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Lot 1045
Leonard Baskin, American 1922–2000 - Esther, 1956; bronze on stone base, H37 x W16 x D13 cm Provenance: Pyms Gallery, London Literature: Irma B. Jaffe, 'The Sculpture of Leonard Baskin', The Viking Press, New York, 1980, p.211 Note: other editions of this bronze are in the collections of the Brooklyn Museum, New York and the Hirshchorn Museum and Sculpture Garden. This is a rare female subject for this artist in his sculpture, depicting his wife, the writer Esther Baskin (1925-1973). Esther would work with Sylvia Plath on her collection of poems 'The Creatures of Darkness'. Baskins works is highly indicative of the Post-War period, sharing an intensity of vision with figures such as Elisabeth Frink, Germaine Richier and Alberto Giacometti. Like Frink, Baskin focused almost entirely on the male figure, seeking a visual language that spoke to an everyday experience of life and death, demonstrated most fully in his ‘Dead Man’ series, first started in the 1950s. Baskin retained a defiantly figurative language throughout his sculpture and works on paper, continuing the legacy of Käthe Kollwitz in his choice to work across mediums in an attempt to engage with an audience outside of the artistic elite. Works by the artist are in major museum across the USA, including the National Gallery of Art in Washington, MoMA, New York and the Detroit Institute of Arts. In the UK works are held by the British Museum, the V&A and the Tate.
Lot 1054
Leonard Baskin, American 1922–2000 - Theseus, 1969; bronze, signed, titled, dated, with foundry stamp and numbered to the base 'Baskin Theseus 1969 Bedi-Makky Art Foundry, NY 2/9', H96 x W48 x D40 cm Provenance: Laura Speiser; Bonhams, New York, The Estate of Laura Speiser, 16th September 2010, lot 2151; Pyms Gallery, London, purchased from the above Literature: Irma B. Jaffe, 'The Sculpture of Leonard Baskin', The Viking Press, New York, 1980, p.216 Note: Baskins works is highly indicative of the Post-War period, sharing an intensity of vision with figures such as Elisabeth Frink, Germaine Richier and Alberto Giacometti. Like Frink, Baskin focused almost entirely on the male figure, seeking a visual language that spoke to an everyday experience of life and death, demonstrated most fully in his ‘Dead Man’ series, first started in the 1950s. Baskin retained a defiantly figurative language throughout his sculpture and works on paper, continuing the legacy of Käthe Kollwitz in his choice to work across mediums in an attempt to engage with an audience outside of the artistic elite. Works by the artist are in major museum across the USA, including the National Gallery of Art in Washington, MoMA, New York and the Detroit Institute of Arts. In the UK works are held by the British Museum, the V&A and the Tate.
Lot 97
Jean-Léon Gérôme (French, 1824-1904): A gilt and patinated bronze figure of 'Bacchante à l'Amour' or 'Bacchante à la grappe'Depicting a nude bacchante, her downcast head with flowing locks, a small putto climbing the thyrsus she holds in her right hand, on naturalistic circular base signed J.L.GÉRÔME, the rear with Siot-Decauville Fondeur Paris pastille, raised on a green onyx circular pedestal base with canted plinth foot, 70cm highFootnotes:Although Gérôme is often recognized as one of the most renowned academic painters of the late 19th century, he dismissed painting as an inferior art form in 1878 and dedicated himself to sculpture for the remainder of his career, achieving equal fame and acclaim.Created in 1892, his sculpture 'Bacchante à l'Amour' portrays a putto climbing a thyrsus held by a bacchante, and is closely related to his 1868 painting 'Une Bacchante.' With his renewed interest in three-dimensional art, Gérôme drew inspiration from ancient sculptors, presenting his classical subject in a variety of materials. The Siot foundry reportedly produced casts of this model in three sizes, and the current cast is likely an example of the largest size.Related LiteratureG.M. Ackerman, 'La vie et l'oeuvre de Jean-Léon Gérôme', Paris, 1992, no. S. 25, p. 319 (a comparable cast illustrated).This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 90
A Regency giltwood and simulated bronze decorated twin-light convex girandoleCirca 1815The later plate within a reeded slip and an alternating spiral reeded and beaded surround, encompassed by musket balls and a bead moulded edged frame, headed with scrolled acanthus and flowers, with a central mille raie inset pedestal-form cresting with a musket ball applied cornice, surmounted by an eagle with outstretched wings with a ring-hung ball and chain hanging from its beak, the apron comprised of scrolled foliage, a flowerhead, bellflower pendant and two opposing serpents, with two scrolled acanthus candle arms each terminating in a cut-glass dish pan with six faceted glass drops, re-gilt and re-decorated, 130cm high x 84cm wide.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 63
A pair of Regency patinated bronze and parcel gilt torcheresCirca 1820Each with a circular dished top and projecting lappeted edge, on a fluted and stiff leaf wrapped baluster column with a beaded collar and acanthus carved capital, intersected with a central frieze applied with four interspersed Hercules lion pelts above four rosettes, the socle terminating in a flared and fluted pedestal base headed by a gadrooned edge, re-decorated 158cm high, the tops, 34cm diameter, the basees, 43cm diameter (2)Footnotes:ProvenanceSupplied to Robert Berkeley (1764-1845) for Spetchley Park, Worcestershire.With Rolleston Antiques.Listed in 1893 Spetchley Inventory: 'A pair [...] carved black and gilt stands' on the Grand Staircase.The present torchères are a romantic derivative of antique Roman forms and closely relate to a number of designs by the most successful Regency designers. The bronzed surface and gilt detail are typical of work by George Smith as illustrated by hand-coloured plates in his 1808 A Collection of Designs for Household Furniture and Interior Decoration and in Edward Joy, Pictorial Dictionary of British 19th Century Design (Woodbridge: 1977), p. 553.A pair of boldly-carved, ebonised and parcel-gilt 'stands', after a design by Thomas Hope, the great Regency designer and patron, that relate closely to the present pair is illustrated in David Watkin and Philip Hewat-Jaboor's Thomas Hope: Regency Designer (London: 2008), p. 414. The present torchères also bear close stylistic resemblance to works by Robert Oakley, namely a tripod table made by him for Sir William Forbes Bt. (1773-1828) at Fettercairn House. Like the torchères it is conceived in a highly stylised neoclassical form with rising leaf decoration and features a similarly 'bronzed' and parcel-gilt surface, reflecting the fashion at this time when designers and patrons alike delighted in unusual paint techniques and textures.The torchères were commissioned by Berkeley after his return from his Grand Tour in 1818 when he looked to furnish his Greek revival mansion, recently completed in 1811, in the latest style.LiteratureG. Smith, A Collection of Designs for Household Furniture and Interior Decoration, 1808E. Joy, Pictorial Dictionary of British 19th Century Furniture Design, (Woodbridge: 1977), p. 553D. Watkin & P. Hewat-Jaboor, Thomas Hope: Regency Designer (London: 2008), p. 414This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 57
A pair of French gilt bronze twin light wall appliquesIn the manner of Pierre-François and Lucien-François Feuchère (French, fl.1780-1824), probably late 19th centuryThe upward scrolling naturalistic arms cast with rose blossom and entwined foliage surmounted with corresponding flowerhead candle nozzles, each pair of arms issuing from a slender ribbon tied suspended drapery and tassel hung backplate centred by an elaborate flambe vase, 68.5cm high, 21cm wide, 12cm deep (2)Footnotes:The French fondeur Pierre-François Feuchère and his son Lucien-François operated one of the largest and most successful Parisian workshops for the production of luxury gilt bronze objects from the late 1760's up until the early decades of the 1800's producing numerous clocks cases, wall lights and candelabra for a wide international clientele including French, German and Austrian nobility.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 69
A pair of 19th century French gilt bronze mounted 'Blue John' fluorspar garniture vases (2)The inverted pear shaped bodies with ring turned swept collars and domed tops, the rams mask and ribband twin mounts united to one side by floral and fruiting garlands, the collars with stiff leaf mounts, the tops with pine cone finials, the stiff leaf socles on moulded circular bases and shallow square plinths, 20cm high, 10.5cm wide, 9cm deep approximatelyThis 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 58
A pair of French gilt bronze four light wall appliquesIn the Empire taste, probably early 19th centuryThe four short scrolling anthemion cast bracket arms supporting cylindrical milled candle nozzles above swept fluted collars, all issuing from corresponding milled hoop fittings, the back-plates formed as circular lions mask roundels, the beasts supporting the hoops in their open jaws beneath and below formalised acanthus leaf and pine cone crestings and terminals, 28cm high, 28cm wide, 22.5cm deep (3)For further information on this lot please visit Bonhams.com
Lot 91
A late George III or Regency simulated bronze decorated and parcel gilt landscape overmantel mirrorCirca 1805The rectangular plate flanked by entwined ribbon wrapped oak leaf pilasters, with an addorsed scrolled and anthemion pattern frieze, centred by a large scallop shell cresting, with projecting acorn and oak leaf angles, below a musket ball applied cornice, re-gilt and re-decorated, 101cm high x 151cm wide.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 96
Mathurin Moreau (French, 1822-1912): A patinated bronze figure of 'Venus au Bain'The draped nude maiden clad in trailing diaphanous drapery and standing beside a hunting hound amongst the rushes and reeds, signed to one side math moreau, and withSociété des Bronzes de Paris pastille, raised on a rotating circular socle base, and mounted on a green veined marble circular moulded plinth, 88cm high overall, 36cm diameter overall, the marble plinth 8cm highFootnotes:ProvenanceSotheby's, 26 November 1996, lot 33.Mathurin Moreau, the son of sculptor Jean-Baptiste Moreau, emerged as a prominent sculptor in the latter half of the 19th century and the early 20th century. He trained in his father's workshop and enrolled at the École des Beaux-Arts in Paris in 1841, studying under Ramey and Dumont. In 1842, he earned the second Prix de Rome. He went on to receive several prestigious awards, including medals in 1855 and 1878, and in 1897, he was honored with a medal of honor for his contributions to the Salon.Moreau completed many public commissions, particularly for commemorative monuments, and contributed to the decorations of notable buildings such as the churches of Saint-Augustin and Trinity, the courthouse, the Hôtel de Ville, and the Tuileries. Additionally, he created numerous classical, historical, and genre works, often depicting elegant female figures that were very popular among his patrons. Today, many of his sculptures are held in public collections across France, including the Musée des Arts Décoratifs in Paris and the museums of Caen, Dijon, and Reims.Related LiteraturePierre Kjellberg, 'Les Bronzes du XIXème siècle - Dictionnaire des sculpteurst, Les Editions de l'Amateur', Paris 1987, pp 511-515 For illustrations of works see Stanislas Lami, 'Dictionnaire des Sculpteurs de l'Ecole Française au dix-neuf'This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 89
Sir William Hamo Thornycroft (British, 1850-1925): A patinated bronze model of TeucerThe standing figure of the male nude holding his bow in his outstretched left hand, raised on a circular naturalistic base, signed and dated HMO.THORNYCROFT 1881, and numbered 14 twice to the base, 77cm highFootnotes:Hamo Thornycroft's 'Teucer', modelled after the celebrated Italian life model Orazio Cervi, known for his 'perfectly proportioned physique', was first exhibited in plaster at the Royal Academy in 1881. The following year, the monumental bronze version was unveiled, and both the plaster and bronze were met with widespread acclaim. Thornycroft intended to create a series of athletes engaged in English sports, primarily focusing on studies of the nude. He exhibited one such piece, 'Putting the Stone', in 1880, but with Teucer, he was able to explore a long-desired composition involving the right angle. The subject for the model is drawn from The Iliad, depicting Teucer, the archer who failed to hit Hector eight times. Thornycroft depicts him in a tense, strained position, shooting one last arrow and intently watching its flight. The Homeric theme lends a romantic and dignified quality to the model, with Teucer representing a masterful study of the male nude at its peak of action. Thornycroft's 'Teucer' follows in the tradition of Leighton's 'Athlete Wrestling with a Python', but is perhaps more classical and graceful. As Thornycroft's biographer E. Manning noted, 'The care and attention he lavished on each individual casting of those works available in limited editions, such as Teucer or The Mower, not only demonstrates his professional artistic commitment, making each piece a unique work of art, but also reflects... a desire to bring art into the home.'Thornycroft studied Greek art at the British Museum and was admitted to the Royal Academy School in 1869, winning a gold medal in 1875. He became a pivotal member of the English New Sculpture movement, arguably the first to attract universal acclaim for his work from both the established art world and his fellow artists. His emphasis on the naturalistic qualities of the figure, together with his initial refusal to reject the neo-classical style, gave his work universal appeal.Related LiteratureJ. Cooper, Nineteenth Century Romantic Bronzes, David & Charles, London, 1975, p. 66.E. Manning, Marble & Bronze: The Art and Life of Hamo Thornycroft, London, 1982, p. 14.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 70
A pair of early 19th century gilt and patinated bronze three light wall appliquesIn the manner of Thomas Hope (Dutch-British, 1769-1831)The stylised lions mask backplates issuing circular girdles with florette and diamond cast frieze decoration mounted with stiff leaf cast urn nozzles with milled edge drip pans, 9.5cm high, 21cm wide, 20cm deepFor further information on this lot please visit Bonhams.com
Lot 87
Antonie Louis Barye (French, 1795-1875): A green patinated bronze model of 'Elephant du Sénégal (Senegalese Elephant)'Posthumously cast by Ferdinand Barbedienne, circa 1882The running beast on naturalistic base, signed within the cast to one side BARYE and with inset FB gilt foundry monogram, the opposing side inscribed within the the cast F. BARBBEDIENNE FONDEUR, the underside with cast FT monogram and numbered 44 and with indistinct ink number 72.60?, 14.5cm high, 22cm wide, 8.7cm deep approximatelyFootnotes:The Barbédienne foundry enjoyed huge success in the second half of the century with Barye's prolific 'animalier' compositions, produced after the sculptors death in 1875 being especially popular. Barye modelled his 'Elephant du Sénégal' shortly before 1865 and the present lot, posthumously cast, probably in the early 1880's, bears the stamp of the Barbédienne foundry. Established in 1838, at its height, the Paris workshop of Ferdinand Barbédienne employed three hundred workmen and produced over one thousand bronzes each year. Large editions of modern and period bronzes, made possible by the development of mechanical scale reduction techniques in the 1830s and 40s, were produced to meet the demand of the growing middle class market in order to decorate their homes.Related LiteratureA. Richarme and M. Poletti, Barye: Catalogue raisonné des sculptures, Paris, 2000, pp. 251-253, A 119.Pivar, S. The Barye Bronzes, Woodbridge 1981, pp.159, 270, 280.For a comparable model in the permanent collection of the Victoria & Albert Museum, see Acc. No. S.EX.62-1For further information on this lot please visit Bonhams.com
Lot 99
Émile Louis Picault (French, 1833-1915): A patinated bronze mythological group of 'Persée et Pégase avec la tete de Meduse (Perseus and Pegasus with the head of Medusa)' or 'La naissance de Pégase (The birth of Pegasus)'Circa 1888-1900The figure of Perseus holding a spear, his shield at his feet, the severed head of Medusa attached to the side of the rear winged rearing horse, the naturalistic circular base signed within the cast E. PICAULT, numbered 285, and inscribed and dated Salon Beaux Arts 1888, 100cm high, 80cm wide, 35cm deep approximatelyFootnotes:The celebrated French sculptor and medalist Picault was renowned for his allegorical and patriotic subjects, which included depictions of warriors and mythological heroes. Inspired by Renaissance sculptors, he worked with the finest French foundries, including Susse, Colin, and Houdebine. Immensely popular with an extensive middle-class clientele in France, Europe, and the US, his work exemplified fashionable tastes in French sculpture during the late 19th century.For a comparable bronze group see Christies Paris, 'Opulence: Silver, Gold Boxes, 19th Century Furniture & Works of Art, 29 November 2016, Lot 256.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 59
A good Restoration gilt and silvered bronze figural portico clock in the Chinoiserie tastePossibly attributable to Théodore Leroy (French, 1788-1838)The rectangular swept top surmounted by a pagoda topped open canted circular bell tower, its twin tiered roof hung with miniature bells below a ball and spire finial, the entablature with shaped crenelated twin bell cast cornice and lambrequin and bell cast frieze, the whole supported on four pairs of slender column, with bird capitals raised on dragon cast rectangular plinths, the sides with angular key and bell cast frets, the platform with stylised fan and diamond and key fret paling partly enclosing a standing mandarin figure holding a parrot and his female companion seated on a low divan, above a rockwork plinth with applied floriate mounts, the rectangular base with bee and serpent cast paling, the whole raised on stylised undulating dragon feet, the 4' dial with painted Roman flowerhead numerals, the leaf cast centre with with Breguet style steel hands, the twin spring driven movement with anchor escapement and silk suspension striking on a bell, with cast open pierced twin bee and serpent and acanthus scroll circular pendulum with formalised poppy seed head cresting, 64cm high, 25cm wide, 14cm deepFootnotes:For a near identical clock now in the Royal Collection reputed to have been purchased by Queen Mary in the early 20th century please see Inv. No. RCIN 3037. This clock was until the recent refurbishment of the Chinoiserie themed Centre or Balcony Room at Buckingham Palace, displayed on one of the two opposing chimneypieces in the room.For further information on this clock please see:https://www.rct.uk/collection/search#/17/collection/3037/mantel-clockFor further information on this lot please visit Bonhams.com
Lot 41
A French gilt bronze mounted Chinese pale celadon blue crackle crazed porcelain vase or cache potThe mounts in the Regence taste, the porcelain probably 18th centuryThe porcelain body of square section Cong form with moulded horizontal squared notches, the gadrooned rim mount with applied twin sinuous dragon handles, the foot rim with corresponding gadrooned border, the interior with brass liner, 17.5cm high, 15cm wide, 10cm deep overall approximately Footnotes:A comparable pair of French bronze mounted white crackle glazed porcelain 'cache pots' dated to 1720 with very similar twin dragon ornamented rim mounts were offered by Galerie Steinitz, Paris in 2017.For further information on this lot please visit Bonhams.com
Lot 108
After Giambologna (born Jean de Bologne, Flemish, 1524-1608): A patinated bronze figural group of the Rape of SabinesProbably Italian, late 18th/early 19th centuryThe standing Roman male figure holding the Sabine woman aloft, the Sabine man crouching below, on rockwork base, raised on a marble square plinth, 25cm high overallFootnotes:The present model is based on the renowned three figure group depicting the Rape of the Sabines. Regarded as Giambologna's greatest achievement in marble, it is said that he worked on the piece for ten years before it was finally unveiled in the Loggia dei Lanzi in Florence on the 14th January 1583. The group was extremely well received, and its innovative design inspired generations of sculptors in the 17th and 18th centuries to aspire to equally dramatic compositions. It also became the subject of one of the earliest publications focusing on a single work of art. Drawings and engravings of the composition circulated widely and encouraged the production of bronze reductions throughout Western Europe.Related Literature C. Avery, 'Giambologna', Phaidon, 1993.For further information on this lot please visit Bonhams.com
Lot 361
Late 2nd millennium B.C. With flared socket developing to a midrib in a leaf-shaped blade; opposed lateral holes to accept attachment pegs. Cf. Ehrenberg, M., Bronze Spearheads from Berks, Bucks and Oxon, BAR 34, Oxford, 1977, item 37, for type. 130 grams, 16.5 cm (6 1/2 in.). [No Reserve]From the private collection of Kenneth Machin (1936-2020), Buckinghamshire, UK; with collection no.C2; his collection of antiquities and natural history was formed since 1948; thence by descent.
Lot 1457
Circa 19th century A.D. Comprising: long, narrow single-edged blade with swept profile and long tip; short, sturdy single-edged blade with applied bronze bolster. 563 grams total, 36-61 cm (14 1/4 - 2 3/8 in.). [2, No Reserve]From a collection acquired on the UK art market from various auction houses and collections mostly before 2000. From an important Cambridgeshire estate; thence by descent.
Lot 364
Britain, 2nd millennium B.C. Hollow-formed and rectangular in section with rim to the mouth, tapering faces with three raised ribs, flared blade and low integral loop. Cf. Pendleton, C.F., Bronze Age Metalwork in East Anglia, BAR British Series 279, Oxford, 1999, item 128, for type. 295 grams, 97 mm (3 3/4 in.). [No Reserve]Found East Anglia, UK. Acquired in Oxon, UK. From the private collection of Kenneth Machin (1936-2020), Buckinghamshire, UK; with collection no.BA17; his collection of antiquities and natural history was formed since 1948; thence by descent.
Lot 999
1979-1990 A.D. Briard, J., - The Bronze Age in Barbarian Europe - London, 1979, hardback with dustwrapper, 246 pp, line drawings, monochrome figures; H. Schutz - The Prehistory of Germanic Europe - London, 1983, hardback with dustwrapper, 421 pp, line drawings, colour and monochrome plates; Barry Raftery (ed.) - Celtic Art - Paris, 1990, hardback with dustwrapper, 171pp, colour and monochrome plates. 3.85 kg total, 25.2 x 19.5 - 28 x 26.5 cm (9 7/8 x 7 3/4 - 11 x 10 1/2 in.). [3, No Reserve]Property of a North London, UK, gentleman.
![Late Bronze Age, 1st millennium B.C. Round-section shank with clubbed ends. 21 grams, 64 mm (2 1/2 in.). [No Reserve]Acquire](https://cdn.globalauctionplatform.com/1b6a38e9-536d-44fb-87f8-b2130091a1fa/c02938c7-2e67-4b2f-a344-b213009cf03d/468x382.jpg)
Lot 339
Late 2nd millennium B.C. With solid hilt having a penannular guard, an openwork grip and a conical cast mushroom pommel, the blade with pronounced mid-rib and tapering to a sharp point. See typology of such swords in Khorasani, M.M., Arms and Armour from Iran - The Bronze Age to the End of the Qajar Period, Tübingen, 2006, pp.393-396, cat.31-36. 598 grams, 51.5 cm (20 1/4 in.).Acquired 1980-2015. Ex Abelita family collection.According to Moorey, such swords with mushroom pommels originated from North-Western Iran, as proved by Amarlu finds. He dates them to the end of the 2nd millennium B.C., more precisely to a period between 1400-1200 B.C.
Lot 1760
6th-11th century A.D. Comprising: a stirrup mount; two fragments of footplate, each from a cruciform brooch; bronze fitting (from a harp?) with addorsed beast-heads. 45 grams total, 23-50 mm (7/8 - 2 in.). [4, No Reserve]Acquired on the UK art market before 2000. Property of an Essex, UK, gentleman.
![AD 81-96. Rome mint; struck AD 87. [IMP CAES DOMIT AVG GERM COS XIII] CENS PER P P, laureate head to right / [VIRTVTI] AVGVST](https://cdn.globalauctionplatform.com/1b6a38e9-536d-44fb-87f8-b2130091a1fa/cd7b27e0-6854-4139-8e3e-b21300989f73/468x382.jpg)
Lot 2862
AD 81-96. Rome mint; struck AD 87. [IMP CAES DOMIT AVG GERM COS XIII] CENS PER P P, laureate head to right / [VIRTVTI] AVGVSTI, Virtus standing to right, foot on helmet, holding spear and parazonium; S C across fields. RIC II.1 550; BMCRE 404. 10.04gr, 28mm, 6h. ().Fine. Edges having been tapped to create raised rims.Property of a Cambridgeshire, UK, gentleman.Proto-contorniate is the modern term used to describe Roman Imperial and Provincial bronze coins of the first, second, and early third centuries with hammered-up edges. These raised edges on the rims probably occurred after these bronze issues no longer circulated and ceased to be part of the currency in general use. A common assumption is that proto-contorniates functioned as game counters since the rim created through hammering could protect the designs. Andreas Alföldi in Die Kontorniaten (Budapest, 1943) believed proto-contorniates to be forerunners of the contorniates of the fourth and fifth centuries. He argued that proto-contorniates were New Year's gifts and that the older coins were actually hammered in the fourth century before the contorniates proper came into being.
Lot 57
Early Bronze Age I-III, circa 2300-2000 B.C. Hemispherical in profile with bifid loop handle to the rim, slightly curved spout with flared mouth. 1.43 kg, 32.5 cm wide (12 3/4 in.). [No Reserve]From a collection acquired on the UK art market from various auction houses and collections mostly before 2000. From an important Cambridgeshire estate; thence by descent.
Lot 1509
Neolithic-Early Bronze Age, circa 6000-4500 B.P. Very fine examples with intricate pressure flaking; in old collector's card tray with padding, inked find spot 'Blesignac' to one edge. 7.23 grams total, 25.4-28.5 mm (1 in.). [3]Found Blesignac, Near Bordeaux, France, in 1916. Acquired on the European art market. From an old collection which was sold after the finder passed away. From the private collection of an East Anglian, UK, collector.
Lot 2059
20th century A.D. Wooden rectangular box with applied detailing of hieroglyphs and other symbols, polychrome panels with images of gods; segmented inner compartment with musical-box mechanism containing a mixed group of ceramic, faience, bronze and other items; complete, inner lid torn. 645 grams, 17.6 x 11 x 6 cm (6 7/8 x 4 3/8 x 2 3/8 in.). [No Reserve]Property of a North London, UK, gentleman.
Lot 1450
13th-7th century B.C. Of cylindrical shape, the upper section with alternating rectangular panels and vertical rows of three prominent spikes, short cylindrical shaft edged at top and bottom. See Godard, A., Les Bronzes du Luristan, Paris, 1931, pl.XIX, no.58, for a similar; Khorasani, M. M., 'Bronze and iron weapons from Luristan' in Antiguo Oriente: Cuadernos del Centro de Estudios de Historia del Antiguo Oriente, 7, 2009, fig.8. 294 grams, 17 cm (6 3/4 in.). [No Reserve]Acquired 1980-2015. Ex Abelita family collection.
Lot 348
Neolithic Period-Bronze Age, 3rd-2nd millennium B.C. With two bands of incised geometric ornament to the outer face, carinated rim; inked inscription to underside 'Barrow / Cranborne Chase / [..] burial'. See Grinsel, L., The Ancient Burial-mounds of England, London, 1953. 740 grams, 13 cm (5 1/8 in.). [No Reserve]Found Cranborne Chase, UK. From a collection acquired on the UK art market from various auction houses and collections mostly before 2000. From an important Cambridgeshire estate; thence by descent.
Lot 2063
20th century A.D. Comprising: two ceramic oil lamps with lug handles; a bronze arrowhead; a flint arrowhead; knapped flint axehead mounted in a wooden haft. 896 grams total, 5.2-53.5 cm (2 - 21 in.). [5, No Reserve]From the private collection of Kenneth Machin (1936-2020), Buckinghamshire, UK; his collection of antiquities and natural history was formed since 1948; thence by descent.
Lot 340
13th-7th century B.C. With solid cast hilt with penannular guard and a horizontally ribbed grip; a massive star-shaped pommel and a multi-fullered blade tapering to a sharp tip; handle restored. Cf. Gorelik, M., Weapons of Ancient East, IV millennium BC-IV century BC, Saint Petersburg, 2003, in Russian, see pl.XIV no.40, from Luristan; Khorasani, M.M., Arms and Armor from Iran: The Bronze Age to the End of the Qajar Period, Tübingen, 2006, pp.394-5, for type. 1.03 kg, 63.5 cm (25 in.).Acquired 1980-2015. Ex Abelita family collection.According to Moorey, such category of swords were distributed in the Northern Iran area, as proved by the Amarlu finds. Based on the example from the Ashmolean Museum, he dated them to the end of the 2nd millennium B.C., more precisely to a period between 1400-1200 B.C. The type was in use until the 7th century B.C.
Lot 1143
BRONZE TO IRON II AGE, CIRCA 12TH-6TH CENTURIES B.C. In the form of a cube engraved on one side in Aramaic: ŠLŠRKR. Hendin, Ancient Scale Weights -; Pondera -; Rochesnard -; Elay & Elayi, Recherches -. 31.2 grams, 17 mm (5/8 in.).From the collection of a gentleman, acquired on the London art market in the 1990s.
Lot 1217
Circa 1000 B.C. With lentoid section blade tapering to a point; the hilt hollowed both sides to accept an organic handle. See Khorasani, M.M., Arms and Armour from Iran. The Bronze Age to the End of the Qajar Period, Tübingen, 2006, s. cat 7, for type. 70 grams, 27.5 cm (10 3/4 in.).Acquired 1980-2015. Ex Abelita family collection.The dirk belongs to type I of the Medveskaya classification. This type of weapon is very common among daggers and dirks attributed to Luristan. According to Moorey, the typology was used in Western Iran at least from 13th century B.C. and remained in use at least until the late 9th century B.C.
Lot 1678
Britain, 2nd millennium B.C. Lentoid-section body, crescentic blade and square butt, lateral flanges on both faces. Cf. a similar specimen in Evans, J., The Ancient Bronze Implements, Weapons and Ornaments of Great Britain and Ireland, London, 1881, figs.53, 55, 56. 274 grams, 12 cm (4 3/4 in.). [No Reserve]Found UK. Ex British private collection, UK. From the private collection of Kenneth Machin (1936-2020), Buckinghamshire, UK; with collection no.BA24; his collection of antiquities and natural history was formed since 1948; thence by descent.
Lot 2036
20th century A.D. and earlier. Including ceramic figures, bronze tool, perspex mounts, ceramic tile and other items 1.87 kg total, 10-10.9 cm (4 - 4 1/4 in.). [82, No Reserve]From a collection acquired on the UK art market from various auction houses and collections mostly before 2000. From an important Cambridgeshire estate; thence by descent.
Lot 2894
AD 193-211. Uncertain mint. IVLIA AVGVSTA, draped bust to right / PIETAS AVGG, Pietas standing facing, head to left, holding incense box and sprinkling incense over lighted and garlanded altar to left. For prototype: RIC IV 572 (Severus); BMCRE 62; RSC 150. 2.56gr, 20mm, 12h. (). [No Reserve]Good Very Fine. Traces of silver wash on both sides.From a private Barnsley, UK, family collection.'Limes Denarii' (misnomer) are more or less faithful bronze copies of silver Denarii, minted on the fringes of the empire out of necessity. Perhaps they may be officially sanctioned issues for use in regions where political unrest made it hazardous to ship large amounts of silver. These low value issues could have served troops on the front and been redeemable for good coinage when they returned to the stable regions. Were they a form of military scrip meant to keep large quantities of precious metal from falling into enemy hands in the event of a defeat?
Lot 72
8th-7th century B.C. Formed as a domed disc pendant with openwork cross and central hole; triangular bale above, three loops below each with a crotal bell attached; mounted on a custom-made stand. Cf. for the typology the bronze disc at the Metropolitan Museum, accession no.1991.171.60. 86 grams (134 grams), 11.9 cm(14.5 cm) (4 5/8 in. (5 3/4 in.)). [No Reserve]From a collection acquired on the UK art market from various auction houses and collections mostly before 2000. From an important Cambridgeshire estate; thence by descent.The round element represents the four-spoked wheel of a chariot, typical of the Bronze Age. The motif has been interpreted as solar symbolism since this period. The circularity between solar cosmologies—symbolic wheel/solar vehicle/functional chariot—was deeply ingrained since at least the 15th century from North Europe to Aegeaum, and continued in the early Iron Age.
Lot 1424
9th-6th century B.C. With broad leaf-shaped blade and tapering tubular socket, four graduated horizontal rings securing the split socket. Cf. Overlaet, B., ‘Luristan metalwork in the Iron Age’ in Stöllner, T., Slotta, R. & Vatandoust, A. (eds.), Persiens Antike Pracht. Bergbau - Handwerk – Archäologie, Bochum, 2004, pp. 328-338, fig.7, p.335; Khorasani M.M., Arms and Armour from Iran. The Bronze Age to the End of the Qajar Period, Tübingen, 2006, pp.242-243. 199 grams total, 26.2 cm including stand (10 1/4 in.). [No Reserve]Ex property of a North London, UK, gentleman, 1990s.The spear belongs to the type VIII classified by Khorasani (spearheads with well-projecting midribs and long folded sockets) and more specifically to subtype C (with leaf-shaped blade and short hollow socket). Usually the willow-leaf blade has an almost straight shoulder base and a wide, flat midrib tapering towards the point.
Lot 52
Early Bronze Age I-III, circa 2300-2000 B.C. Globular in profile with thick everted rim to the broad mouth, two ledge handles below the rim and two pairs of bosses. 6.15 kg, 31 cm wide (12 1/4 in.). [No Reserve]From a collection acquired on the UK art market from various auction houses and collections mostly before 2000. From an important Cambridgeshire estate; thence by descent.
![Circa AD 10-20?. 'Troccos Bull' type. Augustan style head to left, [CVNO before], pellet-in-ring beneath chin (partially show](https://cdn.globalauctionplatform.com/1b6a38e9-536d-44fb-87f8-b2130091a1fa/759b9e08-571b-4d38-92b5-b2130099827f/468x382.jpg)
Lot 2568
Circa AD 10-20?. 'Troccos Bull' type. Augustan style head to left, [CVNO before], pellet-in-ring beneath chin (partially shown) / Bull butting to right, pellet-in-ring above, TR[OCC] and pellet-in-ring (partially shown) below, pellets around. ABC 2996; Van Arsdell 1985-1; SCBC 341. 1.34gr, 15mm, 10h. ().Good Fine.Acquired on the UK art market before 2000. Property of an Essex, UK, gentleman.Trocc(os?) or Trocc(ios?), formerly read as TASC by Mack and Van Arsdell, is probably an ancient British personal name which may mean something like 'crippled' or 'lame' or perhaps 'cut short' as in the word 'truncated. Of the eight provenanced examples of this bronze unit four were found in Essex, three in Suffolk. Was Trocc(os?) an early associate of Cunobelinus who ruled briefly in the eastern part of his kingdom? He could have been an influential relation of Tasciovanos or Dubnovellaunos, possibly reformed, dwarfish of physically disabled (hence his unflattering name), who was initially tolerated by Cunobelinus and then deposed (ABC, note p. 142).
Lot 1051
Early 1st millennium B.C. Sheet-bronze figure with large discoid head stubby arms, triangular phallus; mounted on a custom-made stand. 22 grams total, 11.7 cm including stand (4 5/8 in.). [No Reserve]From a collection acquired on the UK art market from various auction houses and collections mostly before 2000. From an important Cambridgeshire estate; thence by descent.
Lot 1444
9th-11th century A.D. Mainly comprising square bronze appliqué panels with four piercings, loop to one edge and ovoid dangle. 57 grams total, 20-41 mm (3/4 - 1 5/8 in.). [21, No Reserve]Acquired on the European art market since the early 2000s. From the private Northern Ireland collection of R.M.
![Late Bronze Age, 1st millennium B.C. Round in section with notched finials. 97 grams, 95 mm (3 3/4 in.). [No Reserve]Acquire](https://cdn.globalauctionplatform.com/1b6a38e9-536d-44fb-87f8-b2130091a1fa/406304c9-bb7d-43a4-8fc7-b213009d98ea/468x382.jpg)
Lot 20
Second Intermediate Period, 17th-16th century B.C. Finely carved scarab with naturalistically detailed legs and head, the underside decorated with a standing figure atop a neb hieroglyph facing a stylised crocodile. Cf. Ben-Tor, D., Scarabs, Chronology, and Interconnections: Egypt and Palestine in the Second Intermediate Period, Zurich, 2007, p.176, for discussion of this scarab type, and pl.99, no.9, for an example. 4.06 grams, 21 mm (3/4 in.). (For this specific lot, 5% import VAT is applicable on the hammer price.) with Archeological Centre, 2015. Private collection, Europe.Scarabs with this design have been discovered in the northern Delta of Egypt and Palestine. The influence of the crocodile god Sobek on the production of late middle Bronze Age settlers at Avaris in the Egyptian Delta likely contributed to the popularity of Egyptian-themed scarabs with crocodiles and standing figures found in Palestinian sites.
Lot 547
Circa 6th century B.C. Standing figure wearing a tunic with straight arms placed to the sides, with exaggerated facial features including bulbous eyes; mounted on a custom-made stand. Cf. a bronze statuette in similar style in bronze in Torelli, M., Gli Etruschi, Monza, 2000, p.180, and no.146. 49.6 grams total, 84 mm including stand (3 1/4 in.). [No Reserve]From a collection acquired on the UK art market from various auction houses and collections mostly before 2000. From an important Cambridgeshire estate; thence by descent.The statuette belongs to a group of standing archaic statuettes, with short hair rendered by incised lines. They are usually depicted with legs together, arms at the sides or bent forward if they are holding objects (see the augur statuette from Lapis Niger, Rome).
![Circa 250-187 BC. Head to right, wearing bashlyk / ΥΠΑΙoΡo[..], Nike standing facing, head to left, holding long palm in exte](https://cdn.globalauctionplatform.com/1b6a38e9-536d-44fb-87f8-b2130091a1fa/b96256d1-efc1-4b07-a3d5-b21300994920/468x382.jpg)
Lot 2646
Circa 250-187 BC. Head to right, wearing bashlyk / ΥΠΑΙoΡo[..], Nike standing facing, head to left, holding long palm in extended right hand. Unrecorded ruler but cf. Roma, E-81, 607 for 'ΥΠΑΙ' (Ariarathes) and HGC 9, 493b for a similar reverse (Antiochos III). 5.00gr, 17mm, 11h. ().Good Very Fine. Unpublished and unique; of great historical and numismatic importance.Ex 'V' gentleman's collection, Switzerland. From the property of a North London, UK, gentleman.It is not rare when a coin can be the only evidence about the existence of a person or city from the past. On this particular coin, it is the enigmatic inscription of YΠΑΙΟΡΟ that makes it difficult to attribute. No city or ruler is recorded with this name and the only ancillary evidence we have is its similarity to some other types. First of all, the style of the leather helmet (called bashlyk, common for the Cappadocian bronzes) and the lack of the royal title, refer us to the king of Cappadocia, Ariaramnes. The Roma's example is the only other example who bears the abbreviated legend YΠΑΙ. On the other hand, the reverse type and style of legend resemble the bronze coins of Antiochos III struck in Southern Coele-Syria (SC 1100a; HGC 9, 493b). It is not certain whether the name refers to a city or to a ruler. Bronze coins of Ariaramnes can have the name of the mint abbreviated (cf. Simonetta 9a&b), but it is considered unusual in this period to have a bronze coin with a full ethnic and the portrait of the ruler. It is very likely that we are dealing with the name of a Cappadocian ruler who was active for a short period in the second half of the 3rd to the first part of the 2nd century and participated in the recovery of the outlying provinces of the Seleucid Empire from Antiochos III.
Lot 90
Early 2nd millennium B.C. Square in section and pierced longitudinally, incuse scene to each face: labrys above a tree; starburst between hatched panels; arrow, axe and other objects; figure above an axe. Cf. similar in the British Museum under accession no. 1921,0711.2 for similar multi-face seal.; see Boardman, J. Greek Gems and Finger Rings: Early Bronze Age to Late Classical, London, 1970, p. 35, fig. 56 for type. 3.99 grams, 18 mm (5/8 in.).From the Priday collection, Brookmans Hall, Hertfordshire, UK, formed 1930-1940s onwards by descent. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12385-225393.
Lot 1378
13th-7th century B.C. Composed of a leaf-shaped blade with tapering socket. Cf. Christie's, The Axel Guttmann Collection of Ancient Arms and Armour, part 2, London, 2004, p.36, no.40; cf. Khorasani, M.M., Arms and Armour from Iran. The Bronze Age to the End of the Qajar Period, Tübingen, 2006, p.630, no.280. 161 grams, 31.5 cm (12 1/2 in.).Acquired 1980-2015. Ex Abelita family collection.
Lot 724
BRONZE TO IRON II AGE, CIRCA 12TH-6TH CENTURIES B.C. In the form of a cube engraved on three sides in Paleo-Hebrew or Phoenician: ʾP and LZ(?) and ʾ.Hendin, Ancient Scale Weights -; Pondera -; Rochesnard -; Elay & Elayi, Recherches -. 4.4 grams, 11 mm (3/8 in.). [No Reserve]From the collection of a gentleman, acquired on the London art market in the 1990s.
![AD 293-296. A bronze quinarius and antoninianus of Allectus. 5.98gr total, 20-21mm (). [2]Uncleaned 'as found'.Found Cambrid](https://cdn.globalauctionplatform.com/1b6a38e9-536d-44fb-87f8-b2130091a1fa/35a7b5e4-74a1-4a32-bb3a-b2130097a00b/468x382.jpg)
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