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Click here to subscribe1st millennium BC. A bronze rhyton with trumpet-shaped mouth and notched rim, angled joint and two pelletted collars, camel's head finial; mounted on a custom-made stand. 301 grams total, 18cm (7"). From an old Tokyo collection; previously the property of a Japanese gentleman since the early 2010s. [No Reserve] Fine condition.
15th century AD. A substantial circular gilt bronze inlay with gilt border, red enamelled body with reserved silvered trifoliate leaf with stem, each lobe bearing a carved digitate leaf motif. 29.7 grams, 46cm (1 3/4"). From an old North Country collection; formed between 1970-2000. Fine condition.
Ming Dynasty, 1368-1644 AD. A bronze figure of Buddha standing on a lotus flower base, modelled in the round; Buddha shown in loincloth wearing bracelets and neck-ring, left arm raised, right hand extended downwards to the tail of a serpentine dragon resting between his feet; mounted on a custom-made stand. 480 grams, 20.5cm (8"). From an old Tokyo collection; previously the property of a Japanese gentleman. [No Reserve] Fine condition.
13th-6th century BC. A tubular bronze macehead with gusseted collar to the lower end, ropework bands with geometric infill below a frieze of profile standing figures in ropework cells with hands clasped to the chest, waisted upper with chamfered rim. See Legrain, L. Luristan Bronzes in the University Museum, Pennsylvania, 1934. 330 grams, 19cm (7 1/2"). From the private collection of a North West London lady; previously with a central London gallery; formerly acquired before 1990. Fine condition, socket chipped.
14th-15th century AD. A gilt bronze disc mount with central motif depicting a heater shield within a pelletted border, surrounded by a Lombardic script legend 'AVE MARIA GRACIA' (Hail Mary full of Grace); shield decorated with red enamelled cross, possibly the arms (or a cross gules) associated with the Anglo-Irish Burgh family; pierced to the top for suspension. Cf. similar design of cup weight in Read, B. Metal Artefacts of Antiquity, vol.1, Langport, 2001, item 863. 5 grams, 23mm (1"). From an important London collection, acquired 1991; with neat inked label to reverse with inventory no.91.225 / cat.602. Very fine condition.
Early 3rd millennium BC. A squat ceramic pot with carinated profile, everted rim, band of impressed linear ornament to the shoulder. See Briard, J. The Bronze Age in Barbarian Europe, London, 1979 for discussion. 517 grams, 14.5cm (5 3/4"). Property of a professional collector; acquired before 1990. [No Reserve] Fine condition.
6th-7th century AD. A bronze statue of a standing Bodhisattva Avalokiteśvara on a hollow-formed cotton-reel lotus flower base, wearing a long garment draped across his left shoulder, muscular upper torso, a torc with animal-headed terminals around his neck, elongated ears with large earrings, half of the hair pulled up to a topknot, urna to the forehead, holding the sacred water flask in his left hand with palm facing outwards; right arm raised and bent at the elbow, holding a beaded bracelet with palm facing outwards; applied pierced lug to the rear; mounted on a custom-made display stand. 951 grams total, statue: 17cm (6 1/2"). Property of a North London gentleman; previously with David Lindahl in the 1970s. Fine condition, some restoration. Very rare.
2nd-1st millennium BC. A large bronze statuette of a standing zebu modelled in the round, curved horns, ears facing forward, incised facial detailing, genitals between the hindlegs, short extension to each leg for attachment. 528 grams, 10.5cm (4"). Property of a Dutch gentleman; formerly in an old Dutch collection formed in the 1970s. [No Reserve] Fine condition.
4th-3rd century AD. A large silver appliqué, to cover the frontal head of a horse, with richly chased decoration showing the outstanding work of probably Pontus Greek artists; in the centre the head of Athena Promachos (warrior Athena), seen from three quarters, inside a phalera (disc) decorated with foliate motifs; the Goddess is represented carrying an attic helmet ornamented with a three-folded plume (tryfaleia); the phalera is positioned and affixed between two female Deities; above a female priestess is performing a sacrifice to a statue of a goddess (probably Athena), standing on a base; on the left and right are two smaller gorgoneia, or representations of the Medusa, the snake-haired Gorgon killed by the hero Perseus, whose gaze petrified men; the phalerae and the other images are mounted upon a structure which represents the straps of a horse muzzle, upon which the fragmentary piece of armour was collocated; mounted on a custom-made stand. [A video of this item is available to view on TimeLine Auctions website.] See Daremberg - Saglio, Dictionnaire des Antiquités Grecques et Romaines, Paris, 1873 - 1917; Yavtushenko, I (ed.), Masterpieces of Platar, Kiev, 2004; ???????? ?.?., ????.???.????; ??????? ?.?., ????.???.????; ?????? ?.?., ?-?.???.????; ?????? ?.?., ????.???.????; ?????? ?.?; ????????? ?.?., ?-?.???.????; ??????? ?.?, ???????? ????????? ????????? ????? ?????????? ?? ?????, ????, 2004; The phalera with the head of Athena Promachos find a good correspondence with the famous piece found in the Scythian Koul-Oba Kurgan (near Kertsch, Crimea, S. Daremberg-Saglio, s.v. Galea, col. 1451, fig. 3476), giving us a clear idea of the provenance of the piece of armour; the representation of Athena shows her famous helmet, copying the helmet of Athena Parthenos of Phidias, decorated with a great richness and with the crest recalling the Phaloi (horse-crests) of Homeric Age; the two phalerae representing Medusa are identical to a horse phalera of 2,9 cm (dated 330-300 BC) published by Ukraine archaeologists in 2004 (????????-???????-??????-??????-??????-?????????-???????, 2004, p. 98 fig. 5b), again part of a Scythian grave deposit. 458 grams total, 28 x 33cm with base (11 x 13"). Property of a UK collector; formerly in the collection of Jan Adler, London, UK; acquired 1983; previously with Gorny & Mosch, 17 December 2014, lot 54 (20,000.00 euros); accompanied by a copy of the relevant Gorny & Mosch catalogue pages; and an academic report by military specialist Dr Raffaele D'Amato. It is not a wonder that Athena, she-protector of the war horse, was used as decoration for the front piece of the horse armour. In the Greek world horse armours were already in use since at least from the 7th century BC, but increasingly in the Hellenistic age, especially after the military reforms of Philip II and Alexander III the Great of Macedonia, where the cavalry was employed as a fundamental tactical instrument on the battlefield, and not only as support of the Phalanx. At the same time protection for the horse, especially with the creation of units of armoured cavalry following the Iranian models, increased as well. Such protection for Hellenistic and then Roman Armies was sometimes complete, comprising defences for the head (prometopidia, chamfron), the neck and the body. The Greek terms for the various elements are listed in the 2nd century BC by Pollux, in his Onomastico (I, 140-141): ????????????? (protection of the head), ???????? (eye-protectors), ??????? (cheek-pieces), ????????????? (covering for the breast), ?????????????? (protection of the flanks), ???????????? (covering for the thighs), and even ????????????? (covering for the legs"). The Prometopidion was often created from one piece of bronze or brass, but in this case was probably an openwork applied upon the leather straps of the muzzle. The piece was applied over a leather base, being a functional piece of horse protection to be worn in battle, probably by a high military commander. The ????????????? is an exquisite product of Greek Pontic art. After settling on the Pontus Euxinus Coast by the Greeks, attracted by its minerals, fertile soils and profits with local inhabitants (Scythians, Tauri, Maeoti), important Hellenic centres flourished in the area from the 5th-4th century BC, forming the main Greek states of Olbia, Chersonesos and the Pontic Kingdom. Although in general their artistic productions do not differ a lot from that of the Greek Homeland, the North-Pontic jewellers and craftsmen established their own styles of decoration. They excelled in the stamped metallic appliqué, such as this example, where the three main phalerae were produced separately to be incorporated in the structure of the frontal horse protection. Exceptional workmanship. Excessively rare.
8th-6th century BC. A bronze sword blade with slightly tapering blade and broad median rib, rounded point, stub tang. See Muscarella, O.W. Bronze and Iron. Ancient Near Eastern Artefacts in the Metropolitan Museum of Art. 406 grams, 42.5cm (16 3/4"). Property of a Guernsey collector; acquired in the UK in the early 1990s. Fine condition.
6th-7th century AD. A spectacular gilt-bronze appliqué in the form of a facing male head with horned headgear; piriform face, discoid eyes with garnet (?) cloison inserts, the nose covered by the nasal of the headgear, the beard triangular and the ends of the moustache extending beyond the cheeks; hair covered by a helmet or mask with hatched texture extending around the upper face and developing to two crescent extensions from the temples which meet above the crown of the head; the terminals formed as birds' heads; possible remains of attachment stud to the reverse. Kevin Leahy, National Adviser, Early Medieval Metalwork of the PAS commented: This striking mount is Early Anglo-Saxon and dates from the 6th to 7th century. Faces like this, wearing a horned headdress (or sporting horns of their own) are well known, appearing on some of the foils decorating the Sutton Hoo helmet, where the warriors carry swords and spears and appear to be dancing. A similar foil was found in a burial at Caenby, Lincolnshire and the horned warrior carrying two spears appears on a gold buckle from Finglesham, Kent. Horned warriors are not restricted to England and appear on a die for making foils found at Torslunda, Sweden, and on a die from Ayton in the Scottish Borders region. The question is: who do these mounts represent? It has been suggested that they depict the god Woden, one of whose attributes was a spear and that the birds' heads on the ends of the horns represent the the god's two ravens. However, these birds often have hooked eagles' beaks not the pointed beaks of ravens. We also see multiple depictions of the horned warrior on the same foil suggesting that it was not the god, although it is possible that the god's image was duplicated to emphasise his power. Woden is sometimes shown with only one eye as he gave up his other eye in exchange for wisdom. The two garnet-inlaid eyes seen here do not preclude the face being that of Woden but it would have been helpful if it had only one eye. Finally, what was this mount used for? Other examples like the one from Rempstone, Notts., has mounting pins on its back as does a mount from Finglesham, Kent. Many of the other mounts, however, lack any signs of a fixing. It is clear that the mount described here was attached to an iron object but we are left guessing what it was: a helmet or a buckle? Unless you find one still attached we are going to be left to wonder. [A video of this item is available to view on TimeLine Auctions website.] Cf. Hammond, B. British Artefacts - volume 1. Early Anglo-Saxon, Witham, 2010, item 1.4.5-r; Raynor, K. The Rempstone Mount: Anglo Saxon and Viking Horned Man Images & Artefacts, Nottingham, 2010 ; Pollington, S., Kerr, L. & Hammond, B. Wayland's Work: Anglo-Saxon Art, Myth & Material Culture from the 4th to 7th century, Ely, 2010; Pestell, T. Paganism in Early Anglo-Saxon East Anglia in Heslop, T.A., Mellings, E.A. and Thofner, M. Icon? Art and Belief in Norfolk from Prehistory to the Present, Woodbridge, 2012, figs. 6(a,b"). Recorded with the Portable Antiquities Scheme under reference BERK-DB4E15. 10 grams, 39mm (1 1/2"). Found Kingsworthy, Winchester, Hampshire, UK, in 2017; accompanied by a copy of the Portable Antiquities Scheme report number BERK-DB4E15, and a copy of The Searcher magazine, number 389, January 2019, where it features as the only item on the front cover and a two-page exclusive article by the finder, Caroline Fathers, on pp.14 & 15. The headgear with bird-head terminals is restricted to the 6th-7th centuries in England, although there are parallels from the material culture of both Anglian England and southern Scandinavia at this time. A pair of comparable bird-helmeted human faces can be found on the reconstructed frontal plates on the helmet found in Mound 1 at Sutton Hoo (Suffolk) depicting dancing warriors, and the male face shown on a foil fragment recovered from the barrow at Caenby (Lincolnshire"). Similar also is the figure on one of the dies found at Torslunda (Öland, Sweden) showing a male wearing a helmet with a pair of bird-headed horns. A long, triangular male face is shown on the vandyke designs on the foil horn mounts from the barrow at Taplow (Berkshire"). A male figure wearing a helmet with horns and bird-head terminals is the central design on a long triangular buckle found in grave 95 at Finglesham (Kent), and also from Finglesham (grave 138) is a mount in the form of a long, triangular human head with vertical radiating bands from the top of the head, and two crescentic horns emerging from the crown, terminating in opposed birds’ heads which meet above. A similar mount was found at Rempstone (Nottinghamshire) and privately published in Raynor (2010) while others were found more recently at Attleborough (Norfolk) and Soberton (Hampshire, PAS ref. HAMP2432"). A mount depicting a similar figure, showing the upper body with hands gripping spears, was published in Hammond (2010"). The significance of the headgear has not been fully explored but the coincidence of the birds and the head recall the later myths of Oðinn and his bird messengers, and suggest that these mythic characters were familiar in early Anglo-Saxon England. Very fine condition. An extremely rare museum-quality display piece.
Mid 7th-6th century BC. A rectangular sheet bronze plaque, holes close to the rim for attachment of a lining; the surface executed in repoussé technique, is filled by scenes horizontally divided with guilloche of two interlaced serpents; in the lower register two opposed lions (an antithetic pair, a lion and a lioness), both in profile, walking position, are showed attacking a boar; the lions have the jaws opened and prominent muscles; the mane is marked, their tails form a reverse S-curved between their hind legs; the anterior part of the boar is collapsing under the lion's attack; rosettes are filling the field and in the upper register, two large bosses are separating three semi-human figures, maybe representing evil spirits, advancing in crouching pose with elbows bent and hands palm-upwards, rosettes and fungi in the field, their arms elevated in prayer. Rawlinson, G.M.A., The five great Monarchies of the Ancient Eastern World, III vol., New York, 1881; Schmidt, E.F., Persepolis II, Contents of the Treasures and other discoveries, Chicago, 1957; Soudavar, A., Iranian complexities, a study in Achaemenid, Avestan and Sassanian controversies, Houston, 1999; Garrison, M., 'Notes on a boar hunt (PFS 2323) in Bulletin of the Institute of Classical Studies vol. 54, No. 2 (2011), pp.17-20; Muscarella, O.W., Archaeology, Artifacts and Antiquities of the Ancient Near East, Boston, 2013. 495 grams, 42 x 25cm (16 1/2 x 10"). Property of a West London businessman, formed in the late 1980s-early 1990s; accompanied by an academic report by specialist Dr Raffaele D'Amato, and 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 618/129067. Our specimen is a well preserved decorative votive plaque of Early Achaemenid Age, although some elements could induce to consider the plaque as belonging to the late Elamite period. Usually these plaques are rectangular in shapes and contain one or more figures. One of the predominant figures is the lion, an old symbol of power in Ancient Mesopotamia. It appears often in a similar shape, for example in the Achaemenid seals (Schmidt, 1957, pp.42-44), as a hunter. The king of the beasts was considered a worthy foe, but sometimes was used as a symbol of the dynasty. Boars are also visible in seal pattern (Rawlinson, 1881, p. 240; Schmidt, 1957, pp.12,15,40,41,49"). The rosette motive is well known in the Achaemenid art, like on the Miho's Artaxerxes plate (Soudavar, 1999, p.11) or in decorated architectural fragments left on the ground in Persepolis (Soudavar, 1999, p.20 fig.14), and, more important, in the famous Otane's plaque (Soudavar, 1999, p.29 fig.32; p. 42 fig. 41a-b-c) or on the plaque reporting the Bisotun text (Soudavar, 1999, p. 56 fig. 45"). The rosette is a representation of the solar emblems, and it is already visible in works of the first millennium BC (Muscarella, 2013, pp. 682-683, 781), and on the diadems of the Elamite Rulers represented in the Achaemenid art. The representation of the Ansh?nite Sun Flower under form of rosette vary in shapes and it is not always easier to understand if its making is anterior to the Darius Persepolitan style. Here, the presence of convex more than concave rosettes are pointing more to a date anterior to the Darius Kingdom (522-486 BC"). The representation of the snakes is singular, considering that there is a general negativity in the Persian ancient culture associated with the word kerm/kirm (snake) and the animosity that Zoroastrianism developed towards snakes. However, according to the Sh?hn?meh, the discovery of fire was ushered by the appearance of a magical snake, at which, the legendary king Hushang threw a stone; it missed its mark but hit another stone and produced sparks that lit a fire. The Achaemenid Empire dominated the Near East and the eastern Mediterranean for about two centuries, from the mid-sixth to the mid-fourth BC, when it was conquered by Alexander the Great and the last Persian King, Darius III Codomannus, was killed by his generals. It was one of largest Empire's in the World and in many way one of the most successful. Votive plaques were dedicatory offerings to the temple, like modern ex-voto. The motive of the boar hunt in the Achaemenid Art is visible on seals, and represents the warriors (lions) hunting the enemy (ibex, boar), a typical war training exercise for soldiers, commanders and Princes. The theme of the boar hunt by Persian warriors has traditionally been associated closely with later Achaemenid glyptic from the western realms of the empire, but in this ancient plaque representation the lions appear symbolically substituting the warriors. Fine condition, with a beautiful greenish patina.
9th-11th century AD. A small silver axe with slender triangular-section blade and straight cutting edge, the blade extending to a thickened curved tang with four bronze rivets, the finial formed as a stylised beast-head with triangular ears and open mouth. 102 grams, 12cm (4 3/4"). Property of a European businessman; from his private Belgian collection formed in the 1990s; previously in a North American collection formed in Illinois in the 1980s. [No Reserve] Fine uncleaned condition.
1st-2nd century AD. A bronze figure of the river god Orontes swimming in his element with arms outstretched before and behind his muscular body, head erect and gaze turned slightly upwards, locks of hair forming a frame to the face 62 grams, 10cm (4"). Property of a Dutch gentleman; formerly in an old Dutch collection formed in the 1970s. [No Reserve] Fine condition.
3rd-1st century BC. A bronze Chalcidian helmet showing the features of Attic and Chalcidian helmets of the 4th century BC, being formed of a bronze bowl with raised panels to the crown and brow, the rim on the front takes the shape of a short nose-guard, which recalls the prototypes of the Pseudo-Attic Chalcidian typology; like the helmets of the Illyrian category, along the bottom of the crown embossed with a relief running around the circumference, formed by a rolled up and forged edge; the cheek pieces are connected to the bowl by a three-part clasp, of which two bronze fastening rivets are still visible, each of the cheek-piece is D-shaped with scooped forward edge, with a hole for the fastening of the chin-strap. See Masson, M. E., Pugachenkova, G. A. Parfi anskie ritony Nisy (Parthian rhyta from Nisa"). Al’bom illiustratsii (Album of illustrations), Moscow, 1956; Beglova, E. A., Antichnoe nasledie Kubani (Ancient heritage of Kuban) III, Moscow, pp.410-422 (in Russian); Dedjulkin A. V., 'Locally Made Protective Equipment of the Population of North-Western Caucasus in the Hellenistic Period', in Stratum Plus, n.3, 2014, pp.169-184; ????????? ?. ?., '????? ??????????? ??????? ?? ????????? ??????' (Sarmatian Age Helmets from Eastern Europe), in Stratum Plus, n.4, 2014, pp.249-284. 550 grams, 29cm (11 1/2"). From a London W1, UK, collection; acquired on the German art market before 2000; accompanied by an academic report by military specialist Dr Raffaele D'Amato. This helmet is very similar to various examples found in Sarmatian and Meotian graves, although its origin is from Greek prototypes. The type is characterised by a hemispherical bowl, laterally compressed, with strong marked brow ridges and a sharp short nose-band. According both to Symonenko and Dedjulkin (2014, p.189, fig.9, nn.4-5-6), this category of helmets derived from the Chalcidian types. According to Dedjulkin, these helmets, although derived from Greek prototypes, were simplifications of the original models, made by local artisans. The related centres of productions of such items have been localised at the sites of the ancient Meotian settlements of the Trans-Kuban region, at the northern foothills of the Western Caucasus, as well as in the valleys of the Belaya and Kurdzhips rivers. These centres operated in the period from the second half of the 4th century until the 1st century BC. Judging upon the location of the finds, these types of converted and modified Greek helmets were used by the Barbarians of the North Caucasus in the Late Hellenistic Era and served as models for local blacksmiths. [No Reserve] Fair condition, restored.
1st century BC-2nd century AD. A substantial bronze statuette of standing Fortuna (Greek Tyche) wearing a peplos and loosely draped mantle, silver clasps holding the dress, long hair dressed in curls and pulled back in a chignon with two loose curls falling on the shoulders, holding a cornucopia in her left arm, right arm bent at wrist with open hand to accept rudder. 335 grams, 13cm (5"). Property of a Dutch gentleman; formerly in an old Dutch collection formed in the 1970s. [No Reserve] Very fine condition.
1st century BC-1st century AD. A bronze figurine of a panther with hind legs spread and forelegs bent, paws with claws spread, mouth open; underside hollowed, silver studs to the flanks; old collector's accession number 'A1339' to the underside; mounted on a custom-made stand. Cf. Rolland, H. Bronzes Antiques de Haute Provence, Paris, 1965, item 401 for type. 95 grams, 49mm including stand (2"). From a private Austrian collection; previously property of an English gentleman, acquired in 2017; formerly in the private collection of Seward Kennedy, London, UK. Very fine condition.
8th-6th century BC. A bronze sword blade with leaf-shaped blade and broad median rib, short tang. See Muscarella, O.W. Bronze and Iron. Ancient Near Eastern Artefacts in the Metropolitan Museum of Art. 272 grams, 42.5cm (16 3/4"). Property of a Guernsey collector; acquired in the UK in the early 1990s. Fine condition.
2nd millennium BC. A hollow-formed bronze kohl jar with slender neck and everted rim, bulbous body with three addorsed ram's heads modelled in the round. 123 grams, 58mm (2 1/4"). From an old Tokyo collection; previously the property of a Japanese gentleman since the late 1980s. [No Reserve] Fine condition.
10th-12th century AD. A gilt bronze annular brooch with two stylised ravens to the hoop, dragon-head pin, three short chains supporting a pelletted triangle amulet, a sword and a hammer. 32.7 grams total, 80mm (3"). From a London W1, UK, collection; acquired on the German art market before 2000. Very fine condition, usage wear.
5th-1st century BC. A bronze two-edged triangular-bladed dagger with median incised fuller, chevron-shaped lower guard, ribbed grip and two loops to the finial; mounted on a custom-made stand. 1.9 kg total, 45.5cm including stand (18"). From the family collection of a South East London collector; formerly acquired in the late 1950s. Very fine condition. Professionally cleaned and restored.
1st-3rd century AD. A bronze batillum with rectangular tray with raised edges, two concave bosses to each upper corner, a hollow D-shaped handle with two diagonal strengthening bars to the underside, curved horns(?) to the base, collared finial with triangular plaque, knop above; the D-section supporting leg curved with clubbed terminal. 546 grams, 25.5cm (10"). Property of a European businessman; from his private Belgian collection formed in the 1990s; previously in a North American collection formed in Illinois in the 1980s. [No Reserve] Fair condition.
Early 3rd millennium BC. A squat ceramic pot with carinated profile, slightly everted rim, band of impressed linear (corded) ornament to the neck and chevrons to the shoulder. See Briard, J. The Bronze Age in Barbarian Europe, London, 1979 for discussion. 746 grams, 13.5cm (5 1/2"). From the family collection of a South East London collector; formerly acquired in the late 1950s. Very fine condition, cleaned and conserved.
13th century AD. A heater-shaped bronze harness pendant with gilding remaining on the suspension lug and upper portion of the shield, two lions passant (gardant?) with blue fill. 12.1 grams, 46mm (1 3/4"). From an old North Country collection; formed between 1970-2000. The arms appear at first to be a very early variant of the royal arms of England displaying two lions in place of the normal three, and executed in blue enamel on a gilded field instead of gilded (or) on a red (gules) field. They bear some relation to the royal arms of Denmark which similarly vary between two and three lions, but always in blue (azure) on a gilt (or) field and often with red lilies between. Fine condition.
Early 3rd millennium BC. A squat ceramic pot with carinated profile, parallel-side neck and rounded rim, bands of impressed linear (corded) ornament to the shoulder, concentric corded rings to the body. See Briard, J. The Bronze Age in Barbarian Europe, London, 1979 for discussion. 1.2 kg, 16cm (6 1/2"). From the family collection of a South East London collector; formerly acquired in the late 1950s. Very fine condition, cleaned and conserved.
A QUANTITY OF MATCHBOX 1-75 SERIES SUPERFAST MODELS, all are in very near mint condition with some minor wear, boxes all complete but have some minor damage and wear, Formula 1 racing car, No.34, purple with racing number 16, Draguar, No.36 in red with white interior, Ford Group 6 racing car, No.45, in metallic green racing number 45, Articulated Truck, No.50, in blue and yellow, Citroen SM, No.51, in bronze with cream interior, similar streakers issue in blue with racing number 8, Mercury Cougar, No.62, in metallic green, Rolls-Royce Silver Shadow, No.69, in metallic blue and SRN Hovercraft, No.72, white body SRN6 (9)
Sophie Ryder, Maryhare, 2019 Grey patinated bronze, inscribed Ryder 10/50 to the underside 23cm high, 10.5cm wide, 16cm deep This work is the only edition to also come with a signed sketch of the Maryhare by the artist Similar works by this artist retail at: £7,500 Sophie Ryder: Sophie Ryder’s world is one of animal and mystical creatures constructed from wet plaster, old machine parts, scavenged toys, tangled wire, torn scraps of paper and acid baths. Her hybrid beings are steeped in mythology and cultural symbolism and yet at once they are tender and self-aware, resonating on an immediate and human level. Ryder is renowned for developing the Lady Hare, a hybrid with the head of a hare, as a counterpart to the Minotaur of Greek Mythology. Her anthropomorphic characters are used both to explore the human condition and as a metaphor to Ryder’s own feelings. Indeed the Lady Hare’s body is based on Ryder’s own, imbuing it with a personal significance that transcends the limitations of the autobiographical. Ryder was the youngest student after Turner ever to be admitted to the Royal Academy of Arts. After her studies, Ryder was invited to be Artist in Residence at Yorkshire Sculpture Park. Since graduating in 1986, Ryder has shown her work all over the world, including in major outdoor exhibitions at Yorkshire Sculpture Park, UK; Blickachsen, Germany; Frederick Meijer Sculpture Park, USA; Pilane, Sweden and Salisbury Cathedral, UK.
Philip Blacker Horses A sterling silver bangle The five horses in low relief, hallmarked and inscribed PB 7cm wide, 3.5cm high Similar works by this artist retail at: £400 Philip Blacker: Philip Blacker was born in 1949 and was educated in Dorset. On leaving school he became a steeplechase jockey and rode professionally for 13 years, being placed in the Grand National on several occasions and riding 340 winners. It was during this time that Philip developed his latent enthusiasm for sculpture. Under the guidance of Margot Dent, a former pupil of John Skeaping's, he devoted as much time to sculpture as he could spare from his riding -his first three editions, all racing bronzes based on The Grand National, sold out quickly. In 1982 he retired from the saddle to concentrate full time on sculpture. Since his retirement from the saddle he has moved on to include a wider subject matter and to experiment with technique. However his ambition was to work on a grand scale and the opportunity came when he was commissioned to create a life-size sculpture of Red Rum for Aintree Racecourse. Since the success of the Red Rum bronze, he has completed 26 further life-size or larger bronzes of horses, which now stand in Canada, Australia, France, Ireland, Barbados, Japan and the UK. Blacker has carried out countless commissions of racehorses and other subjects around the world, with sizes ranging up to twice life-size, highlights are listed below. 1988: Red Rum for Aintree Racecourse, Liverpool.1990: Mrs Moss for the Marchioness of Tavistock, standing at Woburn Abbey 1994: St Leger winner Snurge for Sir Martyn Arbib, standing at Whatcombe Stables.1995: Derby winner Generous for HRH Prince Fahd Salman, standing at Epsom racecourse.1997: 1.25 scale bronze of boxer Jim Driscoll for the Cardiff Bay Development Corporation.1998: Classic winner Bosra Sham for Mr Wafic Said, standing at Tusmore Park 2001: Blast of Storm for Barbados Turf Club.2002: Mare and Foal for Japan 2005: Multiple Group 1 winner Persian Punch for Newmarket Racecourse.2005: Dressage Horse for The International Equestrian Centre, Penang. Malaysia.2011: Oaks winner Sariska for Lady Bamford.2011: Dar Re Mi for Lady Lloyd Webber.2013: Melbourne Cup winner Dunaden for Sheikh Fahad Al Thani 2014: The Fugue for Lady Lloyd Webber
Mark Coreth , British b. 1958, Jaguar Fishing, 2018 Bronze, from an edition of 20 13cm high x 16.5cm wide x 7cm deep Similar works by this artist retail at: £3,250 Mark Coreth: Mark Coreth was born in London in 1958 and was immediately dispatched to the family farm in the Kenyan highlands where the Equator ran through the house. The idyllic childhood surrounded by exotic Flora and Fauna fostered Mark's early and continuing passion for wildlife and the sculpting of it. Mark has had no formal art school training, his ability is based quite simply on dedication and hard work coupled with an acute and perceptive eye, drawing heavily on experiences gained during his early years in Kenya, and regular sculptural safari's around the world , with his Backpack Studio . His sculptures reflect his instinctive understanding of the behaviour and physicality of the animals he sculpts. Working with extraordinary speed, if the original plasticine or clay fails to speak to him within a couple of hours Mark destroys it and starts again. He captures violence, speed, and movement , or even tranquility and pathos with deceptive ease, and is now internationally recognized as the master sculptor of the animal in motion. As well as his regular one-man exhibitions at Sladmore Contemporary Mark shows regularly in Paris, and New York. His many monumental commissions include a life-size piece of two Cheetahs in a tree for the ruling family in Dubai, a life-size figure of a boatman which sits outside Shakespeare's Globe Theatre, a shoal of rays in the Docklands and a massive 50 piece fountain at the Natural History Museum. His most spectacular commission to date has been an enormous 16 foot high life-size charging elephant; the subject of a half hour documentary on the Discovery Channel. Where the film-makers followed him on safari while he made his initial studies, back to his studio for the creation process and finally to the foundry to see the final casting of the bronze. The finished bronze elephants currently reside in a public collection in Rome and a private collection in Australia. 2015 saw him complete his life size bronze of the much loved Race Horse Frankel, commissioned by the owner Prince Khalid Abdullah. Her Majesty the Queen unveiled the first one at Royal Ascot in June, with further copies at York Race Course and the Newmarket Racing Museum to follow. Mark lives and works in deepest Dorset, where the original white plaster model of his life size charging elephant stands guard outside his studio. His latest exhibition, “ The Story in the Snow… Russia’s endangered Big Cats” opens at The Sladmore Gallery in November this year.
Nicola Toms Pug Rolling, 2018 Patinated bronze, signed and numbered 1/4 to the back right leg 22cm long, 5cm high Similar works by this artist retail at: £1,500 Nicola Toms: Nicola grew up on a cattle and game ranch in Zimbabwe. She studied graphic art in Harare before re-locating to London some 20 years ago. In addition to six major solo exhibitions in London she has exhibited widely with galleries in Britain, America, South Africa and New Zealand. Her work is held in many private collections throughout the world. Nicola lives and works in London's East End.
Hamish Mackie, Otter on a rock, 2008 Bronze, signed Ham and inscribed 2008, 21/25 28cm high, 25cm wide Similar works by this artist retail at: £5,000 Hamish Mackie: British wildlife sculptor Hamish Mackie has had the privilege of observing wildlife in many corners of the world at first hand. “Observing animals in their own environment, in their natural habitat, is essential to understanding the subject’s physical and instinctive traits. For example, the disposition of a captive predator is very different from that of a predator the wild,” he says. This close observation, often involving intense research trips and sculpting from life in the field, informs Hamish’s whole approach to his work, which resonates with his passion for the natural world. His bronze wildlife sculptures capture instinctive moments of animal behaviour but are his own interpretation, not merely photographic representations. Hamish manages to convey the inner core, strength and grace of his subject. Largely self-taught, his style is unique - he frequently works in spontaneous, often unrepeatable, fluid gestures with a confidence born from many years of mastering his craft. This assertive handling of his materials, coupled with an acute understanding of anatomy, results in strong, dynamic, ‘living’ sculptures. “It is close observation of my subject’s behaviour that really brings my pieces to life. I want to convey a sense of character, their spirit. This determines how I handle my material - in a loose fluid manner or in a tighter, more controlled way; with large sweeping strokes, or with smaller detail. A sculpture should have its own power. I want the viewer to feel an emotional response.” (Hamish Mackie) Born in 1973, Hamish Mackie grew up on a livestock farm in Cornwall, England. In the kitchen of the family farm, there still hangs his first bronze sculpture - a calf’s head he made at the age of 12 as a Christmas present for his father. He attended Radley College and Falmouth School of Art, before going on to study design at Kingston University. He began sculpting full time in 1996. Hamish has works in public and private collections around the world. His wildlife sculptures are cast in bronze or silver as limited editions, each signed, dated and numbered. Each sculpture takes on average four months to be sculpted, moulded and then cast into bronze using the lost wax method. It is a highly skilled, labour-intensive process. In 2007, Hamish built a studio in Oxfordshire, where he now lives and works with his wife Laura and their three daughters. He has travelled to Antarctica, the Falkland Islands, South Georgia, Africa, United Arab Emirates, Australia and India, as well as all over Europe, to study wildlife and he often writes about these trips on his blog. In 2014, Hamish Mackie won a major public art commission - Goodman’s Fields Horses for the Berkeley Homes Goodman’s Fields development in the City of London - six life and quarter size horses running loose through the pedestrianised plaza. During this year long project, he collaborated with Lockbund Foundry to create a new foundry big enough for the job that required over a kilometre of steel for the armatures, six tonnes of clay, one tonne of silicone rubber and four tonnes of bronze. The sculptures were unveiled in 2015 to critical acclaim and the following year, won the Public Monuments and Sculptures Association’s Marsh Award for Excellence in Public Fountains. In 2016, Hamish also presented his sixth Solo Show, Life in Bronze, at Mall Galleries, London to great critical acclaim.
Diana Pattenden Mother and Baby Elephants (Bronze Resin, 2 of 12) This mother and baby elephant are walking in the bamboo forests of Asia. Asian elephants, distributed throughout the Indian subcontinent and Southeast Asia, from India in the west, Nepal in the north, Sumatra in the south, and to Borneo in the east, are an endangered species. Similar works by this artist retail at: £750 Diana Pattenden: Diana enjoys the fact that all bronze sculpture was once hot molten metal. The plasticity of clay draws her to sculpt almost anything but she is principally skilled in sculpting animals. The clay is cast into bronze or bronze resin and you have something for posterity that although is inanimate yet has a life as art and even looks like it could breathe and walk away. Diana Pattenden studied fine art in Winchester and Cheltenham. She lives in Newbury with her husband and three children and works and teaches from her studio. She’s a member of the Surrey Sculpture Society, has exhibited widely, and has commissions privately owned.
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