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Lot 10
APULO-CORINTHIAN HELMET SOUTHERN ITALY, 350 - 300 B.C. hammered bronze, the cheeks incised with boars, with further incised decoration outlining the eye-holes and nose-piece (Dimensions: 27cm long x 17.5cm high)(27cm long x 17.5cm high) Provenance: Axel Guttmann Collection of Ancient Arms and Armour, Berlin, collection number H131. Exhibited at the Guttmann Museum, supporting image and illustrated Guttmann inventory notes to be provided to the winning bidder. With associated French cultural property passport (ref 194264). The famous Corinthian helmet was popular throughout the Ancient Greek world on account of its ease of production (from a single sheet of hammered bronze) and the fearsome visage it presented to the enemy. We see here the Italic variant, known as an Apulo-Corinthian. Unlike the classic variety, the Apulo-Corinthian was worn on the top of the head like a cap. This is clearly evident in the present example, where the aperture for the eyes is far too small to have been functional and was therefore purely decorative. Scholars now believe that the Greek Corinthian helmet was always worn pulled back over the head other than in the immediate melee conflict due to the extreme heat suffered by the wearer. Therefore the development of the Italic variety reflects how the original Corinthian was worn the majority of the time. The early Italic examples feature a far closer design to the Corinthian, with open eyes and a nose-guard raised in relief. As time went on, these details became mere decorations on the face as we see here. As such, the later Apulo-Corinthian still reflect the influence on their origins but more accurately demonstrate the reality of how they were worn. A particularly striking detail on the present example are the opposing wild boars incised onto each cheek. Boars are a common depiction on Apulo-Corinthian helmets. Their meaning is not clear but it is certainly true that the animal was considered a strong and destructive creature and featured heavily in Greek mythology as a worthy opponent of heroic hunters. Artemis, the goddess of hunting, was also closely linked with the wild boar. It was seen as embodying the vengeful side of her nature, capable of unleashing sudden violent destruction on the human world. For a similar example please see: The British Museum, London, accession number 1856,1226.697.
Lot 15
MEDIEVAL BOOK MOUNT 14TH - 15TH CENTURY, WESTERN EUROPE gilt bronze, Saint John the Evangelist is depicted within an architectural frame, shown seated and looking over his shoulder, possibly towards an angel that may have appeared in a seperate panel, with perforations for attachment (Dimensions: 8cm tall)(8cm tall) Provenance: Private collection, Ireland Private collection, United Kingdom
Lot 9
COLLECTION OF VILLANOVAN BREAST PLATES ITALY, 900 - 700 B.C. cast bronze, all of circular dimensions, some folded, possibly as ritual deposits or perhaps stored for later reuse, marked with AG Provenance: Axel Guttmann Collection of Ancient Arms and Armour, collection numbers AG 376 - 377. Exhibited at the Guttmann museum with supporting image.
Lot 7
PAIR OF VILLANOVAN DAGGERS ITALY, 700 - 900 B.C. cast bronze and iron, both scabbards with remnants of the orignal blade within, decorated with linear raised ridges, one with circular pommel (2) (Dimensions: Longest 32cm)(Longest 32cm) Provenance: Axel Guttmann Collection of Ancient Arms and Armour, Berlin.
Lot 67
AN ITALIAN BRONZE RELIEF PANEL DEPICTING THE HOLY FAMILY, AFTER PIERINO DA VINCI, cast with inscription 'ECCE AGNUS DEI', with mother and child, John the Baptiste and attendants. 40 x 26cmProvenance: Belvedere, Mullingar, Christies with Hamilton & Hamilton, Lot 52, 9th July 1980.The panel is cast from a round-headed marble relief, situated in the Bargello, Florence. Comparable with another recorded by Vasari in 1568, formerly belonging to Duchess Eleonora da Toledo, and in the study of the Grand Duke Cosimo Medici
Lot 42
A PAIR OF MONUMENTAL FRENCH CAST IRON URNS AND PEDESTALS, AFTER A DESIGN BY CLAUDE BALLIN 1615 - 1678, 19th century, after the originals situated in the Garden of Versaille, each of classical design, with raised side handles, the bodies with sunmask, above a continuous row of portrait roundles, filled with individual classical figures, on acanthus cast circular feet and rectangular pedestals with stepped base. Possibly the work of the Val d'Osne Foundry. Each c.225cm tall in totalAs the goldsmith of the Kings and king of goldsmiths, Claude Ballin undeniably contributed to the greatness of Versailles and Louis XIV.The firm Val d’Osne was founded in 1835 by J.P.V. André and based at the Val d’Osne in the Haute-Marne. By 1850’s they had achieved international recognition and exhibited at the Great Exhibition of 1851. In the London 1857 exhibition they exhibited a large bronze fountain cast with swans and classical figures which further increased their reputation. Many of the best sculptors in Paris were commissioned by André including Carrier-Belleuse, Pradier and Delaplanche.
Lot 132
Ï’Ferdinand Preiss (1892-1943), The Shawl, an Art Deco cold painted bronze and ivory figure, unsigned, on a green onyx base, 39cm high See Shayo, Alberto Ferdinand Preiss, Art Deco Sculptor: the fire and the flame, Woodbridge 2005, p. 89 for this model. Ï’ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
Lot 196
λ After Salvador Dali (Spanish, 1904-1989) Christ of Saint John of the Cross Bronze with a gold patina Inscribed with signature to calf and numbered USA145/2500 24cm high (including marble base) In its wooden case Conceived in 1972, this work is accompanied by a certificate of authenticity from 2049 Obra Contemporanea. λ Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.
Lot 248
Hubert le Gall (French, b. 1961), Youyou Sous Les Etoiles, a bronze gueridon, with a stylised cloud top, limited edition 3 of 8, signed, 63cm high, 48cm wide It was not until Lyon-born designer Hubert le Gall was 25 that he decided to abandon his finance studies and follow his passion for making art. Though playful and poetic in nature, the French designer's sculptural creations are always functional. Inspired by all-encompassing 'total art' movements such as the Arts and Crafts movement in Britain, Le Gall aims to tell stories through usable objects. His designs, often inspired by nature and the animal kingdom, are exhibited internationally, including during a recent retrospective at Twenty First Gallery in Tribeca, New York. A monograph of the designer written by art historian Jean-Louis Gaillemin was published by Editions Norma, 2016. Another gueridon by Le Gall was recently sold at Tajan, Design, 4 June 2019, Lot 152
Lot 174
LARGE BRONZE OKIMONO OF TWO TIGERS ATTACKING AN ELEPHANT SIGNED KAKUHA, MEIJI PERIOD the mammal modelled fending off two snarling tigers, one clambering over its trunk whilst the other attacks from behind, clambering over his back, the elephant's belly signed in a square reserve Kakuha sei, on a wooden plinth of matching form (Dimensions: 79cm wide) (Qty: 1)(79cm wide)Footnote: Provenance: Private Scottish collectionCondition report: - The tail of the elephant has been restored. - Otherwise good condition.
Lot 37
BRONZE CENSER XUANDE MARK BUT LATER the compressed globular body below a slightly waisted neck, flanked by a pair of lion mask handles, the base cast with a four-character apocryphal Xuande mark (Dimensions: 15cm wide)(15cm wide)Footnote: Provenance: Purchased from Bonhams' sale in their London rooms on 05.11.2018, lot 822.
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