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Lot 1049
10th-12th century AD. A group of items comprising of: an iron torc with coiled ends forming loops; a string with cylindrical and square-section glass beads, circular bronze pendant with scroll decoration, openwork D-shaped bronze pendant, a Byzantine coin, bronze bell, silver ring with amber(?) bead, stone cross, large animal tusk. 183 grams total, 19-90cm (7 1/2, 35 1/2"). Property of a London businessman, from his grandfather's collection formed after World War II; thence by descent 1972. [2]. Fine condition.
Lot 1475
19th-early 20th century AD. A bronze astrolabe with graduated bar and rotating openwork panel, calligraphic D-shaped block with strap and suspension loop and inscription which can be translated as 'Complete and Total Discovered Star Systems' to the front side; four interchangeable discs with incised quadrants and arcs; incised zodiac and numeric grid to the reverse; mounted on a custom-made stand. 1.1 kg, 22.5cm including stand (8 3/4"). Property of an Canadian lady; acquired 1970s-1990s. . Fine condition, central spigot absent.
Lot 1598
13th-6th century BC. A Bronze Age Type 1 spearhead with ovate blade, square-section shank developing from the midrib, flared neck developing to a square-section tang. Cf. Khorasani, M.M. Arms and Armour from Iran - The Bronze Age to the End of the Qajar Period, Tübingen, 2006, p.628, Cat.275, inventory no.25383/8380. 241 grams, 27.6cm (10 3/4"). From an old English collection; acquired on the UK art market before 1970. [No Reserve]. Fine condition.
Lot 1747
13th-14th century AD. A bronze chessman seal with pierced lug finial, hexagonal-section stem, intaglio design of a trefoil and bird-heads surrounded by a legend; Malcolm Jones, Sheffield University, Dept. English Language & Linguistics, Senior Lecturer 1994-2009, and advisor to the British Museum and Portable Antiquities Scheme, says: I’m not sure what the central motif is – might be the flower emerging from a heart – common on such ‘love & loyalty” peresonal seals – the legend reads IE SV SEL DAMOR = “I am [a/the] seal of love”. 5.89 grams, 20mm (3/4"). Found Dorset, UK. . Very fine condition.
Lot 1472
13th-14th century AD. A bronze oil lamp comprising central discoid chamber on an octagonal stand, five radiating nozzles each with a flange lip, hinged domed lid flanked by two zoomorphic hinged suspension rings; calligraphic text to the base and discus. See von Gladiss, A. Glanz und Substanz. Metallarbeitung in der Sammlung des Museums für Islamische Kunst, Berlin, 2012 for discussion. 734 grams, 14cm (5 1/2"). From a German collection; acquired on the German art market before 1990. [No Reserve]. Fine condition.
Lot 1036
11th century AD. A flat-section bronze openwork mount with Urnes Style serpent, pierced flange to each end. Cf. Thomas, G. Late Anglo-Saxon and Viking Age Strap-Ends 750-1100: Part 2, Finds Research Group datasheet 33, Sleaford, 2007 items 36, 37 for similar design. 13 grams, 50mm (2"). Property of a Dutch collector; acquired from Dirk Kennis - Works of Art, Antwerp, Belgium, in 2009; previously in a Belgium collection in 1981; formerly found East Anglia, UK. Accompanied by certificate of authenticity from Dirk Kennis. The Urnes style takes its name from the decoration of a small church in the Norwegian village of that name in the province of Sogn. The wooden carvings from this church were re-used from an earlier building when the church was built and consist of standing quadrupeds, snake-like animals and thin interlacing ribbons which terminate in animal heads. The animals have a distinctly sinuous form, the bodies swell and curve and the few angularities only serve to emphasize the undulating character of the motif. The animals interlace together biting each other at the neck, while the thin ribbons form an interlace pattern which is the leitmotif of the composition. A characteristic feature of the Urnes style is the combat motif with each animal biting its neighbour, and which is possibly derived from the Mammen style. . Fine condition.
Lot 1139
10th century AD. A mixed group of bronze belt fittings comprising: fourteen shield-shaped plaques with pellet detailing; a plaque with loop to accept a strap; a double-loop buckle. Cf. Fodor, I. et al. La Hongrie de l'An Mil. Naissance d'une nation Européenne, Budapest, 1998, item 101 for type. 42 grams total, 13-48mm (1/2 - 2"). Property of a professional gentleman, acquired 2011; formerly in a private collection formed before 1950. [16, No Reserve]. Fine condition.
Lot 453
6th-10th century AD. A bronze steelyard and chains comprising: a square-section bar with one biconvex finial and one biconical, loops to three faces with links and hook, incised and pointillé graduations to the shank; separate yoke with U-shaped hinged bar, two substantial chains each with a hook finial. 462 grams total, steelyard: 31cm (12 1/4"). From a German collection; acquired on the German art market before 1990. [No Reserve]. Fine condition.
Lot 776
Early 2nd millennium BC. A gold Middle Bronze Age bracelet consisting of a twisted rod with plain terminals, one bent to the side to form a clasp for securing. Cf. Clarke, D.V. (ed), Symbols of Power at the Time of Stonehenge, London, 1985, for a discussion on Bronze Age gold. 27 grams, 80mm (3 1/4"). From an important West Yorkshire collection; acquired from Mr Jim Murphy at Wakefield Coin Fair in 1982. Accompanied by a positive X-Ray Fluorescence metal analysis certificate. . Extremely fine condition.
Lot 214
2nd century AD. A bronze sandal-shaped plate brooch with hinged pin and catch to the reverse, enamelled panel with sockets for gold studs. Cf. Hattatt, R. Brooches of Antiquity, Oxford, 1987, item 1140. 6.34 grams, 41mm (1 3/4"). Property of a European collector; acquired Europe, 1980s-1990s. [No Reserve]. Very fine condition.
Lot 281
1st-2nd century AD. A bronze figurine of a horse in advancing pose on a rectangular base with flared feet; one foreleg raised, textured mane, broad ornamented collar to the neck. Cf. Rolland, H. Bronzes Antiques de Haute Provence, Paris, 1965, item 245. 59 grams, 53mm (2"). Property of a Surrey collector; acquired in the early 1970s. . Fine condition.
Lot 492
6th-8th century AD. A mixed group of bronze strap ends comprising: four openwork triangular with knop finial; three openwork tongue-shaped with knop finial; eleven tongue-shaped with geometric ornament; one tongue-shaped with reserved serpent motif; one D-shaped with step to the rear edge; one clover-leaf shaped with notched edge. 235 grams total, 28-56mm (1 - 2 1/4"). From a German collection; acquired on the German art market before 1990. [21, No Reserve]. Mainly fine condition.
Lot 476
4th-6th century AD. A substantial D-section bronze hoop with discoid stepped plaque, raised rim and raised chi-rho Christogram motif. Cf. Oman, C.C. Victoria and Albert Museum Catalogue of Rings, reprinted Ipswich, 1993, item 211. 17 grams, 28mm overall, 19.17mm internal diameter (approximate size British S, USA 9, Europe 20.0, Japan 19) (1"). From an important collection of finger rings; acquired late 1990s-2010. . Fine condition. A large wearable size.
Lot 1129
9th-11th century AD. A group of two convex bronze mounts comprising: a heater-shaped panel with stylised hall(?), pierced to accept a suspension loop; a stud with similar motifs, supplied with a print-out showing resemblance to a runestone at Birka, Sweden. 11 grams, 19-23mm (3/4 - 1"). Property of a London businessman, from his grandfather's collection formed after World War II; thence by descent 1972. [2, No Reserve]. Extremely fine condition.
Lot 512
10th-14th century AD. A mixed group of square bronze trade weights comprising: one with two ring-and-dot motifs to each broad face; one similar with two motifs to one face and four to the reverse; one with silver-inlaid omega and gamma; one with pointillé 'IB'; one with inlaid 'NS'; one with cross over 'NIB'; two unmarked. See Weber, K. Byzantinische Münzgewichte: Materialkorpus für 1-Nomisma-Gewichte, Schwelm, 2009 for discussion. 211 grams total, 11-35mm (1/2 - 1 1/2"). From a German collection; acquired on the German art market before 1990. [8, No Reserve]. Fine condition.
Lot 213
2nd-3rd century AD. A tinned bronze plate brooch of a standing gladiator on a square base, Thraex type with curved peak to the helmet, rectangular shield and sword across; catch and hinged pin to the reverse. See Heynowski, R. Bestimmungsbuch Archaeologie: Fibeln, Munich, 2012, 3.27.5 for type. 6.67 grams, 40mm (1 1/2"). Property of a Surrey collector; acquired in the early 1970s. . Fine condition.
Lot 63
1st century BC-2nd century AD. A hollow-formed bronze statuette of Pan with goat's feet, seated, holding an item in his left hand, the right hand held open at waist height; two fixing holes to the underside of the buttocks. Cf. Rolland, H. Bronzes Antiques de Haute Provence, Paris, 1965, item 137 for type. 182 grams, 11cm (4"). From a German collection; acquired on the German art market before 1990. Pan is the god of fields and woodland and originated in Arcadia, Greece, being the son of Hermes and a nymph. His habit of appearing suddenly was believed to cause 'panic', literally the fear of Pan. He had a major shrine at Panias, modern day Banias, in Palestine, which was noted for its healing spring and as well as being the site where the god helped the Seleucid army defeat the Ptolemaic forces in 198 BC, thus allowing Antiochus III to consolidate his control over the area and establish the borders of his empire. The Hellenized Sellucids built a temple at Panias dedicated to Pan as the 'goat-footed god of victory in battle, creator of panic in the enemy, lord of desolate places, music and goat herds'. [No Reserve]. Fair condition.
Lot 1469
15th century AD. A squat bronze bowl with square-section folded rim, rounded shoulder with band of moulded decoration including interlace panels and geometric motifs on a textured field. See von Gladiss, A. Glanz und Substanz. Metallarbeitung in der Sammlung des Museums für Islamische Kunst, Berlin, 2012, item 71 for type. 1.2 kg, 27cm (10 1/2"). From a German collection; acquired on the German art market before 1990. [No Reserve]. Fine condition.
Lot 245
1st-3rd century AD. A group of five bronze bow brooches, consisting of a dolphin brooch, bow and fan tail brooch, a trumpet head brooch and two T-bar brooches, all with arching backs, collar to the top and long catch plate; coiled pins to the underside. 37 grams, 35-69mm (1 1/2 - 2 3/4"). Property of a Surrey collector; acquired in the early 1970s. [5]. Fine condition.
Lot 1028
9th century AD. A bronze mount depicting a scene of a male figure with almond-shaped eye, pointed curved chin, small nose, long hair with a curl above the forehead; dressed in a loose short-sleeve tunic(?), with hands and neck tied together; facing a bird with large almond-shaped eye, curved beak and prominent crest or feather(?) on the top of its head, finely incised feather decoration; a pin to the reverse; foreign workmanship. 12 grams, 47mm (2"). Property of a London businessman, from his grandfather's collection formed after World War II; thence by descent 1972. Accompanied by a positive X-Ray Fluorescence metal analysis certificate. The design on this mount is definitely inspired by Scandinavian and British Isles Viking art, however the style of execution points towards foreign workmanship, possibly continental European. Some features are very distinctive for Viking art, such as a curl on the top of the head and almond-shaped eyes, which can be found also on small mounts of female figures holding a shield, found both in Scandinavia (Vrejlev, Denmark) and England (Ipswich, Suffolk"). The face style, with distinctive curved chin, is typical of those on picture stones from Gotland, Sweden, especially the ones from Stora Hammar and Sanda. The style of bird is unusual, but the closest parallel can be found on the Franks Casket, which could have served as an inspiration for the style of the mount. The story is most likely the one of Wayland (also known as Volundr or Weland), the most famous blacksmith from Germanic mythology, attested both in Viking and Anglo-Saxon mythology. The poem Volundarkviða from the Poetic Edda tells how Volundr and his two brothers married swan maidens (valkyries) and lived with them for eight winters, after which their wives abandoned them. Unlike his brothers, Volundr decided to stay at home waiting for his wife to return, but was captured by kind Niðuðr and imprisoned on an island. A ring, which was given to Volundr by his wife, was taken from him and Niðuðr gave it to his daughter, Boðvildr. In revenge, Wayland killed the king's sons when they visited him in secret, and fashioned goblets from their skulls, jewels from their eyes, and a brooch from their teeth. He sent the goblets to the king, the jewels to the queen and the brooch to the king's daughter. To humiliate the king even more, he raped princess Boðvild when she visited him to mend the ring given to her. He then escaped with artificial wings he created from birds' feathers. The suffering of a blacksmith is attested also in the Old English poem Deor, in which there is also a mention of his imprisonment by king Niðhad. His story can be also found on artefacts, notably the Franks Casket and the Ardre picture stone. Some of the most famous swords and armour was said to have been forged by this legendary blacksmith. The other interpretation of a bound figure might imply it to be Loki, imprisoned after his betrayal of the Æsir gods and bound with the entrails of his own son. The bird, in this case most likely a raven, can represent a messenger of Odin. We know from the Norse poem Baldrs draumar that Odin visited a volva (seeress or wise woman) in the realm of the dead, Helheim. After an exchange of words, in the end he accuses her not to be a wise woman, but rather the mother of three giants to which she responds that no one will visit her until Loki will be free. Some scholars' (e.g. Ursula Dronke) interpretation is that the volva was Loki disguised, imprisoned in Helheim, who fathered three world monsters with giantess Angrboda (Fenrir, Jormungandr, Hel) and the mount can point to the scene of conversation between bounded Loki and the raven, the messenger of Odin. . Extremely fine condition. Excessively rare.
Lot 1498
19th century AD. A hollow-formed bronze kohl pot with bulbous body, tubular neck and four legs; the body with reserved running chain motif, the neck tapering with pointillé swags and two biconcave collars, the legs with pointillé swags and birds modelled in the round; inscription to the underside. See von Gladiss, A. Glanz und Substanz. Metallarbeitung in der Sammlung des Museums für Islamische Kunst, Berlin, 2012 for discussion. 450 grams, 12.5cm (5"). Property of a West London gentleman; acquired on the London art market. . Fine condition.
Lot 1033
8th-11th century AD. A bronze plaque with standing male figure, legs bent at the knees and feet meeting at ankles; almond-shaped head with round eyes, flat triangular nose and small round mouth; arms bent at elbows, hands at waist holding animal, possibly a snake. 9.16 grams, 45mm (1 3/4"). From an old Munich collection; acquired on the German art market before 2000. [No Reserve]. Very fine condition.
Lot 1127
11th century AD. A bronze stirrup mount of Williams's Class C with voided plaque and eye-shaped panel above. Cf. Williams, D. Late Saxon Stirrup-Strap Mounts, York, 1997, item 487. 9.12 grams, 29mm (1 1/4"). Property of a Dutch collector; acquired from TimeLine Originals, Essex, UK, 2014; found on the Thames foreshore, 1970s-1980s. With the original certificate of authenticity, invoice and UK export licence. [No Reserve]. Very fine condition.
Lot 856
2nd millennium BC. A bronze coiled round-section rod forming a ring with perpendicular spiral-wound extension to each end. 24.41 grams, 65mm overall, 19.39 internal diameter (approximate size British S 1/2, USA 9 1/2, Europe 20.98, Japan 20) (2 1/2"). From a German, Munich, collection; acquired in the 1980s. . Very fine condition.
Lot 216
2nd-3rd century AD. A bronze P-shaped bow brooch with returned foot forming the catch, with spring and pin to the reverse; polyhedral stud above the headplate, ribbed bow beneath four ring-and-dot motifs and a facing mask. Cf. Hattatt, R. Iron Age and Roman Brooches, Oxford, 1985, item 488. 9.06 grams, 54mm (2 1/4"). Property of a London, UK collector; acquired London market, 1990s. [No Reserve]. Very fine condition.
Lot 851
2nd millennium BC. A lozenge-section gold rod with expanding leaf-shaped plate to one end, the other end with two similar plates and a return. Cf. Taylor, J.T. Bronze Age Goldwork of the British Isles, Cambridge, 1980 plate 32b. 1.55 grams, 20mm (3/4"). Property of a European gentleman living in the UK; formerly in a private collection formed in the 1990s. . Fine condition.
Lot 1228
10th-12th century AD. A bronze lock case comprising: hollow-formed rectangular block with plates to the broad faces extending beyond the body, bands of ring-and-dot motifs to the edges and barrel-shaped ribbed ring to the lower edge, one broad face pierced with ring-and-dot borders and incised motif of a standing bird, the other face with keyhole, zigzag borders, incised nimbate saint; bar formed as a ledge with standing bifacial beast with ring-and-dot motifs, pierced tongue below, right-angled bar to the rear engaging with the ribbed ring. 95 grams, 76mm (3"). Property of a Surrey collector; acquired in the early 1970s. . Fine condition.
Lot 1225
14th-16th century AD. A convex bronze disc with flange rim, three fixing points; low-relief image of nimbate St. George on horseback attacking a recumbent dragon with his lance; concentric pelleted bands and notched rim. 17 grams, 49mm (2"). Property of a Surrey collector; acquired in the early 1970s. . Fine condition, usage wear.
Lot 1733
12th-14th century AD. A bronze ring with sloping shoulders, facetted shank and raised round bezel with feather pattern. 11.34 grams, 25mm overall, 19.47mm internal diameter (approximate size British T, USA 9 3/4, Europe 21.26, Japan 20) (1"). Property of a private collector; acquired before 1975. . Extremely fine condition. A large wearable size.
Lot 270
1st century AD. A bronze figurine of Mercury standing nude with winged petasos, mantle to the left shoulder, caduceus in the left hand, marsupium coin pouch in the right hand, standing on an integral tiered stand. Cf. Rolland, H. Bronzes Antiques de Haute Provence, Paris, 1965, items 51 and 52. 47 grams, 65mm including stand (2 1/2"). Property of an Essex collector; acquired on the European art market. [No Reserve]. Fine condition.
Lot 228
2nd century AD. A bronze plate brooch of a crouching dog in low relief on a baseline, hinged pin and catch to the reverse. Cf. Hattatt, R. Brooches of Antiquity, Oxford, 1987, item 1187. 3.96 grams, 26mm (1"). From an important London collection, acquired in the 1990s. . Very fine condition.
Lot 215
2nd century AD. A flat-section bronze symmetrical plate brooch with four round voids to the plaque, rectangular enamelled cell, discoid lateral lugs and trefoils; hinged pin to the reverse, catch with ring-and-dot. Cf. Hattatt, R. Brooches of Antiquity, Oxford, 1987, item 1105. 11 grams, 45mm (1 3/4"). Property of a European collector; acquired Europe, 1980s-1990s. [No Reserve]. Fine condition, usage wear.
Lot 1116
9th-12th century AD. A bronze pendant in the form of opposed horse heads with openwork hourglass shape between, bar below with six interlinked loop chains with bells suspended. 84 grams, 11.5cm (4 1/2"). Property of a German gentleman; acquired on the European art market in the 1990s. [No Reserve]. Fine condition.
Lot 504
10th-12th century AD. A mixed group of bronze steelyard weights comprising: a round weight with incised lines to the equator, short chain and hook; a bell-shaped with lead fill, short chain and hook, ring and stem with short lateral hooks. 999 grams total, 17-21cm (6 3/4 - 8 1/4"). From a German collection; acquired on the German art market before 1990. [2, No Reserve]. Fine condition.
Lot 226
2nd century AD. A bronze plate brooch of a rabbit with enamelled cells to the flank and eye, hinged pin and catch to the reverse. Cf. Hattatt, R. Ancient Brooches and Other Artefacts, Oxford, 1989, item 1633. 8.52 grams, 44mm (1 3/4"). Property of a London, UK collector; acquired London market, 1990s. [No Reserve]. Fine condition.
Lot 485
11th-12th century AD. A bronze encolpion or reliquary cross, one face with Corpus Chrisit in the centre, medallions to the arms of the cross with busts of saints; to the reverse the Virgin Mary standing, medallions with busts of saints. 46 grams, 95mm (3 3/4"). Property of a German collector; acquired in the 1990s. [No Reserve]. Very fine condition.
Lot 1190
14th-15th century AD. A gilt-bronze figurine of St. John mourning, standing with loosely draped mantle and floor-length robe; the right hand pressed to the cheek, the left hand supporting a book or rectangular block; tapering base. Cf. Lasko, P. Ars Sacra: 800-1200 AD, Yale, 1994, p. 212, for a complete Bible cover from Hildesheim, Germany, with figures, enamel plaques and jewelled settings. 117 grams, 97mm (4"). Found North Staffordshire, UK, in 1994; with old collector's labels. The piece would have been to one side of the cross, with the Virgin Mary to the other side. . Fair condition, usage wear.
Lot 54
A 20th century bronze statue figure of Adolf Hitler. Shown standing, in classic pose. 30cm tall. POSTAGE: Worldwide postage / delivery available on all items. Combined postage available; UK £15.99+VAT, Ireland from £19.99+VAT, Europe from £19.99+VAT, USA / Canada from £30+VAT. Any other destinations please get in touch for a quote; info@eastbristol.co.uk. All quotes dependant upon location. Prices are per parcel (not per item).
Lot 23
Letitia Marion Hamilton RHA (1878-1964)Glengariff, West Corkoil on canvas initialled 'LMH' lower right & titled on reverse 51 x 66cm (20 x 26in)Provenance: Original artist's label on reverse with price of £40; Christie's, London, 23rd March 1995, Lot 89; Jorgensen Fine Art, Dublin (label verso); Private CollectionLetitia Marion Hamilton was born in County Meath in 1878 and hailed from an artistic family, her great-grand-mother was the artist Marianne-Caroline Hamilton and her cousin was the watercolourist Rose Maynard Barton. Both Hamilton and her sister Eva studied at the Dublin Metropolitan School of Art under William Orpen. Hamilton studied enamelling there also, winning a silver medal in 1912 by both the School and the Board of Education National Commission. Her work showed elements of Art Nouveau, foreshadowing her later modernist leanings. Hamilton also studied in Belgium with Frank Brangwyn and the Slade School of Fine Art. She was a prolific painter of the Irish countryside, exhibiting more than 200 paintings at the Royal Hibernian Academy of which she became a member in 1943. Together with Paul Henry, his wife Emily Grace Mitchell/Grace Henry, Mary Swanzy, Jack Butler Yeats and others, she formed the Society of Dublin Painters in 1920. In 1948 Letitia was awarded a bronze medal in the arts section of the Olympic Games for her painting of the Meath Hunt Point to Point Races, the only Irish medal that year, and one of the last Olympic medals for art to be awarded.
Lot 80
John Behan RHA (b.1938)Famine Ship (2014)unique bronze signed 84 x 102 x 28cm (33 x 40 x 11in)Provenance:Acquired directly from the artist; Private CollectionJohn Behan has explored many themes of ancient mythology, literature and legend. Each theme is moved to a depth of exploration, the imbued meaning in the works derive from his own in-depth knowledge of his subject, which is translated into the shape and form of his bronze work. John Behan is renowned for his many themed works, his great Bulls, Birds and Famine Ships, 'Paiste' and 'Family' are other universal themes explored by Behan. In their simplicity of depiction they are created with an energy; great metaphors of life's journey. John Behan first created The Famine Ship to stand at the base of Croagh Patrick, Co Mayo. Fierce in impact, the hull of the boat is birthed at land, the mast laden with the skeleton bodies of lost emigrants. In large or smaller scale The Famine Ship series carries an indescribable depth of history, poignant loss and struggle for life. Commissioned by the Irish government to commemorate the contribution of Irish emigrants worldwide, a 26-by-24-foot bronze themed piece on The Famine Ship entitled "Arrival" now stands in the plaza in front of the United Nations headquarters in New York.
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