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Lot 555

4th-3rd century BC. A bronze arm-ring with round-section tapering shank, everted terminals each formed as a beast-head with geometric and ring-and-dot detailing, clubbed end with slit forming the mouth; mounted on a custom-made stand. See Krön, P. Die Keltern in Mitteleuropa - Kultur, Kunst, Wirtschaft, Salzburg, 1980, p.225-7 for discussion. 436 grams, 18cm including stand (7"). Property of an English gentleman; formerly in a UK collection formed 1970s-1990s. Extremely fine condition.

Lot 537

10th-14th century AD. A set of bronze and gilt-bronze equestrian fittings comprising: a domed chamfron panel with scalloped edges, tubular plume-holder, incised scale detailing; two curved side plates matching the edges of the chamfron; a teardrop plate with rivets to the upper edge; a pierced disc with two rivets; thirty slightly domed discoid scales from the barding each pierced close to the rim. See Curtiss, J. & Tallis, N. The Horse from Arabia to Royal Ascot, London, 2012. 790 grams total, 44-134mm (1 3/4 - 5 1/4"). Property of a West London gentleman; acquired on the German art market in 20100. The horse furniture is said to be associated with the ????? ??? ???????? (Varangian Guard), a Byzantine elite unit which served as the Emperor's personal bodyguard in the 11th-14th century. It was drawn initially from the Kievan Rus and from Scandinavian adventurers. In the years following the Norman invasion of England in 1066, the Guard was increasingly composed of dispossessed English noblemen. By the 13th century, although the guard still existed as a military unit, it was recruited from the local Greek and other populations. [35] Fine condition.

Lot 168

1st-3rd century AD. A bronze statuette of a dog, detailing of fur to the body, front legs stretched forward, head held up; sitting on a square base with short legs to each corner. 144 grams, 64mm (2 1/2"). From the collection of a European gentleman living in South London; acquired 1970-1980. Very fine condition.

Lot 549

11th-10th century BC. Believed to be the largest known bronze brooch of its type known to exist, formed as two lozenge-section bars with a tight spiral to each end, larger median spiral with coiled spring and wound catch; eight openwork vertical plaques each with a stylised duck above and loop, pair of rings twenty-three sword-shaped pendants and one chevron-shaped. See similar brooch in the Metropolitan Museum of Art Accession Number: 2007.498.1a, b. Accompanied by an Art Loss Register certificate. 855 grams, 40cm (15 3/4"). Property of a German lady living in London, acquired from Gorny & Mosch, auction 198, 29 June 2011, lot 54; previously property of an English professional, acquired before 1970s. Supplied with a positive X-Ray Fluorescence metal analysis certificate. Also accompanied by a copy of positive metallurgic analytical results, written by Metallurgist Dr. Peter Northover (ex Department of Materials, Materials Science-Based Archaeology Group & Department of Materials, University of Oxford) and a copy of the original invoice. Extremely fine condition. A museum-quality piece, excessively rare in this size.

Lot 597

9th-10th century AD. A bronze discoid head from a dress pin with central quatrefoil within a double incised circle and similar to the outer border; incised (pseudo-?) runic inscription within the concentric rings; solder scar to the reverse for attachment of the pin. 3 grams, 27mm (1"). Found Hampshire, UK, 2018; accompanied by a copy of a Portable Antiquities Scheme report, PAS HAMP-0EE512. The inscription is enigmatic, probably Anglo-Saxon runic, but awaits interpretation which will only be possible when a range of similar finds is available for study. Runic pin-heads from the 8th century are evidenced, including the famous example from Malton, Yorkshire, in the British Museum (accession number 2000,0508.1) and a more recent find from Lincolnshire (PAS - DUR-79B856"). The present find suggests a continuation of this tradition into the period of Viking incursions, possibly influenced by Scandinavian runic practice. Very fine condition. Extremely rare.

Lot 262

2nd millennium BC. A bronze figure of a goat with horns curving round head; to the back a narrow tube with flat rim leading to the hollow body; possibly a kohl pot or sceptre stand. 388 grams, 10.5cm (4 1/4"). Property of a North London lady; gifted from her father's collection; formerly with a Mayfair gallery, London, UK; previously acquired in the 1980s. Fine condition.

Lot 90

6th-3rd century BC. A pair of gold finials formed as wolf-heads, collars with crystal, turquoise and amethyst cabochons; attached to a possibly later square-sectioned bronze penannular bracelet. Cf. Bonora, G.L. & Marzatico, F. Ori dei Cavalieri delle Steppe, Milan, 2007, p.175. 81 grams, 78.5 (3"). Property of a lady living in Kent, UK; formerly part of her grandfather's collection; acquired in Germany after WWII; thence by descent 2006. Fine condition.

Lot 524

14th-10th century BC. A bronze short sword with tapering lentoid-section two-edged blade, crescentic lower guard, cylindrical grip with openwork detailing, everted rim to the pommel with openwork ring. Cf. Khorasani, M.M. Arms and Armour from Iran. The Bronze Age to the End of the Qajar Period, Tübingen, 2006, item 41 for type. 395 grams, 43cm (17"). Property of a Mayfair, London, UK, ancient art collector; acquired in the 1970s-1980s. Fine condition.

Lot 175

1st-3rd century AD. A bronze discoid weight with domed centre, inset silver ring with zodiacal symbols in sectors. 66 grams, 43.9mm (1 3/4"). Property of a professional Austrian gentleman; part of his private collection since the 1990s. Very fine condition.

Lot 516

18th-19th century AD. A bronze armillary sphere (spherical astrolabe) with graduated ring on four balustered legs and saltire base; hollow sphere mounted on an axle with incised zodiacal signs, angled rotational bands, numerical symbols and short legends. 2.8 kg, 20cm high (8"). Previously in a private collection; formally on the London art market in 2005. Fine condition.

Lot 559

2nd century BC-1st century AD. A bronze mount comprising figural plaque and pierced block to the reverse; the plaque a boar with crescent of bristles, ring-and-dot eye, legs folded beneath the body; old collector's label '91.364'. 40 grams, 41mm (1 3/4"). Property of an English gentleman; formerly in a UK collection formed 1970s-1990s. Very fine condition.

Lot 110

1st century BC-1st century AD. A bronze figure of Venus (Greek Aphrodite) standing on a tiered discoid base; the goddess standing nude with her weight borne on her left leg, left hand raised to hold one of her hair braids, right hand extended flat, carefully modelled braids, chignon and diadem with central jewel silvered. Cf. Boucher, S. Inventaire des Collections Publiques Françaises - 17 Vienne: Bronzes Antiques, Paris, 1971, item 12; and Rolland, H. Bronzes Antiques de Haute Provence, Paris, 1965, item 76. 211 grams, 14cm (5 1/2"). From the collection of a European gentleman living in South London; acquired 1970-1980. Very fine condition.

Lot 156

1st century BC-1st century AD. A bronze belt-plate with slider-bars to the reverse, two lateral lobes and three hoops to the lower edge, raised panel with tremello border, legend 'LEG / I/ ITAL' and two amuletic tetragammadion motifs for Legio I Italica (First Italian Legion"). 39 grams, 50mm (2"). From the collection of a European gentleman living in South London; acquired 1970-1980. The Legio I Italica was stationed in the Balkans (modern Svishtov, Bulgaria) from 66 AD to circa 400 AD. Very fine condition.

Lot 184

5th-7th century AD. A bronze oil lamp with a rounded body, flaring nozzle, hinged lid decorated with pawn-shaped finial and elaborate antler-shaped handle; stand with pricket which rises from shallow reel-shaped drip pan atop a baluster column decorated with moldings; leaf-shaped design to the base supported by three legs with lion-paw feet. See Buckton, D. (ed.), Byzantium, the Treasures of Byzantine Art and Culture from British Collections, British Museum, 1994, p. 108-9, no.199 for similar type. 1.9 kg total, 32.5cm (12 3/4"). Property of a London gentleman; part of a Mayfair collection formed in the 1970s and 1980s. [A video of this item is available to view on TimeLine Auctions website.] Very fine condition.

Lot 243

3rd-2nd millennium BC. A mixed group of ten cylinder seals comprising: one with procession of horned quadruped, standing figures holding a spear in left hand and right arm raised, and a figure (?) with wide headdress, possibly an idol; one with three schematic creatures, possibly birds; one with two facing sphinxes; one with two figures standing either side of a staff and two panels of hieroglyphic text; one with horse and archer; one with central geometric panel bordered by two panels of fish; two with linear pattern and two with ornate decorative pattern. 121 grams total, 25-57mm (1-2 1/4"). The Signo collection, the property of a West London businessman, formed in the late 1980s-early 1990s; 53, 1712, B-95 (161), L-2, R-615, T-968, V-194, W-337, Y-436, Y-873, academically researched and catalogued by the late Professor Lambert in the early 1990s. Dr. Bonewitz notes: 'The seals are made from serpentine (1), bone (1), limestone (4), composition (3), and bronze (1).' [10] Fine condition.

Lot 595

10th century AD. A convex gilt-bronze mount with stepped edges, raised Borre Style design and hatched field; pegs to the reverse and additional rivet holes. 28.4 grams, 45.5mm (1 3/4"). Property of a lady living in Kent, UK; formerly part of her grandfather's collection; acquired in Germany after WWII; thence by descent 2006. Very fine condition.

Lot 596

8th century AD. A gilt-bronze disc-head pin with tapering shank, head with flanking holes and central lozenge, spandrels each with an ovoid panel of Insular style interlace. Cf. Webster, L. & Backhouse, J. The Making of England. Anglo-Saxon Art and Culture AD 600-900, London, 1991, item 184 for type. 6.21 grams, 29mm diameter (1 1/4"). Found Suffolk, UK. Such pins were used in sets of three, the heads linked by lozengiform spacers often bearing similar decoration to the pin-head itself. Very fine condition.

Lot 492

18th century AD. A tiered bronze oil lamp with dished base, tiered shank with baluster and collars, second dish above with radiating ledges, surmounted by a mythical bird modelled in the round with scrolled tail, wings and flame(?) emerging from the beak. 7.8 kg, 73cm (28 3/4"). Property of an American gentleman; acquired 1970s-1990s. [No Reserve] Fine condition.

Lot 525

3rd-2nd millennium BC. A bronze dagger comprising a triangular blade with midrib, separate hilt with crescent lower guard, ribbed grip, cotton-reel pommel; scabbard with lateral loops for suspension, slot to the reverse, dentilled forward edge to the mouth, disc finial. 599 grams, 35.5cm (14"). From an important London W1 collection; previously acquired before 1970. [2] Fine condition.

Lot 115

1st-2nd century AD or later. A hollow-cast bronze statuette of Cybele seated with legs crossed on a throne in a loosely draped mantle; panel detailing to sides and rear of the throne, extended base to the forward edge; the hair drawn up in a chignon with braided band to the brow; a fruit (or flower?) in her right hand resting on her thigh, left hand resting flat on the head of a lion. 1 kg, 15 cm (6"). Property of a London gentleman; acquired before 1980. Fine condition.

Lot 598

6th-7th century AD. A bronze applique in the form of a male head with horned headgear; piriform face, lentoid eyes, 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 are formed as birds' heads and show evidence of gilding; three integral attachment pegs to the reverse. 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 ; 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"). 5.42 grams, 35mm (1 1/4"). Found at Melton, Leicestershire, UK and recorded with the PAS under reference LEIC-40DB05. 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-helmetted 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) another was found more recently at Attleborough (Norfolk"). 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 suggests that these mythic characters were familiar in early Anglo-Saxon England. Fine condition. Excessively rare.

Lot 259

3rd millennium BC. A pair of bronze figurines comprising a bull and calf, modelled in the round in standing pose. 493 grams total, 5.5-10.5cm (2 1/4 - 4 1/4"). The large bull on the London art market since 1999; the calf from a collection formed between 1960-2018. [2] [A video of this item is available to view on TimeLine Auctions website.] Fine condition, cleaned and conserved, bull horns chipped.

Lot 543

2nd century AD. A matched pair of bronze bridle or harness fittings, each a convex disc with substantial ring to the reverse, enamelled ornamented face comprising a central rosette, bands of opposed wave-patterns, radiating petals, band of palmettes and fronds; mounted on a custom-made stand. See Müller, F. Art of the Celts 700BC-AD700, Stuttgart, 2009, item 34 for technical similarities in decoration. 386 grams total, 24cm overall (9 1/2"). Property of an English gentleman; formerly in a UK collection formed 1970s-1990s. [2] Very fine condition.

Lot 363

Mainly 1st millennium BC. A mixed group of bronze stamp seals, mainly scaraboid and rectangular in shape, mainly zoomorphic designs and some with text; fourteen examples accompanied by an old scholarly note, typed and signed by W.G. Lambert, late Professor of Assyriology, University of Birmingham, 1970-1993 which state: (25) 'Stamp Seal of Bronze 14 x 10 x 6 mm. This is roughly oblong with rounded corners and pierced lengthways. The face shows a design within beaded border, in two registers.The upper register shows a stylized tree or plant and to each side of it a bird. The lower register shows two facing feline heads with jaws open and between them an unidentified item. This is a pre-Islamic Arabian seal, c. 500 - 100 B.C. It is generally in very good condition, though a hole has opened from the back to the main and original hole.' (24) 'Stamp Seal of Bronze 11 x 10 x 5.5 mm. This is a broad scaraboid, pierced lengthways. The design is divided into three registers by a [sic] two notched lines, and the whole is also enclosed within a notched line. The central register has three times, perhaps vessels, and the upper and lower registers have similar designs, tête bêche, perhaps birds on the wing. This is a pre-Islamic Arabian seal, with a rare design, perhaps c. 700-400 B.C. It is in very good condition.' (23) 'Bifacial Stamp Seal of Bronze 13 x 9 x 4 mm. This is oval with flat faces, and pierced lengthways. The one side shows two facing, rearing horned animals, with a strong tree or other item between them. The other side (seen by turning top to bottom, not side to side) shows two kneeling humans with tree or standard between them, to which they are raising their hands. In a second register above is a row of two recumbent animals, the first with head turned backwards. This is a pre-Islamic Arabian seal. c. 300 B,C. to 200 A.D. The worship scene is very rare, and the seal is in good condition.' (19) 'Stamp Seal of Bronze 7 x 10 x 4 mm. This is a scaraboid, pierced lengthways. The face shows a horned animal in full gallop (?) with something under its body. This is a pre-Islamic Arabian seal, c.300 B.C. to 200 A.D. It is in very good condition.' (12) 'Stamp Seal of Bronze 10 x 8.5 x 7 mm. This has a flat oval face, sides that flare out, and a domed top rising to a point. It is pierced lengthways. The design, which is put within a beaded frame, shows two rearing horned animals with heads turned backwards, and between them a monogram: [..] probably to be read K-R-B, an attested Old Arabic name. This is a pre-Islamic Arabic seal, probably c. 300 B.C. to 200 A.D. It is in fair condition.' (11) 'Stamp Seal of Bronze 11 x 9 x 5 mm. This is a scaraboid, pierced lengthways. The design, which is put within a linear frame, shows three registers. In the middle and main register is a tree, and to each side of it a browsing quadruped shows sideways. Above are two facing birds(?), and below is a similar design tête bêche. This is a pre-Islamic Arabian seal, c. 300 B.C. to 200 A.D. It is in good condition.' (10) 'Stamp Seal of Bronze 15 x 10 x 5 mm. This is scaraboid, pierced lengthways. The design, which is put within a beaded border, shows a rearing quadruped, a crescent with dot, and other fillers. This is a pre-Islamic Arabian seal, c. 300 B.C. to 200 A.D. There is some corrosion on the surface, but generally it is in good condition.' (8) 'Stamp Seal of Bronze 10 x 15 x 7 mm. This is a scaraboid in shape, pierced lengthways. The design, which is put within a beaded border, shows a horned animal in full gallop with head turned backwards, and some fillers. This is a Pre-Islamic Arabian seal, c. 300 B.C. to 200 A.D. There is some corrosion on the surface, which might be capable of being removed, but generally this is in good condition.' (7) 'Stamp Seal of Bronze 10 x 16 x 7 mm. This is a scaraboid in shape, pierced lengthways. The design shows a prowling lion within a beaded border. This is a pre-Islamic Arabian seal, c. 300 B.C. to 200 A.D. It is in good condition.' (6) 'Bifacial Stamp Seal of Bronze 14.5 x 10.5 x 3.5 mm. This is of roughly oval shape, and originally had a loop along the top, pierced for suspension. This is now broken along the hole. Both designs are put within linear borders. On the one side is a prancing quadruped above a walking quadruped, with unidentified motifs between. The other side shows two rearing horned animals with head turned back, and an unidentified motif between them[,] other items beneath them. This is a Pre-Islamic Arabian seal, c. 600-300 B.C. Save for the missing loop[,] it is in good condition.' (5) 'Stamp Seal of Bronze 15 x 9.5 x 6 mm. This is a scaraboid pierced lengthways, with a design within a beaded frame on the face. It shows a rearing horned animal with head turned back to avoid an attacking rearing lion. This id a pre-Islamic Arabian seal, c. 300 B.C. to 200 A.D. It is in good condition.' (3) 'Bifacial Stamp Seal of Bronze 16 x 11/5 x 6 mm. This is a scaraboid in shape, pierced lengthways, and the designs on both faces are put within beaded borders. The flat face shows two rearing horned animals with heads turned backwards to face each other, and unidentified items between them. The convex back shows a prowling feline with long tail raised over its back. This is a pre-Islamic Arabian seal, c. 300 B.C. to 200 A.D. It suffers from some corrosion, but the designs can be made out, and it is unusual for the two designs.' (2) 'Stamp seal of Bronze 16 x 11 x 6.5 mm. This is scaraboid in shape, pierced lengthways. The face shows a design enclosed within a beaded border: two rearing horned animals with heads turned backwards, the between them two linear symbols: ?? While these have some resemblance to letters of the Old Arabian alphabet, they cannot be identified with certainty. This is a pre-Islamic seal, c. 300 B.C to 200 A.D. It is in fine condition.' (1) 'Stamp Seal of Bronze 25.5 x 14 x 8.5 mm. This is scaraboid in shape, but is not pierced lengthways as is normal, but has a pierced loop at the top and a small globe [sic] is added on at the bottom. The face shows a standing man with arms extended, done in a matchstick style. This is a pre-Islamic Arabian seal, but a rare type and difficult to to date, but perhaps c. 1000 to 500 B.C. is right. There is some incrustation on the surface, but the metal is generally in very good condition.' 72 grams total, 10-26mm (1/2 - 1"). The Signo collection, the property of a West London businessman, formed in the late 1980s-early 1990s; collection numbers 1, 2, 3, 5, 6, 7, 8, 9, 10, 11, 12, 19, 23, 24, 25; academically researched and catalogued by the late Professor Lambert in the early 1990s and notes present for all except number 9. [15] Fine condition.

Lot 599

6th-7th century AD. A bronze figural appliqué comprising an advancing warrior in hatched coat, arms raised holding a spear, large headdress with lateral flaps and opposed serpent-heads above; advancing upright bear(?) biting the spear and mauling the warrior; two attachment lugs to the reverse. See: Item 618350. SHM 4325:c, The Swedish History Museum, Stockholm http://mis.historiska.se/mis/sok/fid.asp?fid=618350&g=1 4.08 grams, 31mm (1 1/4"). Property of a professional collector; acquired before 1990. The motif of the warrior with a helmet surmounted by opposed serpentine heads is found in Scandinavia, the Baltic zone and eastern England in 6th-7th century contexts. This type of headgear is depicted on, for example, the helmet found in Mound 1 at Sutton Hoo as well as on one of the Torslunda pressblech dies. It appears to relate to cultic and/or military activity and may denote followers of the god Woden / Óðinn (Odin"). [No Reserve] Very fine condition. Professionally cleaned and conserved.

Lot 561

Early 3rd millennium BC. A squat ceramic vessel or cap with flat base and barrel-shaped body with incised band below the rim, impressed arrowhead motifs. See Briard, J. The Bronze Age in Barbarian Europe, London, 1979 for discussion. 200 grams, 88mm (3 1/2"). Property of a lady living in Kent, UK; formerly part of her grandfather's collection; acquired in Germany after WWII; thence by descent 2006. Very fine condition.

Lot 111

2nd century AD. A bronze statuette of Venus (Greek Aphrodite), standing nude on a tiered pedestal base; her head turned slightly to the right; her left hand covering her breast, right hand raised; loosely draped garment around her hips exposing buttocks and pudendum. 73 grams, 99mm (4"). Property of a gentleman; acquired in the late 1960s-early 1970s. Very fine condition.

Lot 652

13th century AD. A gilt-bronze Corpus Christi figure with inclined head, knee-length loincloth, feet resting on a square plaque. 22.58 grams, 10cm (4"). Property of a European gentleman living in the UK; formerly in a private collection formed in the 1990s. Fine condition.

Lot 603

6th-8th century AD. A bronze buckle with ellipsoid loop, narrow tongue with disc and scroll detailing, openwork tongue-shaped plate with scene depicting a bowman attacking a charging boar. Sedov, B.B. Finno-Ugri i Balti v Epokhi Srednevekovija, Moscow, 1987, plate XLII, items 14-17 30 grams, 85mm (3 1/2"). Property of a professional collector; acquired before 1990. [No Reserve] Very fine condition.

Lot 110

BROOKLIN MODELS; four BRK 14 1940 Cadillac V16 convertible coupés in gold (colour trial), red (C.T.C.S 1963 1 of 400) and bronze (x2) liveries (two lacking mascots), 1/43 scale, all boxed (4). CONDITION REPORT: Provenance: The Ed Clark Collection. All boxes heavily worn, one box unmarked, the green and one of the bronze models and one of the bronze are lacking the mascots and the same grey model with losses to paintwork and further black marks to cream roof, the other models appear ok.

Lot 112

BROOKLIN MODELS; three BRK 14 1940 Cadillac V16 convertible coupés in chocolate brown (colour trial), grey/bronze and red liveries (one lacking mascot, one with loose mascot), the latter 1 of 400, 1/43 scale, all boxed (3). CONDITION REPORT: Provenance: The Ed Clark Collection. Box for grey/bronze model af, box for brown model unmarked, all boxes heavily worn, the grey model lacking the mascot, the red model with the mascot loose and separate, brown model with very small gap in paintwork to back of cream roof probably imperfection from manufacturer, slight rubbing and discolouration to the chromed detail.

Lot 3316

John Doubleday (b.1947). Nude, bronze statue, signed, 62cm high. Provenance: Victor Batte-Lay Foundation

Lot 237

EPSTEIN JACOB: (1880-1959) American-born British Sculptor. Collection of ten A.Ls.S., Jacob Epstein, nineteen pages (total), 8vo, Hyde Park Gate, Kensington, 28th October 1953 to 10th June 1954, each to David Hardman, secretary of the Sir Stafford Cripps Memorial Trust. In the first letter Epstein invites Hardman to come and see the bust of Cripps, explaining that it is not finished however adding that Lady Cripps is also keen to see it, and explaining 'I am a little uncertain about showing it yet to Lady Cripps who of course will have a not unnatural anxiety about it & I want really a decision from you before I show it [to] her'. The sculptor also comments on being shown an unsuitable place in St. Paul's that had been allocated to the bust although adding that he now understands he can choose any place he wishes for the memorial. In his second letter Epstein thanks Hardman for a payment of £337 and announces 'Tomorrow I am showing the bust to Lady Cripps, not without some trepidation! I think I have interpreted Sir Stafford in the right spirit.' and in further letters discusses the inscriptions to appear on the bust, preparations for sending the work to the foundry ('I have been today to the foundry & the more I think of it the less I like the idea of glasses on the bust. After all God made Sir Stafford without spectacles'), also requesting the final payment from the committee, updating Hardman on the progress at the foundry, discussing his thoughts on the pedestal ('Dove silver grey will look very fine & show up the bronze.'), and also commenting on a meeting at the foundry ('The reception….was somewhat curious I thought. The ecclesiastic talked as if we were attempting a crime when I asked about the site of the bust & Mr. Attlee was like a frozen turnip. A somewhat chilling affair.'), stating that he hasn't the heart to battle with the Cathedral authorities and also asking for confirmation of the date of the unveiling and requesting 5 or 6 tickets to give to friends who would like to attend ('I recall that the Dean hinted that a crowd would not be welcome! What a silly idea….I don't mind in the least the vagaries of the ecclesiastical mind. Of course it is their cathedral.') and in the final letter Epstein thanks Hardman for 'photographs of [the] great event, when we were shoved out after half an hour' and asks if he saw Tom Driberg's account? An interesting series of letters. One letter has some light age wear and another has a minor tear, a few with ink annotations (presumably in Hardman's hand), otherwise G to generally VG, 10 £800-1000 Sir Richard Stafford Cripps (1889-1952) British Labour Politician, Chancellor of the Exchequer 1947-50.

Lot 235

RODIN AUGUSTE: (1840-1917) French Sculptor. An excellent signed 11 x 15.5 photograph `Aug Rodin´, the unusual large size paper photograph image showing his Arthur Jerome Eddy´s bronze bust work. Signed in bold dark ink to a clear area at the base of the image. Corner slightly damages with corner creases to the upper left corner. G £600-900 Arthur Jerome Eddy (1859-1920) American Lawyer, Author and art Collector. His work `Cubists and Post-Impressionism´ was the first American book promoting these new art vagues.

Lot 361

SCHLIEMANN HEINRICH: (1822-1890) German Archaeologist. A Pioneer in the study of Bronze Age. Schliemann supported the idea that Homer´s Iliad and Virgil´s Aeneid reflect true historical events. Rare A.L.S., `H. Schliemann´, one page, folio, St. Petersburg, 5th January 1856, to F.C Quien, in German. The letter bears to the upper left corner a blind embossed stationery seal "Henry Schliemann - St. Petersburg", and relates to the purchase of `72 and 51 Java Indigo crates´, their prices, delivery, etc... At that time Schliemann, through fortunate commercial undertakings, laid the foundation stone for his fortune which later enabled him to excavate in Greece and Asia Minor. With blank address leaf, bearing to the verso few post ink stamps from St. Petersburg, and Amsterdam. Folded, with edges partially trimmed, and corner creases. G £800-1000

Lot 240

CESAR: (1921-1998) César Baldaccini. French Sculptor. A leading figure of the Nouveau Réalisme movement. He is the creator of the “César de Cinema” trophy, which is awarded to the best in French cinema. Signed 8 x 4 photograph by Cesar `Amitié, César´, the image depicting one of Cesar´s main works `Centaure´. Signed in bold black ink to the right lower card border. Traces of glue affixing to the photograph. Matted in white to an overall size of 13 x 10 (33 x 25 cm). G to VG £150-200 Le Centaure (1985) is a bronze sculpture by César, today at the Michel Debré square in Paris.

Lot 61

T. Hamlet, (British, fl. early 19th century), a patinated bronze model of Prince Frederick, Duke of York and Albany, dated 1823, portrayed in later years, togate and with head turned to dexter, the truncation to the reverse inscribed PUBLISH'D BY T.HAMLET. 1 JANY 1823; atop a cylindrical pedestal inscribed HIS ROYAL HIGHNESS THE DUKE OF YORK to the front 28cm high CATALOGUE NOTES: Hamlet appears to have been far from prolific in his output, although he was clearly highly accomplished and patronised by the very highest placed members of society. Three years after producing the bust of the Duke of York, Hamlet sculpted his brother Prince Augustus Frederick, Duke of Sussex. Indeed, a bronze reduction was produced (dated 1826) which matched the current bronze in height exactly, and it is quite possible that hamlet sculpted two or more of King George III's sons and daughters as an intended set See Sotheby's London, European Sculpture and Works of Art, 9th December 1993, lot 131

Lot 133

λ Ian Rank-Broadley, (1952 ~ ), a verdigris patinated bronze model of a standing nude called Ganymede, the male figure facing upwards, arms raised above his head, the right wrist wound with curling rope, left hand grazing his face, the integral rock-form base monogrammed and inscribed with the edition number (3/10) 56 cm high overall CATALOGUE NOTES: Ian Rank-Broadley's work is familiar to most, as his effigy of HRH Queen Elizabeth II has graced the UK and Commonwealth coinage since 1998. In addition to this well-known image, Rank-Broadley's work also appears on public monuments including, notably, the Armed Forces Memorial. His work is also held by a number of museums including the Royal Collection, Windsor Castle, the Ashmolean Museum, Oxford and the Fitzwilliam Museum, Cambridge, as well as many private collections Please note:   λ Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.  

Lot 29

A pair of Continental patinated bronze mounts in Neoclassical taste, 19th century, each cast in openwork relief with a flambeau finial supported on twin crossed arrows, with a serpent coiled where the shafts cross, above an anthemion below 77cm high

Lot 114

λ Attributed to Christine Gregory, (1879 ~ 1963), a patinated bronze model of a seated boy called The Spirit of Mischief, 20th century, the boy portrayed nude and in the act of flicking a pea, both arms and the right leg outstretched, seated on a textured socle modelled as a tree stump 43 cm high including black marble base CATALOGUE NOTES: Born in London, Christine Gregory was the first female artist to become a member of the Royal British Society of Sculptors. Her known works often engage with themes of youth, family and motherhood Please note: This sculpture is signed C. GREGORY to the socle Please note:   λ Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.

Lot 110

Constant Ambroise Roux, (French, 1865 ~ 1942), The Child Achilles, circa 1920, marble mounted and patinated bronze, signed Constant. Roux BRONZE to the rear, indistinctly stamped and numbered 182, truncated bust of a Neoclassical-inspired youth looking over the shoulder to sinister, mounted on a trapezoid Italian green serpentine marble base 35 cm high, 23 cm wide CATALOGUE NOTES: This model of the Child Achilles has appeared at auction in various materials, including carved fruitwood and marble. The tense pose and stark lines of the present model are typical of Constant Roux' muscular, Antiquity-inspired sculptures, which grace many public monuments across France, particularly Roux' hometown of Marseille A similar example, also with green patination, was sold at Christie's South Kensington, Interiors, 29 June 2011, lot 542

Lot 126

λWilliam Newton, (b. 1959), Mare and Foal, a limited edition patinated bronze group, naturalistically cast, on a shaped base, signed and dated in the maquette Newton 97, 4/9 and with foundry stamp 24.5cm high, 43cm long CATALOGUE NOTES: Purchased from Jonathan Cooper Fine Art, Park Walk Gallery, London in November 1997. The bronze is offered with the 1997 sales invoice and an exhibition card from In the Field, the Park Walk Gallery's show of Newton's work Please note:   λ Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.

Lot 120

λJohn Henry Monsell Furse, (1860 ~ 1950), Portrait Study of a Child, shown standing attired in short petticoats, his self-assured, almost petulant visage beneath wind-tossed hair and a soft brimmed hat, a horn in his right hand, a riding crop in his left, his right leg extended forwards, on a rectangular base; atop a rectangular granite socle The bronze 120cm high, the base 60 x 37cm Overall height with granite socle, 130cm CATALOGUE NOTES: Henry Furse was born at Egham, Surrey, into a family of notable artists, of whom the best known was his brother, the portrait painter, Charles Wellington Furse whose work is represented in the Tate Gallery Despite his longevity, Furse had a life of great physical and mental suffering. He was born crippled in both legs and despite developing a love of riding his depressions increased in his middle years, accentuated by the deaths of his young wife after their first child was born and then his brother, Charles, at age 36 In 1910 he retired to his family home in Devon but his frequent breakdowns made work impossible so that after only 20 or so productive years, he created virtually nothing in the last 40 years of his life LITERATURE: In The Artist, an Illustrated Monthly Record of Arts, Crafts and Industries, Burne-Jones memorial number, July 1898, Vol XXII, No.223, the bronze offered here is described thus: the little child, with it's short petticoats and wind-tossed hair, is another instance of so intimate and personal a rendering as to need some added quality of poetry to save it from mere naturalism, and this it has to a very high degree Please note:   λ Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.

Lot 102

A Russian patinated bronze and rock crystal mounted group of an Inuit hunter and a seal, late 19th century, the huntsman portrayed in fur coat and holding an ice pick, kneeling and looking down at the beast on a shelf below 13.5cm high, 19cm wide

Lot 35

A pair of Continental patinated bronze urns and covers in Rococo taste, in the manner of Clodion, late 19th century, the domed and foliate cast covers each surmounted by a seated amorino; above waisted and twist fluted necks, each urn with twin grapevine cast handles rising at the shoulders, above Bacchic scenes of cavorting putti cast in relief, with foliate cast undersides and waisted stems, the square section bases with concave corners 53cm high, 29cm wide

Lot 51

After Claude Michel, called Clodion, (French 1738 ~ 1814), a pair of patinated bronze Bacchic groups of revelling amorini, late 19th century, portrayed as inebriated, in each example with a goat leaping up on the shoulders of one of the figures; one of the groups inscribed Clodion in the maquette to the base 20cm high, 20cm wide

Lot 95

Charles Arthur Bourgeois, (French 1838 ~ 1886), Odalisque, a patinated bronze model of a maiden, circa 1870, portrayed standing, her weight on her right leg, her head turned to sinister, draped from the waist down, the circular base cast with drapery, inscribed A.BOURGEOIS Sculp in the maquette and L.Marchand Editr. for the foundry 83cm high CATALOGUE NOTES: For comparable examples of this bronze, see: Christie's South Kensington, Interiors, 20th May 2015, lot 546 Also Dorotheum, Vienna, Jugendstil und angewandte Kunst des 20 Jahrhunderts, 23rd November 2011, lot 1040 Also Sotheby's London, 19th & 20th c. Furniture & Decorative Arts, 1st March 1996, lot 96

Lot 122

A Continental silvered bronze and marble mounted model of an eagle, circa 1925, portrayed standing on rockwork with wings spread, atop a square marmo Portoro base 20cm high, 20cm wide And a metal model of an eagle, possibly north American, early 20th century, portrayed alighting on rockwork 27cm high

Lot 89

Francois Rude, (French, 1784 ~ 1855), Young Neapolitan fisher boy playing with a turtle by the seaside, mid 19th century cast after an 1833 marble model, bronze, stamped with a seal inscribed REPRODUCTION MECANIQUE, A COLLAS BREVETE The boy portrayed nude aside from a Phrygian style cap over his loose curled hair, and an amulet around the neck, looking slightly to sinister, the left arm extended to a turtle on a leash, the integral oval base adorned with fishing nets 24 cm high, 26 cm wide CATALOGUE NOTES: Francois Rude was one of the leading sculptors of the early 19th century Romantic movement. His subjects, ranging from unassuming genre scenes to poignant political sculpture such as the soldierly figural group called the Marseillaise (1833-36) which adorns the Arc de Triomphe, are characterised by a strong emotional quality. The spontaneous smile of the boy, exposing his teeth, seemingly unaware of the spectator, is a good example of this interest in emotion, showcasing Rude's departure from strict, classically inspired Academic sculpture The model of the Young Fisher Boy was first exhibited in plaster at the Paris Salon in 1831, and was later fashioned in marble in 1833. The marble sculpture is held by the Louvre. The stamp of inventor Achille Collas places this cast in the mid-nineteenth century, probably between 1840-60, when Collas had patented his pantograph-like machine for creating small-scale bronze reproductions of sculptures

Lot 28

A Continental gilt bronze and marble mounted model of a triton, late 18th century, in the manner of examples by Gian Lorenzo Bernini (1598 ~ 1680), portrayed as kneeling, his head turned to sinister, a shell held to his lips in his raised left hand; on a circular white marble socle with inset beading, atop a striated green marble base 10cm high, 9.5cm diameter CATALOGUE NOTES: The origin of this charming model, whilst clearly Classical in idea is far more Renaissance in realisation. Bernini's Fontana del Tritone, in the Piazza Barberini, Rome is noteworthy in its similarity of stance and attitude; as is a 17th century gilt bronze figural table salt held at the Metropolitan Museum of Art in New York which is described as the work of a Follower of Gian Lorenzo Bernini (Accession Number:64.101.1468) Perhaps more noteworthy though is a study in charcoal by Annibale Carracci for a ceiling fresco at the Palazzo Farnese in Rome, completed in 1597, (the study now also held at the Met in New York -Accession Number 1970.15). In the event the Triton blowing the conch shell was represented from a slightly different angle, but the similarity that the current bronze model has to Carracci's study is indeed striking, and it could be reasonably proposed that it could well have been inspired by or modelled after Carracci's work

Lot 117

Affortunato Gory, (Italian, active circa 1895 ~ 1925), a sculpted white marble and gilt bronze mounted model of a Bacchante, circa 1900, portrayed in ecstatic dance, her arms raised above her grapevine adorned hair, her drapery falling away from her breasts and billowing behind her, her weight on her right foot; the naturalistically cast base with a thyrsus, flowers and foliage, and inscribed Gory in the maquette; atop a shaped and waisted rouge and white marble socle 69cm high CATALOGUE NOTES: For highly comparable examples of Gory's work, where he utilised the very distinctive method of fitting gilt bronze to marble, see: Sotheby's London, 19th & 20th Century Sculpture, 11th July 2018, lot 32 Also Bonhams New York, 19th Century European Paintings, 3rd May 2017, lot 30 Also Claude Aguttes, Paris, Arts Décoratifs du XXème, 13th November 2013, lot 146

Lot 130

Claudio Parigi, (Italian 1954 ~ ), Dopo il Lifting, 2012, patinated bronze portraying a nude seated maiden holding a mirror in her right hand, her left hand outstretched towards her raised legs, signed on the left thigh and the underside of the square section ebonised wood plinth 20 cm high, 10 cm wide overall See lot 129 above for notes relating to Parigi

Lot 111

Auguste Rodin, (French, 1840 ~ 1917), The Age of Bronze, 20th century cast after a model from 1877, patinated bronze, the nude portrayed contrapposto, with head inclined, the eyes closed and lips slightly parted, the right arm raised to meet the head, the left hand loosely forming a fist, inscribed A. Rodin and RUDIER FONDEUR - PARIS to the base 101 cm high, base 27.5 cm wide CATALOGUE NOTES: Rodin created The Age of Bronze in 1877, using a young Belgian soldier as his model. This was the French sculptor's first full-scale figure. The sculptor had just returned from a journey to Italy, and was greatly influenced by Michelangelo Buonarotti's famous Dying Slave, whose pose, specifically the raised arm, is recalled in Rodin's bronze. The sculpture's lifelikeness allegedly resulted in Rodin having to prove that he had not cheated by simply making moulds directly from his model's body, but that he had really modelled it himself from drawings. Though Rodin was strongly influenced by models from the Renaissance and Antiquity, his incredible attention to naturalism of body and form, often rendered in highly textured surfaces and dynamic poses, shows a move away from the more rigid Neoclassical tradition and towards a striking modernity The smaller model of The Age of Bronze was conceived in 1903-4 and cast at various points during the 20th century, including with the foundries of Alexis and Georges Rudier. The present item could possibly be part of these limited 20th century castings. A very similar example to the present work sold at Christie's London, 9 February, 2011, Lot 2 Please note: this item is of 20th century make

Lot 121

λJohn Henry Monsell Furse, (1860 ~ 1950), a bronze model of a recumbent greyhound, circa 1900, naturalistically posed and modelled, on an integrally cast base inscribed HM FURSE Sc in the maquette 10cm high, 42cm long PROVENANCE: Purchased from the Sladmore Gallery, 32 Bruton Place, London in January 1990. The lot is offered with the 1990 sales invoice CATALOGUE NOTES: When the plaster of this sculpture was exhibited at the Royal Academy in 1898, a critic wrote in the magazine 'The Artist': 'If a man had never seen a greyhound in his life, and saw this little statuette, he would have to be singularly dull not to see in this the essential qualities of speed and deep wind and lightning movement... it almost tempts one to whistle, that one may have the pleasure of seeing this graceful creature start into movement' Please note:   λ Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.

Lot 113

Aristide Maillol, (French, 1861 ~ 1944), The Cyclist, also called The Ephebe, 20th century cast after a model from 1907-8, patinated bronze, monogrammed M to the integral oval socle, the figure portayed in contrapposto, looking slightly to dexter, the left hand touching the left shoulder 53 cm high including rectangular stone base CATALOGUE NOTES: The present work is a later cast after a model made by Maillol for his early patron Count Harry Kessler, depicting the cyclist Gaston Colin. Versions of the larger model are held by the Musee d'Orsay and the Kunstmuseum, Basel. Aristide Maillol studied at the Ecole des Beaux-Arts in Paris and went on to join the spiritual art movement of Les Nabis alongside Paul Gauguin in the 1890's, creating not only sculpture but also tapestries and woodcuts. The simplified, stark lines of the Nabis remained influential throughout Maillol's career. Though primarily known for his monumental female nudes, this male bronze, though in a classical pose, is imbued with the angular geometry and highly modern, simplified lines so typical of Maillol's oeuvre

Lot 87

Auguste Louis Mathurin Moreau, (French 1834 ~ 1917), a patinated bronze model of a winged nymph, circa 1875, portrayed as partially draped and leaning forwards to smell flowers, in a foliate cast urn, on an Ionic fluted columnar pedestal; on a stepped rectangular marmo rouge griotte base 76.5cm high, 33cm wide

Lot 72

A French patinated bronze model of the Faun with Clappers, last quarter 19th century, cast after the Antique, the figure portrayed in dance, a cymbal held in each hand, his right foot atop a scabellum, the oval base inscribed Louvre in the maquette 58cm high CATALOGUE NOTES: The marble original of the Faun with Clappers resides in the Uffizi Galleries, Florence, and indeed was first recorded in that city by Albert Rubens (son of the Dutch master) in 1665, he having seen the piece in the collection of the Grand Duke of Tuscany. It had been moved to the Tribuna of the Uffizi by 1688. The model was always a popular one, being light hearted and playful, and was therefore much reproduced from the Renaissance onwards. A full-scale bronze version was made by Soldani for Prince Liechtenstein in 1695 and again for the Duke of Marlborough at Blenheim Palace, and small versions were produced by Zoffoli and Righetti, -and indeed by many others ever since

Lot 43

Charles Cumberworth, (French 1811 ~ 1852), a patinated bronze group of Venus Clipping Cupid's Wings, mid 19th century, the goddess portrayed as seated amongst flowers and foliage on a rocky outcrop, loosely draped and bending over Cupid on her lap, inscribed in the maquette CUMBERWORTH... ed; above an integrally cast waisted oval base 40cm high, 37cm wide For similar examples of this group, see Sotheby's London, European Sculpture & Works of Art 900-1900, 16th April 2002, lot 194 Also Bonhams Canada, The Canadian Sale, 31st May 2010, lot 96

Lot 27

An Italian patinated bronze model of the Capitoline Dying Gaul, late 18th century, cast after the Antique, probably the workshop of Zoffoli or Righetti, atop a loosely oval white marble socle The bronze, 18.5cm high, 36cm long; the dimensions with socle, 21.5cm high, 38.5cm long CATALOGUE NOTES: The Dying Gaul is an ancient Roman marble copy of a lost Hellenistic statue which was possibly originally executed in bronze and commissioned some time between 230 BC and 220 BC by King Attalos I of Pergamon to commemorate his victory over the Celtic Galatians in Anatolia. The identity of the original sculptor is unknown, but it has been suggested that Epigonus, a court sculptor of the Attalid dynasty of Pergamon, is a probable candidate The Dying Gaul is thought to have been rediscovered in the early 17th century during excavations for the foundations of the Villa Ludovisi, Rome, (first being recorded in a 1623 inventory of the collections of the powerful Ludovisi family). By 1633 it was in the Ludovisi Palazzo Grande on the Pincian Hill, after which it was acquired by Pope Clement XII for the Capitoline collections. Its theft by Napoleon Bonapart, followed by its subsequent return 1816 only added to its fame, and the Dying Gaul became a firm favourite with wealthy aesthetes engaged on their Grand Tours Giacomo Zoffoli's workshop was a leading Roman foundry during the 18th century, famous for producing reductions of the very highest quality in bronze after antique marbles. Francesco Righetti's productions were also similarly highly regarded, and it is probable that the first-rate bronze offered here, with its magnificent detailing was cast by one of these masters

Lot 112

Glyn Warren Philpot RA, (1884 ~ 1937), Mask of a Dead Faun, later cast of a model from circa 1920, patinated bronze, the face downcast, turned slightly to dexter, the figure portrayed with eyes closed, on a rose marble plinth atop stepped square section grey marble base, issued by the Fine Art Society as part of a circa 1985 limited edition of 8, stamped edition number 4/8 to the side41 cm high, base 15 cm wideCATALOGUE NOTES: British artist Glyn Philpot rose to prominence as a successful painter of society portraits, but gradually became more interested in the subject of the male body. His later work was met with some criticism for the artist's eroticised depictions of the male figure. This tactile, sensually modelled mask is said to represent the features of the model George Bridgeman, who also features in Philpot's paintingsPaintings by Philpot, including his self portrait, are held by the National Portrait Gallery, and the present model, on a different base, is in the collection of the Victoria and Albert MuseumA version of this model was sold at Bonham's Knightsbridge, 'Modern British and Irish Art', 11 July 2017, Lot 151

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