below, facing robed and nimbate Mary Panagia and infant Jesus flanked by smaller robed female figures, to left 'CA?OMH' (Salome) legend, to right 'HM?AX' legend. Cf. Wamser, L., Die Welt von Byzanz - Europas Östliches Erbe, München, 2004, item 269, for type; cf. Pitarakis, B., Les Croix-Reliquaires Pectorales Byzantines En Bronze, France, 2006, for similar examples. 124 grams, 12cm (4 3/4"). Property of a London gentleman; acquired on the UK art market since 2011; previously in English collections prior to 2000. Very fine condition.
10th-12th century AD. A bronze enkolpion reliquary cross pendant comprising two hinged plates and a hinged loop above; obverse with robed and nimbate Corpus Christi bust surrounded by busts of the evangelists with Greek legends; reverse with a robed figure in orans pose, legend above '? ????C / ???????c' (St. Theodore"). 96 grams, 11.4cm (4 1/2"). Property of a London gentleman; acquired on the UK art market since 2011; previously in English collections prior to 2000. Very fine condition.
10th-12th century AD. A bronze padlock with trident hasp formed as two opposed felines(?), block with chamfered sides and pierced lobes, slot to accept the prongs of the hasp; ring-and-dot ornament. 61 grams total, 44-66mm (1 3/4 - 2 1/2"). Property of a London gentleman; acquired on the UK art market since 2011; previously in English collections prior to 2000. [2] Very fine condition.
2nd millennium BC. A glazed composition seal, biconvex in section with intaglio scene of a bull with legs folded beneath the body over tufts of grass; above the bull's back a female(?) figure vaults with hair flying, one leg bent and the other extended. See Preziosi, D.& Hitchcock, L.A., Aegean Art and Architecture, Oxford, 1999. 25.4 grams, 39mm (1 1/2"). Property of a London gentleman; previously acquired at a London auction; formerly in the Johnston family collection; formed in the 1930s. The practice of bull-leaping is found across the eastern Mediterranean world from Bronze Age Mycenae onwards. The practice probably had a religious meaning as well as providing spectacle. Fine condition.
6th-7th century AD. A silver boat-shaped bowl, elliptical in plan with rounded underside, thickened rim, hammered texture; to the centre a profile advancing lion with pointillé fur detailing, herringbone border. See Harper, P.O. & Meyers, P. Silver Vessels of the Sasanian Period, New York, 1981 for discussion; Muscarella, O.W. Bronze and Iron. Ancient Near Eastern Artifacts in the Metropolitan Museum of Art, New York, 1988, item 428, for type; also Godard, A. The Art of Iran, London, 1965, p.214-215, ill.120 and 121, for a bottle with repoussé decoration now in the National Museum, Tehran, depicting a similar mythical animal at the base. 259 grams, 20.5cm (8"). Property of a London gentleman; acquired London art market, 1970-1980; accompanied by a metallurgic analytical report, written by metallurgist Dr. Brian Gilmour of the Research Laboratory for Archaeology and the History of Art, University of Oxford, report number 621/134652. Fine condition.
6th-5th century BC. A substantial sheet-silver bowl with central discoid omphalos, three tiers of intersecting raised lotus petals, chamfered rim. Cf. Mahboubian, Art of Ancient Iran: Copper and Bronze, London, 1997, no.321, p.246; also the type is found in Greek phialai such as the example from Asia Minor, now in Berlin, cf. Strong, D. E., Greek and Roman Silver Plate, New York, 1966, pl.9A. 765 grams, 28cm (11"). Property of a North London lady; gifted from her father's collection; formerly with Bonhams, London, 15 October 2008, lot 165; previously with a Mayfair gallery, London, UK; previously in a late 1970s-early 1980s collection; accompanied by a copy of the relevant Bonhams catalogue pages; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.159304-10076. Very fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
2nd millennium BC. A bronze mount of janiform head of Pazuzu, the king of demons of the wind, fierce expression and wide slit mouth; pierced lug to the head and long tang below; mounted on a custom-made stand. 487 grams total, 11cm including stand (4 1/4"). Ex private London, UK, collection, 1970-1990; seen by Professor Wilfrid George Lambert in the 1990s. Fine condition.
Eastern Wei, early 5th century AD. A bronze figure, likely in the style of the Gandharan or Uddiyana regions, of Shakyamuni Buddha in loose robes seated on a throne flanked by elephants.See Dr. Naiki, S., Similarities and Differences in Gandharan Sculptures Among Regions, Thursday 22nd to Friday 23rd March 2018, The Geography of Gandharan Art: 2nd Workshop of the Gandhara Connections Project, Classical Art Research Centre, University of Oxford. 101 grams, 80mm (3"). Exhibited: Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit TB003, p.58 & 159; accompanied by copies of the relevant exhibition catalogue pages.Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant London and Tibet House exhibition catalogue pages.Gandhara was a principal gateway through which Buddhism spread to China. Academic research conducted after the death of Nik Douglas (above) explains that Gandharan sculpture has been found in neighbouring regions, such as in Uddiyana. Sculpture from the Gandharan and Uddiyana regions has similar characteristics and as a result has often remained undifferentiated. As a result of this recent research however, it is becoming more feasible to identify distinctions between the sculpture of these different regions. Fair condition; ritually rubbed by generations of devotees.
Northern Wei Dynasty, 386-534 AD. A gilt bronze figure, after the statuary of Gandhara or neighbouring region of Uddiyana, of Shakyamuni Buddha modelled with his hands clasped together in dhyana mudra and seated in the dhyanasana posture on a throne flanked by two roaring lions; robes with U-shaped folds in the Mathuran style and the head with a prominent ushnisha.See Dr. Naiki, S., Similarities and Differences in Gandharan Sculptures Among Regions, Thursday 22nd to Friday 23rd March 2018, The Geography of Gandharan Art: 2nd Workshop of the Gandhara Connections Project, Classical Art Research Centre, University of Oxford. Exhibited: Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit TB005, p.58 & 160; accompanied by copies of the relevant exhibition catalogue pages.86 grams, 70mm (2 3/4").Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant London and Tibet House exhibition catalogue pages.Gandhara was a principal gateway through which Buddhism spread to China. Academic research conducted after the death of Nik Douglas (above) explains that Gandharan sculpture has been found in neighbouring regions, such as in Uddiyana. Sculpture from the Gandharan and Uddiyana regions has similar characteristics and as a result has often remained undifferentiated. As a result of this recent research however, it is becoming more feasible to identify distinctions between the sculpture of these different regions. Fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
Northern Wei Dynasty, 386-534 AD. A gilt-bronze figure after the Gandharan style, or that of the neighbouring Uddiyana region, of Shakyamuni Buddha modelled with his hands clasped together in dhyana mudra and seated in the dhyanasana posture on a throne flanked by two roaring lions; robes with U-shaped folds in the Mathuran style and the head with a prominent ushnisha.See Dr. Naiki, S., Similarities and Differences in Gandharan Sculptures Among Regions, Thursday 22nd to Friday 23rd March 2018, The Geography of Gandharan Art: 2nd Workshop of the Gandhara Connections Project, Classical Art Research Centre, University of Oxford. Exhibited: Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit TB006, p.160; accompanied by copies of the relevant exhibition catalogue pages.95 grams, 70mm (2 3/4").Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant London and Tibet House exhibition catalogue pages.Gandhara was a principal gateway through which Buddhism spread to China. Academic research conducted after the death of Nik Douglas (above) explains that Gandharan sculpture has been found in neighbouring regions, such as in Uddiyana. Sculpture from the Gandharan and Uddiyana regions has similar characteristics and as a result has often remained undifferentiated. As a result of this recent research however, it is becoming more feasible to identify distinctions between the sculpture of these different regions.Fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
Northern Wei Dynasty, 386-534 AD. A gilt-bronze figure, influenced by the Gandharan style or that of the neighbouring region of Uddiyana, of Shakyamuni Buddha modelled with hands clasped together in dhyana mudra and seated in dhyanasana posture on a throne flanked by two roaring lions; robes with U-shaped folds in the Mathuran style and the head with a prominent ushnisha, incised inscription to the reverse in four columns, translating approximately as: a 'dedication by Kang Shen requesting a peaceful life for his family', with Sutra on front legs of four-legged podium.See Dr. Naiki, S., Similarities and Differences in Gandharan Sculptures Among Regions, Thursday 22nd to Friday 23rd March 2018, The Geography of Gandharan Art: 2nd Workshop of the Gandhara Connections Project, Classical Art Research Centre, University of Oxford. Exhibited: Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit TB007, p.59 & 160; accompanied by copies of the relevant exhibition catalogue pages.211 grams, 14cm (5 1/2").Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant London and Tibet House exhibition catalogue pages.Gandhara was a principal gateway through which Buddhism spread to China. Academic research conducted after the death of Nik Douglas (above) explains that Gandharan sculpture has been found in neighbouring regions, such as in Uddiyana. Sculpture from the Gandharan and Uddiyana regions has similar characteristics and as a result has often remained undifferentiated. As a result of this recent research however, it is becoming more feasible to identify distinctions between the sculpture of these different regions. Fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
Later Yan Dynasty, 384-407 AD. A gilt-bronze statuette, with Gandharan stylistic influence, featuring Buddha standing against an aureole and lotus-flower nimbus, on a lotus podium with flared legs, flanked by attendants or donors; hatched ornament to the podium, incised text here and to the reverse of the aureole which translates approximately as: 'A disciple of Buddha had this made to keep his family safe', and the 'Buddha Disciple' with the years for Later Yan (384-407 [389]) to the right.235 grams, 13.4cm (5 1/4").Exhibited: Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit TB011, p.161; accompanied by copies of the relevant exhibition catalogue pages.Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant London and Tibet House exhibition catalogue pages which dates the piece on artistic grounds to the Early Wei period, circa 5th century AD, and a transcription of the Chinese characters inscribed on the piece; recent translation of the previously undeciphered inscription suggests a more precise date range of 384-407 (389), Later Yan era.Gandhara was a principal gateway through which Buddhism spread to China, with the connection to Gandharan Buddhist statuary and sculpture evident in the style of this piece. Fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
Northern Wei Dynasty, 386-534 AD. A gilt-bronze figure, influenced by the Gandharan style or that of the neighbouring Uddiyana region, of Shakyamuni Buddha kneeling on a tiered base with flaming aureole behind, engraved image of Buddha to the rear.See Dr. Naiki, S., Similarities and Differences in Gandharan Sculptures Among Regions, Thursday 22nd to Friday 23rd March 2018, The Geography of Gandharan Art: 2nd Workshop of the Gandhara Connections Project, Classical Art Research Centre, University of Oxford. Exhibited: Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit TB009, p.57 & 161; accompanied by copies of the relevant exhibition catalogue pages; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.163202-10081.474 grams,17.5cm (7").Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant London and Tibet House exhibition catalogue pages.Gandhara was a principal gateway through which Buddhism spread to China. Academic research conducted after the death of Nik Douglas (above) explains that Gandharan sculpture has been found in neighbouring regions, such as in Uddiyana. Sculpture from the Gandharan and Uddiyana regions has similar characteristics and as a result has often remained undifferentiated. As a result of this recent research however, it is becoming more feasible to identify distinctions between the sculpture of these different regions.Fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
Western Qin Dynasty, 385-431 AD. A gilt-bronze statuette, influenced by the Gandharan style or that of the neighbouring Uddiyana region, of Shakyamuni Buddha kneeling on a tiered podium, aureole to the rear; inscribed legend to the reverse of the aureole, the inscription mentions the 'Tripitaka Master', the 'Buddha Disciple' and to 'arouse the vow' and asks 'to improve human welfare, and to save all beings from the sea of suffering and erase calamity', and dates to the Western Qin (385-431 AD), donors to the legs of the podium.See Dr. Naiki, S., Similarities and Differences in Gandharan Sculptures Among Regions, Thursday 22nd to Friday 23rd March 2018, The Geography of Gandharan Art: 2nd Workshop of the Gandhara Connections Project, Classical Art Research Centre, University of Oxford. Exhibited: Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit TB008, p.59 & 160; accompanied by copies of the relevant exhibition catalogue pages.355 grams, 14.1cm (5 1/2").Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant London and Tibet House exhibition catalogue pages, which dates the piece on artistic grounds to the Early Wei period, circa 5th century AD, and a transcription of the Chinese characters inscribed on the piece; recent translation of the previously undeciphered inscription suggests a more precise date range of 385-431 AD, Western Qin era.Gandhara was a principal gateway through which Buddhism spread to China. Academic research conducted after the death of Nik Douglas (above) explains that Gandharan sculpture has been found in neighbouring regions, such as in Uddiyana. Sculpture from the Gandharan and Uddiyana regions has similar characteristics and as a result has often remained undifferentiated. As a result of this recent research however, it is becoming more feasible to identify distinctions between the sculpture of these different regions Fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
Eastern Wei, early 5th century AD. A gilt-bronze figure, composition originating in the Gandharan style and displaying Central Asian features, of Buddha kneeling on a throne, flanked by lions, flames radiating from the upper arms, pleated robe, hands clasped in the samadhi mudra.406 grams, 13cm (5").Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; much of the collection displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant London exhibition catalogue pages.Gandhara was a principal gateway through which Buddhism spread to China, with the connection to Gandharan Buddhist statuary and sculpture evident in the style of this piece.Fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
Tang Dynasty, 829 AD. A gilt-bronze figure, influenced by the Gandharan style, of Buddha sitting on raised rectangular podium resting on a four-legged base, with separate flaming aureole to attach to a peg on the reverse; legs with engraved images of the donors; reverse of aureole with incised inscription, translating approximately as: a 'dedication by Zhang Hai requesting that his family remain safe' and 'offering Buddha forever', dated to '829 AD during the reign of Emperor Wenzong of Tang'.293 grams, 13.5cm (5 1/4").Exhibited: Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit TB010, p.161; accompanied by copies of the relevant exhibition catalogue pages.Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant London and Tibet House exhibition catalogue pages, which dates the piece on artistic grounds to the Early Wei period, circa 5th century AD, and a transcription of the Chinese characters inscribed on the piece; recent translation of the previously undeciphered inscription suggests a later date of 829 AD, a discrepancy which likely arose due to stylistic similarities between those dates.Gandhara was a principal gateway through which Buddhism spread to China, with the connection to Gandharan Buddhist statuary and sculpture evident in the style of this piece.Fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
Eastern Wei, early 5th century AD. A hollow-formed bronze statuette, likely after the Gandharan or Uddiyana style, of Shakyamuni Buddha sitting in meditation on throne with guardian lions, prominent ushnisha and loose robe, mounting peg to the reverse for an aureole.See Dr. Naiki, S., Similarities and Differences in Gandharan Sculptures Among Regions, Thursday 22nd to Friday 23rd March 2018, The Geography of Gandharan Art: 2nd Workshop of the Gandhara Connections Project, Classical Art Research Centre, University of Oxford.Exhibited: Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit TB004, p.56 & 159; accompanied by copies of the relevant exhibition catalogue pages.535 grams, 12.5cm (5").Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant London and Tibet House exhibition catalogue pages.Gandhara was a principal gateway through which Buddhism spread to China. Academic research conducted after the death of Nik Douglas (above) explains that Gandharan sculpture has been found in neighbouring regions, such as in Uddiyana. Sculpture from the Gandharan and Uddiyana regions has similar characteristics and as a result has often remained undifferentiated. As a result of this recent research however, it is becoming more feasible to identify distinctions between the sculpture of these different regions.Fair condition.
Ptolemaic Period, 332-30 BC. A substantial bronze statue of Osiris standing wearing Atef crown of Upper Egypt with lateral ostrich feathers, frontal uraeus, false beard, crossed hands holding crook and flail, standing on a square base; mounted on a marble stand. Cf. Thomas, A.P., Egyptian Gods and Myths, Aylesbury, 1986, plate 1, a triad of gods from Saqqara. 2.4 kg total, 33.5cm including stand (13 1/4"). Property of a central London gentleman; previously the property of a private UK collector, acquired 2018; from the estate of the late Mr Robert Wilson, a collector and architect from Houston, Texas, reputed to have been in the collection since the 1960s; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.163505-10054. Osiris was the greatest of the Egyptian gods and the particular ruler of the Underworld after his murder by his brother, Set. Very fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
26th Dynasty, 664-525 BC. A substantial bronze figure of the ram-headed god Khnum advancing, wearing a pleated kilt, with an Atef crown with horizontal ram's horns surmounted by rearing ureai crowned with sun discs, a flail in his raised right hand, feet absent; mounted on a custom-made stand. Cf. Thomas, A.P., Egyptian Gods and Myths,Aylesbury, 1986, plate 12. 1.1 kg total, 28cm including stand (11"). Property of a central London gentleman; formerly in the collection of Major J. Findley [1915-1990], Scotland, acquired in the 1950s-1960s; thence by descent; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.163506-10055. The god Khnum (or Khnemu) the 'Moulder' was one of the earliest gods of Egypt, worshipped especially at Philae and Elephantine, both in Nubia. He was thought to have made mankind of out of clay on a potter's wheel. It was Khnum who helped Isis to gather the severed fragments of the body of the god Osiris and re-made them. He was considered the father of the gods, along with Amun-Ra and Ptah. Very fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
1st century AD. A hollow-formed bronze vessel support formed as a lion's claw beneath the nude bust of a female sphinx with nemes headdress with royal uraeus and flanking curled wings; ledge to the reverse; mounted on a custom-made stand. Cf. similar item in the Metropolitan Museum of Art, New York, under accession number 2000.660; Archaic Greek period. 594 grams total, 21cm including stand (8 1/4"). From a private New York collection; on the London art market prior to 2012; formerly in a private UK collection since the late 1970s.; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.163225-10056. According to the Greeks, the sphinx was a vengeful and treacherous creature with the head of a woman, the haunches of a lion, and the wings of a large bird. These elements in combination proved very attractive for the creation of bronze furniture fittings and other items where the spread wings could be extended around a curved or angled surface. The present example dates from the Romano-Egyptian period (30 BC-323 AD), with antecedents in the art of the Ptolemaic Dynasty (332-30 BC) Very fine condition.
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