We found 350105 price guide item(s) matching your search
There are 350105 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
350105 item(s)/page
Lot 1248
A.R. Penck (Dresden 1939 – 2017 Zürich). Venedig. 1984Bronze. 11,7 × 3,9 × 3,7 cm (4 ⅝ × 1 ½ × 1 ½ in.). Auf dem Sockel signiert (gestempelt): ar. penck.Eines von 12 nummerierten Exemplaren. Düsseldorf, Schmäke (auf dem Sockel mit dem Gießerstempel versehen). [3168]Provenienz: Privatsammlung, Europa. Die Arbeit wird im Auftrag und zugunsten einer wohltätigen europäischen Stiftung versteigertZustandsbericht: Ex. 10/12. In gutem Zustand. Keine Substanzverluste. Vereinzelt schwache Bereibungen und Glanzunterschiede. Auf Holzsockel montiert. Dieser an den unteren Rändern mit Feuchtigkeitsspuren. Schöner harmonischer Gesamteindruck.Wir berechnen auf den Hammerpreis pauschal 32% Aufgeld und 7% verauslagte Einfuhrumsatzsteuer.
Lot 306
Goebel Land in Sight #530 figure, featuring a group of five children in a boat. Includes 50th Anniversary of Columbus Landfall to New World bronze metal. Goebel backstamp TMK7. Certificate of Authenticity included. Issued: 1992Dimensions: 10"L x 5.5"W x 9.5"HEdition Number: 04047/30,000 Manufacturer: Goebel HummelCountry of Origin: GermanyCondition: Age related wear.
Lot 113
Royal East Kent Yeomanry Badges, being a die-stamped blackened other ranks cap badge with two lug fittings to the reverse, two bronze regimental collar badges and two gilt and enamel regimental sweetheart badges. Accompanied by a Queens Own Royal West Kent regiment mother of pearl sweetheart badge. 6 items
Lot 205
Ca. 200-450 AD.A bronze bowl with a broad body with a brilliant patina enhancing the entire surface. These bowls were often used to serve meals and hold liquids like wine or oil, which were important not just for sustenance, but also for religious ceremonies. Size: L:55mm / W:135mm ; 290g Provenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 150
Ca. 200-450 AD.A bronze libation bowl of the hemispherical body with an attractive patina across the vessel. Bowls of this kind were used to pour libations to the gods and drink on more ordinary occasions. Size: L:45mm / W:150mm ; 95g Provenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 380
Western Asiatic/Aegan, ca. 1200-700 BC.A bronze spearhead, distinguished by its long and slender form, manifests a prominent rib traversing its entire length, seamlessly merging into a shaft. The sharp apex of this spearhead ensures optimal penetration, maximizing its efficacy as a piercing weapon. Furthermore, its concise tang facilitates secure insertion into a shaft or handle, affording the wielder enhanced control during combat engagements. Cf. Muscarella, O. W. (1988). Bronze and Iron: Ancient Near Eastern Artifacts in the Metropolitan Museum of Art. Metropolitan Museum of Art, New York, p.291. Size: L:190mm / W:25mm ; 50g Provenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 354
Ca. 1100-1200 AD.A bronze lid with a round shape features a recessed upper face, with a thick decorative band with silver inlaid decor. This band encircles a central convex roundel that expands to a highly ornamental finial, characterized by a distinct bulge, and culminating in a captivating six-armed design. Lids of this type were prevalent in the Seljuk world, serving as important components of various objects and containers. Known for their fine metalwork, the Seljuk artisans skillfully employed the technique of silver inlay to create visually stunning and sophisticated designs. The intricate patterns and delicate inlay work seen on this lid reflect the artistic tastes and technical expertise of the Seljuk craftsmen. These lids not only served functional purposes, such as sealing containers but also displayed the opulence and refinement of the Seljuk court and society. Size: L:50mm / W:95mm ; 75g Provenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 326
Ca. 600-800 AD.A bronze ring adorned with a captivating red stone. It comprises a flat section shank and a large bezel cell with an intricately designed border, serving as a decorative frame for the centerpiece. Within this bezel cell, a convex stone gem, radiating a stunning red hue, is securely nestled. In the Byzantine era, stone rings held considerable prominence and were regarded as coveted accessories. They not only embellished the fingers of the wearer but also symbolized personal taste, social status, and cultural affiliations. Size: D: 18.34mm / US: 8 1/4 / UK: Q; 9g Provenance: Private London collection, pre-2000s.
Lot 107
Late Dynastic Period, ca. 664-332 BC.A bronze figure of Osiris in a mummiform position holding the crook and flail. He is depicted with a braided divine beard and wearing the atef crown with plumes of ostrich feathers which symbolises power and shows his role as king in the afterlife. Osiris was one of the most popular ancient Egyptian gods and was connected with male fertility. He was said to be the first Pharaoh of Egypt and was murdered by his brother Seth for his crown. Osiris was revived by Isis, his wife, and sister, to conceive Horus, the son who would avenge his death. After death, Osiris became ruler of the underworld and God of the dead, which is why he is shown with the crook and flail, the symbols of authority for Egyptian rulers. Size: L:170mm / W:35mm ; 350g Provenance: Private London collection, pre-2000s.
Lot 51
Ca. 202 BC - 220 AD.A rare pottery duck. The bird is standing on its stylised, well-defined bronze legs which support a globular body and elegantly slender neck terminating in a black-coloured head with a beak and open, attentive eyes. The body is well-formed with realistic details. Ducks, known for their adaptability and migratory behaviour, have been symbolic in Chinese culture for their associations with fidelity, conjugal harmony, and good fortune. Thus, the ducks serve as metaphors, expressing wishes for happiness and prosperity. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:205mm / W:200mm ; 750g Provenance: East Anglian private collection; formerly acquired in the early 1990s in Hong Kong.
Lot 407
Western Asiatic/Aegan, ca. 1000-500 BC.A group of five bronze spearheads. Each spearhead boasts its own distinct characteristics, contributing to the diversity and versatility of this collection. Four of the spearheads feature tangs, elongated projections that facilitated their attachment to wooden shafts, while one exhibits a socket, allowing for a different method of affixing to a handle. The spearheads' sharp points, a hallmark of their design, exemplify their intended purpose as formidable weapons for both hunting and combat. Size: L:35-95mm / W:45219mm ; 40g Provenance: Private London collection; formerly acquired in the US in the 1990s.
Lot 238
Ca. 1st century AD.A bronze fibula with a triangular-shaped footplate that anchors the piece. This footplate culminates in a distinctive knob, its rounded contours adding a touch of refinement to the overall composition. At either side of the ribbed plaque, knob protrusions emerge, their presence lending a tactile dimension to the fibula's design. This ribbed plaque, a canvas for visual and tactile exploration, adds depth and texture to the artefact. The bar head plate, a unifying element of the fibula's structure, serves as an axis around which the pin and catchplate revolve. Fibulas, like this bronze example, played a vital role in the sartorial culture of the time. Originating from the Romano-Celtic world, these clasps served as both functional closures and ornamental accents. As attire fasteners, they embraced practicality, ensuring garments remained secure. Size: L:20mm / W:44mm ; 4.88g Provenance: Private London collection, pre-2000s.
Lot 328
Ca. 600-800 AD.A bronze cross pendant with flaring terminals and concentric circles motif at the junction and each arm. The five wounds of Christ motif represented in this pendant has a rich and complex history that stretches all the way back to the first century. This iconic imagery, which references Christ's passion, suffering, and death, has been an integral part of countless religious figures, artwork, and artifacts throughout the centuries. The motif is a powerful symbol of faith and perseverance, one that is often used to demonstrate courage and strength in the face of adversity. For a similar, see The Metropolitan Museum of Art, Accession Number: 37.75.39.Size: L:32.8mm / W:20mm ; 3.88gProvenance: Private London collector, acquired on the UK Art market, pre-2000.
Lot 25
Ca. 4th-6th century AD.An oil lamp meticulously crafted from bronze, boasts a pear-shaped, hollow body that seamlessly converges into a short nozzle accentuated by a broad, rounded spout. A compelling narrative unfolds within its design, as the filling compartment, a practical necessity, showcases a hinged lid adorned with a human face in relief, adding an artistic flourish to its utilitarian form. Adding further symbolic resonance, a substantial finial in the shape of a lyre, crowned with an enclosed cross, graces the rear, evoking spiritual and aesthetic connotations. Byzantine oil lamps like this one held a multifaceted role within the sociocultural fabric of their time. Serving as integral sources of illumination in a pre-electricity era, these lamps illuminated both domestic and communal spaces, enkindling the shadows with a warm, flickering glow. Beyond their practical utility, these lamps assumed symbolic significance, often associated with spiritual devotion and sacred rituals. The intertwining of practicality and symbolism is emblematic of Byzantine artistic sensibilities. Size: L:130mm / W:210mm ; 900g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Lot 213
Ca. 100-300 AD.A bronze key featuring a circular suspension hoop with a lateral projection, providing a point of attachment and ease of handling. A rectangular-shaped shank extends from the hoop, gradually tapering to a distinctive L-shaped bit, crafted with carefully delineated teeth. Keys held significant importance within Roman society, representing not only access and security but also power and control. They served as symbols of ownership, granting authority over private spaces and safeguarding valuable possessions. This item comes with a modern necklace cord. Size: L:40mm / W:20mm ; 15.2g Provenance: Private London collection; formerly acquired in the US in the 1990s.
Lot 77
Ca. 900-1100 AD.An iron military dagger comprising a short triangular blade with thick midrib and tapering edges, narrow point, cross guard with chamfered upper edges, grip with facetted bulb displaying a bronze stud and disc pommel. The shape and design were borrowed from the Celtiberian double-disc-handled dagger. These may initially have been taken from defeated warriors as battlefield plunder from the Numantine and Sertorian Wars. Size: L:480mm / W:110mm ; 645g Provenance: Property of a European collector; ex. German collection formed between 1990-2010.
Lot 318
Ca. 600-800 AD.A bronze finger ring boasting a round hoop, meticulously crafted with a flat inside and a rounded outside, ensuring both comfort and style. The shoulders of the ring are adorned with incised patterns, intricately carved to enhance its visual appeal. At the centre of the ring's round-shaped bezel, a cross motif takes prominence, captivating the viewer's attention. The cross, an emblem rich in symbolism, holds deep significance within Byzantine culture and Christianity. In Byzantine art and religious iconography, the cross represents the crucifixion of Jesus Christ and serves as a symbol of faith, salvation, and divine protection. The wearer of such a ring could display their allegiance to the Christian faith, aligning themselves with the values and teachings of Christianity. Size: D: 18.95mm / US: 9 / UK: R 1/2; 7.05g Provenance: Private London collector, acquired on the Austrian Art market, formerly in an old USA collection formed since the 1970s.
Lot 266
Ca. 100-200 AD.A cast bronze phalera formed as a lion's mask. The animal's head with a prominent nose and large eyes, an open mouth, and a detailed mane framing the face. Objects formed of bronze were ubiquitous in the Roman world, being used by the Roman military for both practical and decorative purposes. The phalera is the sculptured disk (typically formed of bronze) on the breastplate, which was worn by Roman soldiers as a reward for outstanding service, or as a representation of military rank. Size: L:60mm / W:58mm ; 90g Provenance: Private London collection; formerly acquired in the US in the 1990s.
Lot 315
Ca. 6th century AD.A bronze bread seal in its teardrop-shaped form. The visage of the seal, rendered with intricate detail, conceals a world of symbolism within its recessed countenance. This entrancing interplay of signs resonates with the Byzantine penchant for layering meaning and significance into the everyday, transforming bread - a fundamental sustenance - into a medium of encoded communication. As a unique identifier for loaves of bread, it played a role not only in establishing the provenance of the sustenance but also in preserving the integrity of the transaction. With its distinctive mark pressed onto the loaf's surface, the seal vouched for the quality, authenticity, and adherence to regulations, weaving a web of trust within the complex fabric of Byzantine society. Size: L:50mm / W:17mm ; 14g Provenance: Private London collection, pre-2000s.
Lot 362
Ca. 1100-1400 AD.A bronze finger ring with an air of reverent elegance. Its form, an ode to harmony, commences with a round hoop that envelops the finger in an understated embrace. The shank, bearing a flat-section geometry, unveils a slight rounding on the outside. At the heart of this artefact, a gradual expansion of the shank gives rise to a bezel. This expanse, thoughtfully designed, serves as the canvas for an evocative enigma – the "I S" monogram. This arrangement, a visual transcription of the Latin "Iesus Salvator" or "Jesus Savior," encapsulates the spiritual resonance of the Crusaders' quest. Size: D: 17.53mm / US: 7 1/4 / UK: O; 5.55g Provenance: Private London collection, pre-2000s.
Lot 178
Ca. 100-200 AD.A hollow bronze phalera adorned with a relief face of Medusa, a mythological figure of ancient Greek and Roman lore. Medusa, known for her mesmerizing beauty and snake-like hair, is depicted with her serpentine locks cascading in rich curls around her head. The intricately rendered relief showcases a pair of wings emerging from the top of her head and spreading outwards to the sides. The portrayal of Medusa in this phalera reveals distinctive facial features. Her eyes are recessed, drawing attention to their penetrating gaze, while her broad nose and slightly parted lips add to the overall expression of the sculpture. Phalerae were decorative plaques that were worn as prestigious military decorations. They were often awarded to soldiers and military leaders for their valour and achievements in battle. The depiction of Medusa, a powerful and legendary figure associated with protection and warding off evil, on a phalera would have served as a potent symbol of strength and invincibility. Size: L:52mm / W:50mm ; 70g Provenance: Private London collection; formerly acquired in the US in the 1990s.
Lot 365
Ca. 1st millennium BC.A bronze finger ring with its form, an epitome of graceful simplicity, commences with a thin round hoop that encircles the finger with an understated embrace. The shank, carved with precision, boasts a flat-section geometry that echoes the contemporary penchant for harmonious proportions. At the heart of this piece resides the large bezel, a canvas of opportunity that beckons the artistry of engravings woven into the bronze with artistic finesse, unveiling a symphony of abstract motifs. Size: D: 20.98mm / US: 11 3/8 / UK: W 1/2; 4.79g Provenance: Private London collection, pre-2000s.
Lot 316
Ca. 600-800 AD.A rare bronze seal etched with meticulous precision presents a tableau of spiritual symbolism. A large, imposing cross, occupying the heart of the composition, projects an aura of divinity and spiritual dominion. Its prominence speaks to the Byzantine propensity to intertwine the secular and the sacred, highlighting the inseparability of religious tenets from the fabric of everyday life. Two smaller crosses, poised in the upper corners, offer visual harmony and symmetry to the overall composition. Size: L:50mm / W:23mm ; 40.7g Provenance: Private London collection, pre-2000s.
Lot 234
Ca. 1st century AD. A bronze Aucissa brooch with its form unfolding in an elegant interplay of elements, where a semi-circular bow asserts its presence, crowned by the intricately decorated footplate. The marriage of form and function is manifest in the hinged pin that graces the reverse of the brooch. An ode to practicality, this element ensures secure attachment. Such bronze brooches, with their multifaceted design and functionality, were essential in Roman attire, securing garments with an elegance that mirrored the sophistication of the culture. Crafted through the intricate process of lost-wax casting, these brooches showcase the Romans' mastery of metalwork and their penchant for merging beauty with utility. Size: L:110mm / W:40mm ; 44g Provenance: Private London collection, pre-2000s.
Lot 442
Ca. 202BC - 220AD.An earthenware bird figure standing on its bronze legs and its body is decorated with vivid polychromy. This bird is a mingqi, 'spirit goods' belonging to the burial rituals in the Chinese Han Dynasty. High-ranking persons were buried with various everyday objects; it was believed that life after death was a continuation of the present life, and therefore the deceased was provided with all the objects necessary to continue living after death. H.C. Clydesdale, "The Vibrant Role of Mingqi in Early Chinese Burials", Heilbrunn Timeline of Art History, The Metropolitan Museum of Art, New York 2000. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:120mm / W:180mm ; 310g Provenance: East Anglian private collection; formerly acquired in the early 1990s in Hong Kong.
Lot 122
Ca. 100-300 AD.A bronze plaque characterized by its roundish shape and the intricate relief decoration adorning its upper face. The central focus of the plaque is the standing figure of the goddess Cibele, gracefully positioned atop the back of a lion. Cibele is depicted with an air of tranquility, her hands clasped in front of her, while her facial features exhibit a sense of delicacy and beauty, with notably large eyes, a subtle nose, and finely rendered lips. The goddess's head is adorned with an elaborate, wavy coiffure, complemented by earrings adorning her ears. She is elegantly draped in a flowing, long robe, accentuated with meticulously depicted folds. A halo-like effect surrounds her head, outlined by a dotted border, further emphasizing her divine status. The lion, portrayed in profile facing the right, assumes a powerful presence with its raised and curving tail and voluminous mane. Its facial features are intricately detailed, capturing the essence of strength and regality. This scene holds significant meaning within Roman mythology and religious beliefs. Cibele, also known as Magna Mater, was a prominent Phrygian goddess widely worshipped in the Roman Empire. She was associated with fertility, nature, and the protection of cities. The depiction of Cibele standing on a lion symbolizes her dominion over nature and her ability to tame and control wild forces. The lion, as a symbol of strength and power, represents her divine authority and reinforces her connection to the natural world. This captivating portrayal encapsulates the reverence and devotion accorded to Cibele in Roman religious practices, emphasizing her role as a nurturing and protective deity. Size: L:150mm / W:140mm ; 640g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Lot 405
Ca. 2nd millennium BC.A bronze axe head, characterized by its round-section shaft and blade flaring to a cutting edge. Bronze axes were versatile tools utilized for various purposes during Bronze Age. This meticulously crafted artifact played a crucial role in agricultural activities, allowing for efficient clearing of land, felling trees, and shaping timber for construction. Additionally, the sturdy and sharp blade facilitated hunting and butchering of animals, providing sustenance and raw materials for a growing society. The bronze axe head's significance extended beyond practical applications, as it also held symbolic value, signifying power and authority within the social hierarchy of Bronze Age communities. Size: L:100mm / W:135mm ; 255g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market since the 1970s.
Lot 268
Ca. 1-200 AD.A bronze head of Mithras, a deity closely associated with the mystery religion known as Mithraism, captivates with its intricate craftsmanship and symbolic significance. Mithras, also known as Sol Invictus, was a prominent figure in the pantheon of Roman gods during the late Roman Republic and early Roman Empire. Depicted in this bronze sculpture, Mithras wears his distinctive Phrygian cap, a conical hat associated with the ancient Phrygians and symbolic of his Eastern origins. The sculptor skillfully captures Mithras' intense and penetrating gaze, which conveys a sense of power and authority. The prominent nose adds a touch of regality and strength to his visage, while the small lips lend an air of composure and contemplation. Notably, the head is hollow on the underside. Mithraism, an enigmatic mystery religion, held a significant place within the religious landscape of the Roman world. Its initiation rites, secret ceremonies, and hierarchical structure appealed to a diverse range of followers, including soldiers, merchants, and aristocrats. Mithraism focused on the worship of Mithras as the mediator between the human and divine realms, emphasizing themes of salvation, rebirth, and cosmic renewal. The cult of Mithras thrived particularly among Roman military communities and gained popularity during the 1st to 4th centuries AD. Its rituals often took place in underground temples known as Mithraea, which were adorned with symbolic iconography, including depictions of Mithras slaying a bull—an act central to the religion's mythology. Size: L:50mm / W:30mm ; 80g Provenance: Private London collection; formerly acquired in the US in the 1990s.
Lot 254
Ca. 300 AD.A bronze ring featuring a round hoop, meticulously decorated with incised 'X' motifs, adding an intricate and captivating design element. The bezel of the ring, noteworthy for its generous size, exhibits a central rosette enclosed within a six-pointed star, further accentuated by a hatched border. Bronze, a durable and versatile metal, was widely used in Roman society for various purposes, including the creation of jewellery. Roman bronze rings, in particular, represented a blend of functionality and adornment, serving as symbols of personal style, social status, and sometimes even as indicators of allegiance or affiliation. Size: D: 18.34mm / US: 8 1/4 / UK: Q; 11.08g Provenance: Private London collector, acquired on the Austrian Art market, formerly in an old USA collection formed since the 1970s.
Lot 422
Ca. 900-700 BC.A bronze sceptre features a janiform design, with a highly stylized anthropomorphic figure depicted prominently at its center, firmly grasping the long necks of flanking zoomorphic beasts. Along the length of the sceptre, intricately rendered hindquarters of animals further enhance its visual narrative. The tube of the sceptre stands atop a flared support, which provides stability and elevates the overall aesthetic appeal. The portrayal of the anthropomorphic figure exerting control over the zoomorphic beasts conveys notions of dominance, mastery, and the ability to tame or subdue powerful forces. These sceptres may have been used in ceremonial or religious contexts, serving as symbols of leadership or as objects of veneration. For a similar, please see The British Museum, Registration number 1854,0401.30. Size: L:235mm / W:70mm ; 300g Provenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 229
Ca. 100-300 AD.A bronze plate features a shallow and broad body, with walls that slightly flare outwards and a flat base, indicating its functional purpose as a vessel for serving or displaying food. Roman bronze plates served a multifaceted range of purposes. Primarily used for dining and banqueting, they were essential tableware items employed in various social and domestic contexts. These plates were likely employed in households, public feasts, and even religious ceremonies, symbolizing the abundance and hospitality of Roman culture. Size: L:30mm / W:250mm ; 710g Provenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 146
Ca. 100-300 AD.A terracotta oil lamp with a flattened base, smooth side walls, grooved perimeter, and a recessed tondo decorated with a hippocampus - the mythical creature having the upper body of a horse with the lower body of a fish. Oil lamps were essential household items in ancient Rome, used for lighting homes and public spaces. They were also used for religious and funerary rituals. Roman oil lamps were made from various materials, including pottery, bronze, and glass. The moulded pottery oil lamps were the most common type, produced in large quantities and varying in style and quality. Size: L:125mm / W:90mm ; 167g Provenance: Private London collection, pre-2000s.
Lot 358
Ca. 600-800 AD.A religious bronze ring commences with a round hoop that graces the finger with an unassuming embrace. The gradual expansion of the hoop leads to a large and flat bezel, a canvas that beckons the eye with its expanse. At the heart of this exquisite artefact, three lines of religious inscription unfold with an eloquence that speaks of reverence and piety. Size: D: 17.93mm / US: 7 3/4 / UK: P; 4.85g Provenance: Private London collection, pre-2000s.
Lot 258
Ca. 400-500 AD.A bronze finger ring composed of a flat-section hoop and a circular bezel adorned with intricate dotted patterns and a prominent pentagram. Within the Roman world, the pentagram symbol carried significant connotations, emblematic of both religious and mystical significance. Serving as a potent talisman, the pentagram represented various aspects of Roman spirituality, symbolizing harmony, protection, and the interconnectedness of the divine and mortal realms. Its geometric structure, characterized by five intersecting lines forming a five-pointed star, represented the five elements revered in Roman cosmology - earth, air, fire, water, and spirit. As such, this mesmerizing pentagram-engraved bronze finger ring stands as a testament to the profound symbolism woven into the fabric of Roman culture, encapsulating the multifaceted beliefs and enchantments of the ancient civilization. Size: D: 17.12mm / US: 6 3/4 / UK: N; 4.18g Provenance: Private London collector, acquired on the Austrian Art market, formerly in an old USA collection formed since the 1970s.
Lot 194
Late Period - Ptolemaic Period, ca. 664–30 BC.A bronze oblong, rectangular coffin, elevated by the imposing presence of a serpentine deity, in the form of a cobra, delicately poised atop its austere lid. The cobra was not merely an aesthetic embellishment but a potent symbol of divine protection and authority. Its presence atop the coffin encapsulated the notion of safeguarding the deceased on their journey through the afterlife, a passage fraught with challenges and trials. These bronze coffins, though designed to cradle non-human inhabitants of the earthly realm, were no less significant in their symbolism and purpose, offering a unique glimpse into the Egyptians' profound reverence for the interconnectedness of all life forms. For a similar, please see The British Museum, Miscellaneous number: H1088.2. Size: L:25mm / W:35mm ; 25g Provenance: Private London collection, pre-2000s.
Lot 368
Western Asiatic/Aegan, ca. 1200-700 BC.A pair of bronze spearheads, each with elegantly shaped, slender blades. The blades culminate in a sharp, pointed tip, ideal for piercing armor and other defensive measures. The tang is rectangular in section and impeccably designed. Bronze Age bronze spears were highly valued weapons characterized by their exquisite craftsmanship and functional design. Serving as formidable weapons in both warfare and hunting, they stand as a testament to the technological advancements and cultural achievements of the civilizations that crafted them. Size: L:320-370mm / W:45214mm ; 305g Provenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s.
Lot 366
Western Asiatic/Aegan, ca. 1200-700 BC.A bronze spearhead boasts a double-edged blade with parallel sides, skillfully tapering to a finely honed point. One notable feature of this spearhead is the presence of a thick and flattened midrib that intricately adorns both surfaces of the blade, enhancing its structural integrity and visual appeal. The tang of the spearhead is characterized by a flat-section shank, gradually tapering towards its termination. Bronze spears played a pivotal role during the Bronze Age, serving as essential tools for warfare, hunting, and ceremonial purposes. The introduction of bronze as a primary material for spearheads marked a significant technological advancement, as it provided superior strength, durability, and sharpness compared to earlier materials like stone or copper. These bronze spears revolutionized combat strategies, enabling warriors to engage in close-quarter battles with increased efficiency and precision. Size: L:290mm / W:40mm ; 195g Provenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s.
Lot 260
Ca. 400-500 AD.A bronze ring boasting a broad, flat-sectioned hoop with pairs of incised crosses on its shoulders. The hoop expands to form a bezel that is meticulously adorned with a pentagram and surrounded by sets of dots enclosed within a rounded incised border. In the ancient world, rings held a special significance beyond their function as mere adornments. They were often used to convey messages of power, status, and allegiance. Symbolic rings like this one served as talismans imbued with hidden meanings, decipherable only to those with the knowledge and insight to comprehend them. The pentagram is a particularly powerful and enduring symbol, even to this day. In ancient times, it was regarded as a symbol of mystical significance, representing the union of the divine and the earthly realms. In the context of Roman beliefs, the pentagram was associated with the five elements of earth, air, fire, water, and spirit, and was believed to possess protective and transformative powers.Size: D: 18.34mm / US: 8 1/4 / UK: Q ; 4.47gProvenance: Private London collector, acquired on the Austrian Art market, formerly in an old USA collection formed since the 1970s.
Lot 364
Western Asia, ca. 1200-700 BC.A rare pair of bronze amulets, each characterized by a round-section shank with ribbed features on one end and a claw-shaped hook on the other, and a suspension loop in the mid-section. Western Asiatic metallurgy during this period was marked by the use of bronze, which was created by alloying copper with a small amount of tin. This process allowed for the production of hard, durable objects that could be cast or hammered into a variety of shapes. The skilled artisans of this region created a wide range of objects, including weapons, tools, and decorative items, using techniques such as casting, hammering, and engraving. Size: L:80-80mm / W:45-45mm ; 25g Provenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 214
Ca. 100-300 AD.Constructed from bronze, this pendant exhibits a distinct acorn shape, characterized by a pointed finial and a domed cupule adorned with meticulous detailing and features a generously sized suspension loop for attachment to a chain or cord. Bronze Roman pendants, similar to this particular type, were prized possessions and cherished adornments during the Roman era. They exemplify the Romans' penchant for decorative accessories and their ability to transform ordinary objects into captivating pieces of art. These pendants often incorporated nature-inspired motifs, reflecting the Romans' close association with the natural world and their reverence for its beauty. This item comes with a modern necklace cord. Size: L:40mm / W:15mm ; 24.42g Provenance: Private London collection; formerly acquired in the US in the 1990s.
Lot 237
Ca. 1st century AD.A bronze rosette brooch with a central round panel, distinguished by double raised bands and intricate moulded decorations, evoking the tactile allure of its craftsmanship. The gracefully arched bow features a central register that is elegantly mirrored on a footplate, creating a harmonious visual flow. The head plate, adorned with capped ends, houses a spring mechanism alongside a pin, attesting to the brooch's practical purpose. Gallo-Roman rosette brooches marked by their distinctive round plates and intricate detailing, held functional significance as clasps for garments. Beyond their utilitarian role, they also offered insight into the artistry of the period, with their captivating designs often reflecting regional influences and creative expressions. Cf. R. Hattatt, A Visual Catalogue Of Ancient Brooches, p. 308-309. Size: L:55mm / W:20mm ; 10g Provenance: Private London collection, pre-2000s.
Loading...-
350105 item(s)/page