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Lot 527
Ca. 400-500 AD (or later).A bronze statue of Buddha is a remarkable representation of the enlightened figure in a solid metal form. Standing with his right hand raised in the abhayamudra, a gesture of fearlessness and protection, this statue exudes a sense of tranquility and compassion. The Buddha's attire includes the sanghati, a monastic robe that drapes gracefully around his body, revealing the soft contours and fleshy forms beneath. The intricate cascading drapery of his garment adds a sense of fluidity and movement to the sculpture, enhancing its visual appeal. The face of the Buddha is finely cast, capturing delicate features that convey a sense of serenity and wisdom. Full lips and heavy-lidded eyes, accentuated by gentle eyebrows, create an expression of calm and introspection. The pendulous earlobes, symbolic of the Buddha's renunciation of worldly attachments, are meticulously crafted, drawing attention to the spiritual significance of the figure. The hair, arranged in tight curls over the ushnisha, a cranial protuberance symbolizing enlightenment, further emphasizes the divine nature of the Buddha. An important aspect of the Buddha's appearance is the presence of a dot between the eyebrows, known as the urna. This auspicious mark signifies the Buddha's heightened perception and inner vision. It serves as a reminder of his deep spiritual insight and the ability to perceive truths beyond the ordinary realm. The Gandharan bronze statue of Buddha not only exemplifies the artistic skill of the Gandhara region but also reflects the religious and cultural significance of Buddhism during that period. These statues were revered as objects of devotion and used as focal points for meditation and contemplation. As physical representations of the enlightened one, they served as reminders of the path to enlightenment and sources of inspiration for practitioners. For a similar, see The British Museum, Registration number 1958,0714.1. This item comes with a custom-made stand. Size: L:310mm / W:120mm ; 2.27kg Provenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection.
Lot 539
Ca. 618-907 AD or later.A round-shaped bronze mirror with the reverse side of the mirror featuring a dense relief decoration that surrounds the central boss, portraying majestic birds with wings outstretched, regal lions, and gracefully entwined grapevines. The detailed representation of birds in flight evokes a sense of freedom and elegance, while the presence of lions symbolizes strength and power. The grapevines, with their sinuous tendrils and clusters of grapes, carry symbolic associations of fertility, abundance, and prosperity. The relief decoration on this mirror demonstrates the Tang Dynasty artisans' remarkable ability to capture the natural world and its various elements with a high degree of precision and artistic finesse. The obverse side of the mirror remains smooth, providing a highly reflective surface. This feature fulfills the mirror's primary function, enabling individuals to use it for personal grooming, self-reflection, and cosmetic purposes. The smooth obverse surface offered a clear and accurate reflection, ensuring meticulous attention to detail in grooming practices. Moreover, the mirror's reflective properties may have also facilitated divination or served as a medium for inscriptions or additional decorative elements, showcasing personalization and artistic expression. For a similar, see The Metropolitan Museum of Art, Accession Number: 22.141.2. Size: L:160mm / W:160mm ; 800g Provenance: East Anglian private collection; formerly acquired in the early 1990s in Hong Kong.
Lot 460
Western Asia, ca. 1st millennium BC.A bronze chalice with a round-bottomed cup and a splayed foot. The piece is both sturdy and graceful. The perimeter of the cup is adorned with four bovine heads, each possessing a unique charm with their simplified yet expressive features and short horns. This cup could have been used as a drinking vessel for wine or other luxurious liquids, given its ornate design. It is also possible that the cup had a ceremonial function in religious or cultural rituals. Good condition, repaired. Size: L:130mm / W:150mm ; 295g Provenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection.
Lot 415
Ca. 1100-1200 AD.A bronze bird figurine presents a captivating representation of avian form and beauty. This freestanding figurine portrays a gracefully sculpted bird, potentially a dove, with its slender body elegantly poised on two meticulously crafted short legs. The wings of the bird are gently folded, conveying a sense of tranquility and repose. The head of the figurine showcases a short beak, expertly rendered to capture the essence of avian anatomy, while the accentuated large eyes add a touch of lifelike expression and charm. Birds held profound significance in Seljuk art, serving as powerful symbols with both cultural and spiritual connotations. Birds, particularly doves, were often associated with peace, purity, and divine attributes. They represented an aspiration for harmony and tranquility, embodying qualities that were highly valued in the Seljuk culture. In Seljuk art, birds frequently adorned architectural elements, textiles, and various decorative objects, showcasing the artistic affinity for capturing the grace and elegance of these creatures. Size: L:55mm / W:70mm ; 55g Provenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 173
Ca. 100-200 AD.A bronze brooch crafted with exceptional skill. It features a flat and openwork design, characterized by a striking central motif in the shape of a pelta, enclosed within a rectangular frame. The pelta, a distinctive shield-like shape, was a popular decorative motif in Roman art and held symbolic significance, often associated with protection and strength. The intricately pierced openwork technique allows for an elegant play of light and shadow, adding depth and dimension to the brooch. On the reverse, a well-executed catch plate and pin mechanism provide secure fastening to garments. Brooches held immense cultural significance in Roman society, serving not only as functional accessories but also as symbols of social status, fashion, and personal expression. Roman brooches were intricately designed and adorned with various motifs, including mythological scenes, geometric patterns, and floral motifs, showcasing the artistic taste and craftsmanship of the time. Size: L:33mm / W:28mm ; 5g Provenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 484
Ca. 1200-900 BC.A bronze axe head with a short, curved blade, tapering cheek, and a wedge-shaped adze to the rear. The shaft is short and cylindrical. An axe such as this one would have been an important symbol of rank, and have served a purpose in warfare, but also in religious contexts as axes were common votive offerings in shrines. Size: L:70mm / W:185mm ; 785g Provenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 490
Western Asiatic/Aegan, ca. 1200-700 BC.A bronze spear skillfully cast in one piece. The slender, leaf-shaped blade boasts distinctive round shoulders and a prominent midrib that runs the length of the blade. This midrib adds strength and stiffness to the blade, allowing it to better withstand the stresses of combat. The elongated shank of the blade is elegantly separated from the square tang by a bifurcated molding. The tang itself terminates in a flat, tapered end. Cf. O. White Muscarella, Bronze and Iron. Ancient Near Eastern Artefacts in the Metropolitan Museum of Art, New York, 1988, p.103, 171. Size: L:493mm / W:60mm ; 570g Provenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 110
Ca. 1-200 AD.A bronze figurine portrays Asclepius as a standing figure, positioned atop a circular base for stability and support. The figurine showcases meticulous attention to detail, particularly in the sculpting of the heavy cloak draped around Asclepius, skillfully delineating its folds and adding a sense of weight and realism. The face of the figurine is characterized by recessed eyes that exude a sense of depth and introspection. The prominent nose and small lips further contribute to the facial expression, conveying a combination of wisdom, serenity, and benevolence associated with Asclepius. In Roman mythology, Asclepius was a significant deity associated with healing and medicine. He was revered as the god of medicine and physicians, embodying the ideals of health, wellness, and the art of healing. Asclepius was often depicted with a staff entwined by a serpent, known as the Rod of Asclepius, which has become a universal symbol of medicine to this day. Size: L:50mm / W:20mm ; 25g Provenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 180
Ca. 1-100 AD.A terracotta oil lamp, Loeschcke I type, featuring a round body with a recessed discus depicting a beautifully detailed horse facing left. The horse is portrayed in a dynamic gallop pose, with a raised tail and a well-arranged mane, showcasing the masterful skill of the artist. The single beak, flanked by volutes, adds to the lamp's ornamental appeal. The flat underside provides a stable base for the lamp to rest upon. Oil lamps were an essential household item in ancient Rome, used primarily for lighting purposes in the absence of natural light sources. The use of oil lamps dates back to the Bronze Age, with their design evolving over the centuries to include various artistic depictions. The lamps were typically made of clay, and oil was used as fuel, with a wick inserted into the spout or nozzle to provide a flame. For a similar lamp of Loeschcke I type, but with a deer, see The J. Paul Getty Museum, inventory number 83.AQ.377.48. Size: L:100mm / W:70mm ; 65g Provenance: Property of a London Ancient Art gallery, formerly acquired in Monaco.
Lot 485
Ca. 1200-900 BC.A bronze axe head with an adze blade is an exemplar of exceptional craftsmanship, exhibiting an elegant design and practical form. The tool features a central, collared socket, which would have allowed for attachment to a wooden handle. The curved blade on one end is vertically oriented, with flaring tips, while on the other end, the adze blade adds further functionality to the implement. The adze blade was a common feature of many ancient tools, and it typically consisted of a rectangular or triangular-shaped blade attached perpendicular to the handle. Its unique design allowed for efficient woodworking, particularly in shaping and smoothing wood surfaces. Size: L:70mm / W:230mm ; 1kg Provenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 382
Ca. 1100-1200 AD.A bronze inkwell with its distinctive hexagonal-shaped body, flat base, and straight walls adorned with finely incised decorations. The fitted lid, topped with a pointed finial, not only added a decorative element but also served to protect the contents of the inkwell from evaporation or contamination. The upper surface of the lid features a decorative band, further enhancing the aesthetic appeal of the inkwell. These inkwells served as essential writing accessories, primarily used for holding ink or pigments. The hexagonal shape of the inkwell provided an elegant and functional design, allowing for stability and preventing it from rolling or tipping over. The flat base ensured a steady placement on writing surfaces, while the straight walls facilitated easy access to the ink or pigments within. Size: L:105mm / W:75mm ; 345g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Lot 406
Ca. 700 AD.A bronze ring with a distinct set of characteristics that contribute to its captivating allure. The ring's hoop showcases a design featuring a flat inside surface, providing a comfortable fit for the wearer, while the outer side displays a subtle curvature, adding a touch of elegance to its overall appearance. The shoulders of the ring, mirroring the bezel's design, present a flat contour adorned with intricate lines of script, further enhancing the ring's aesthetic appeal and cultural significance. These meticulously engraved lines of script, skillfully inscribed onto the bronze surface, evoke a sense of cultural heritage. The craftsmanship involved in achieving such intricate detail reflects the skilled hands of the ring's creator, highlighting their mastery and attention to artistic precision. Size: D: 14.48mm / US: 3 1/4 / UK: G; 4.67g Provenance: Private London collection; ex. UK art market prior to 2000.
Lot 417
Ca. 800-700 BC.A helmet formed of hammered bronze sheet of conical form with two bands of horizontal raised ribs around the bottom edge. The helmet is decorated with repousse rib to the forward face ending in a beast-head and flanked by two repousse arched serpents. The representation of mythical snakes with lion heads is a recurring theme on Urartian helmets and is thought to have served as a form of magical protection against even forces. The Urartian craftsmen were renown for their skills in producing high quality metalwork. Among these were bronze helmets, quivers, and shields in which they were unique for hammering repousse and engraving techniques. The Urartian kingdom was famous for its battles with the Assyrian empire, the weaponry was in high demand. Literature: Barnett, R.D., Watson, W., Russian Excavations in Armenia, vol.14, no.2, fig.15, and pls.XXXII,2, XXXIII,2; Borchardt, J., Homerische Helme: Helmformen der Ägäis in ihren Beziehungen zu orientalischen und europäischen Helmen in der Bronze- und frühen Eisenzeit, Mainz, 1972, pp.103ff., fig.9, p.107, 10-12, p.108; pl.34,4; H. Born & i. Seidl, Schutzwafften aus Assyrien und Urartu, Band IV, Sammlung Axel Guttmann, Berlin 1995, pp. 36-39. II-V.Cf. Christie's, New York 5th June 2014, Lot 55 for similar. Christie's, 14th April 2011, lot 331. The British Museum Accession number: 134611. Size: L:310mm / W:230mm ; 905g Provenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection.
Lot 142
Ca. 1st millennium BC.A zoomorphic amulet crafted from bronze exhibits a U-shaped ribbed body. At each terminal, masterfully rendered animal heads emerge. The incorporation of animal symbolism within the amulet reflects the profound connection between ancient societies and the natural world. Zoomorphic amulets were believed to possess protective qualities, guarding the wearer against malevolent forces and bringing good fortune. The choice of animal depictions varied, encompassing a range of creatures such as birds, mammals, and mythical beasts. Each animal held specific symbolism and associations within the cultural context. This item comes with a modern necklace cord. Size: L:40mm / W:42mm ; 18.49g Provenance: Private London collection.
Lot 24
Ca. 1-100 AD.A RARE askos vessel crafted from hammered bronze, showcasing the exceptional artistry and technical skill of Roman metalworkers. An askos is a type of ancient Greek and Roman vessel characterized by its rounded body, typically used for pouring liquids. This particular askos features a spout and a low foot, contributing to its functional design. The most striking feature is its elaborate, distinctively curved handle, extending from the rear of the vessel to the lip. The base of the handle is adorned with a mask depicting a youthful figure, possibly representing a deity. Askos vessels were primarily used for pouring and storing liquids such as oil, wine, or water. The rounded body with a spout facilitated controlled pouring, ensuring the contents could be dispensed with precision and ease. The low foot provided stability when the vessel was placed on a surface, preventing tipping or spilling. The handle, with its unique curvature, allowed for a comfortable grip, enhancing the ease of handling during the pouring process. For a similar, see The Metropolitan Museum of Art, Accession Number: 97.22.19. Size: L:140mm / W:220mm ; 420g Provenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 433
Ca. 1st millennium BC or later.An ancient cast bronze figurine of an ibex, portrayed standing on four short legs and featuring an elongated body. The animal's facial and anatomical features are rendered in a naturalistic manner. Cf. The Metropolitan Museum of Art, Accession Number: 53.47.2. Size: L:100mm / W:95mm ; 145g Provenance: Private London collection since the 1990.
Lot 461
Ca. 500 AD.A bronze tall vessel of piriform shape, tapering towards the top, provides an elegant and visually appealing silhouette, while the elevated splayed foot ensures stability and adds a sense of grandeur to the vessel's overall composition. The pronounced rim of the mouth not only enhances the vessel's aesthetic appeal but also serves a practical function. It allows for easy pouring and facilitates the handling of the vessel during use. These vessels played diverse roles within the Sasanian society. They were utilized for various purposes, including serving and storing liquids, as well as ceremonial and ritualistic functions. The tall stature and distinctive form of these vessels would have made them prominent elements within the social and cultural contexts of the Sasanian Empire. Size: L:265mm / W:115mm ; 815g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Lot 423
Ca. 2750-1900 BC.A terracotta idol characterized by its pillar-shaped body and flat flared base. The hands of this figure are positioned along the body, while the face features are highly stylised and showcase oversized pierced eyes and a prominent nose. The head is crowned with a short hat, and the neckline is adorned with an elaborate D-shaped necklace. These pillar idols find their origin within the cultural milieu of the Syro-Hittite civilization, which emerged in the Late Bronze Age. Functionally, Syro-Hittite idols are believed to have served as votive objects or representations of deities within religious rituals. Their distinctive pillar shape, combined with the stylized facial features, suggests their association with worship and divine reverence. For a similar, see The Princeton University Art Museum, Object number 2002-25. Size: L:130mm / W:45mm ; 145g Provenance: Property of a Central London gallery, acquired on the US Art market; Ex. David Hendin collection.
Lot 112
Ca. 100-300 AD.A bronze right arm with outstretched fingers, presented as an independent fragment, exemplifies the artistry and attention to detail prevalent in the Roman sculptural tradition. Crafted from bronze, the arm showcases a remarkable level of naturalistic rendering, capturing the anatomical nuances and muscular contours with precision and skill. This finely sculpted arm, detached from its original context, is believed to have originated from a figurine or statue, where it would have served as an integral component of a sculptural ensemble. The careful execution of the fingers, extended in a graceful manner, adds a sense of dynamic movement and expressive gesture to the piece. Size: L:65mm / W:10mm ; 20g Provenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 117
Ca. 100-300 AD.A bronze finger ring featuring a round hoop with a slight carination, providing a comfortable fit for the wearer. The smooth inside enhances the wearing experience, while the incised shoulders add a touch of decorative detail. However, it is the large bezel that steals the spotlight, characterized by a stepped-in border and an expertly engraved central depiction of a stylized sun with 12 rays. The sun holds great importance in Roman mythology and symbolism, representing various aspects such as vitality, power, and divinity. It was associated with Sol, the Roman god of the sun, and was considered a significant celestial body in the ancient Roman worldview. The depiction of the stylized sun with 12 rays on this bronze ring may hold further significance. In Roman culture, the number 12 had symbolic connotations, representing completeness and cosmic order. It aligns with the twelve-month calendar and the zodiac signs, indicating a connection to time, cycles, and celestial harmony. Size: D: 17.93mm / US: 7 3/4 / UK: P; 6.11g Provenance: Private London collector, acquired on the Austrian Art market, formerly in an old USA collection formed since the 1970s.
Lot 357
Ca. 1000 AD.A bronze cross pendant with a flat-section body showcases a refined simplicity, emphasizing the elegance of its form while allowing the ornamental details to take center stage. The upper face of the pendant boasts two low-relief crosses adorning the longer arms, imbuing the piece with a striking visual symmetry and reinforcing its sacred significance. Enhancing the pendant's visual allure, the transverse bar is adorned with an intricately etched large 'X' pattern. This distinctive motif not only adds a captivating aesthetic element but also carries symbolic weight, potentially representing the intersecting realms of the divine and the human, the union of heaven and earth. A suspension loop positioned at the top facilitates the pendant's wearability, enabling it to be proudly worn as a personal emblem of faith. Bronze cross pendants of this nature served as tangible manifestations of religious devotion, conveying both personal belief and a sense of communal identity within the Byzantine world. Size: L:34.6mm / W:21.7mm ; 5.05g Provenance: Private London collector, acquired on the Austrian Art market, formerly in an old USA collection formed since the 1970s.
Lot 355
Ca. 1100-1300 AD.An intricately crafted bronze cross pendant is composed of four segmented arms, each one expanding outward at the end. The junction where the arms meet is a square section, which is further adorned with an incised dot motif. The pendant is suspended from a loop at the top, making it easy to wear. The craftsmanship of the pendant is exceptional, with attention paid to every single detail. Size: L:35.2mm / W:27.7mm ; 5g Provenance: Private London collector, acquired on the Austrian Art market, formerly in an old USA collection formed since the 1970s.
Lot 343
Medieval Europe, ca. 1500- 1700 AD.A beautiful bronze ring with a circular band, flared shoulder, and octagonal bezel, decorated with the tree of life. In the Book of Genesis, the tree of life is described as being the tree of the knowledge of good and evil. In Eastern Christianity, the tree of life is the love of God. For more information on Medieval rings, see Tait, H. (1986). Seven Thousand Years of Jewellery. British Museum Press, London; Ward. A. et al (1981). The Ring from Antiquity to the Twentieth Century. Thames and Hudson, London; Hinton, D. (1982). Medieval Jewellery. Shire Publications, Princes Risborough. Size: D: 20mm / US: 10 1/4 / UK: U; 14.5g Provenance: Private London Collection.
Lot 538
Ca. 618-907 AD or later.A bronze mirror features a floral-shaped body with a central raised boss. The reverse side of the mirror showcases a dynamic relief decoration depicting human figures mounted on galloping horses engaged in the pursuit of various animals and birds. The background of the scene is filled with intricate floral and vegetal motifs, adding depth and visual richness to the composition. The relief decoration on the reverse side of the mirror captures the vibrant and energetic atmosphere of hunting scenes, reflecting the importance of hunting as a cultural and social activity during the Tang Dynasty. The depiction of human figures skillfully maneuvering on horseback while engaging in the pursuit of animals and birds demonstrates the mastery of equestrianism and the elite status associated with hunting. The dynamic composition and attention to detail in the portrayal of various animals and birds highlight the Tang Dynasty's fascination with nature, wildlife, and the pursuit of the hunt. Size: L:195mm / W:195mm ; 820g Provenance: East Anglian private collection; formerly acquired in the early 1990s in Hong Kong.
Lot 25
Ca. 100-300 AD.A bronze votive representation of a right foot, meticulously crafted to depict the anatomical details with a naturalistic touch. The delicate rendering of the fingers, complete with delineated nails and bones, showcases the sculptor's attention to anatomical accuracy. The foot, skillfully set within a highly ornamental sandal adorned with woven fastenings, exemplifies the Romans' penchant for intricate and decorative footwear. In the Roman world, the act of offering a votive foot was a tangible expression of gratitude, seeking divine intervention, or invoking the protection of a specific deity associated with healing or guidance. The votive feet models represented a symbolic connection between the physical realm and the spiritual or divine realm. By offering a representation of a body part, individuals believed they were making a direct link to the divine power that could influence their health, well-being, or specific desires. Size: L:80mm / W:95mm ; 545g Provenance: Private London collection of F.A; formerly acquired on the UK and International art market; 1970s-2020.
Lot 136
Ca. 300-200 AD.A bronze figurine of a female deity, exquisitely crafted in a standing pose with a subtle sway to her right. This dynamic representation depicts the goddess with both hands outstretched, symbolizing her divine power and authority. The goddess is elegantly dressed in a long garment, beautifully adorned with incised folds that accentuate the fine details of the piece. The charm of her face is further accentuated by her captivating eyes, well-defined nose, and delicate lips that convey a sense of grace and serenity. Her hair is intricately styled into a coiffure, which is elegantly tied back, adding a sense of refinement and sophistication to her appearance. Displayed on wooden stand. Size: L:140mm / W:75 (with stand)mm ; 320g Provenance: Property of a London Ancient Art gallery, formerly English private collection, according to the heirs possibly purchased in some auction or Art Gallery during 1970s-1980s.
Lot 509
Ca. 12th century BC.A bronze fangyi, a ritual wine vessel crafted from bronze characterized by its unique and intricate design. The rectangular shape of the vessel resembles a small hut or granary, and it is adorned with a fitted roof-like lid and a central knob that mimics the shape of a roof. The edges of the vessel are embellished with vertical flanges, which not only serve as decorative elements but also contribute to the overall structural integrity. These flanges showcase meticulously incised patterns that add a touch of sophistication to the piece. One of the most striking features of this bronze fangyi is the presence of taotie masks on each wall. The taotie is a mythical creature commonly depicted in ancient Chinese art and is characterized by its distinctive facial features, typically comprising large, bulging eyes, a protruding snout, and stylized horns or antlers. In the context of this fangyi, the taotie masks serve as a significant symbolic representation, perhaps conveying notions of protection or auspiciousness. Fangyi, refers to a specific type of bronze vessel primarily used for ritualistic purposes. These vessels were utilized in various ceremonial activities, including ancestral worship and banquets hosted by the ruling elite. The fangyi served as a prestigious container for wine, a symbol of wealth and social status during the Shang Dynasty. Its significance extends beyond its utilitarian function, as these vessels were integral to the performance of rituals and the establishment of religious connections with ancestral spirits. Possible Restoration. For a similar, see The Metropolitan Museum of Art, Accession Number: 49.135.4a, b. Size: L:205mm / W:115mm ; 1.76kg Provenance: UK private collection of Asian Art; formerly acquired in the early 1990s in Hong Kong.
Lot 489
Western Asiatic/Aegan, ca. 1200-700 BC.A bronze spear skillfully cast in one piece. The slender, leaf-shaped blade boasts distinctive round shoulders and a prominent midrib that runs of the entire length of the blade to the tip. This midrib adds strength and stiffness to the blade, allowing it to better withstand the stresses of combat. The elongated shank of the blade is elegantly separated from the square tang by a bifurcated molding. The tang itself terminates in a flat, tapered end. Size: L:445mm / W:50mm ; 325g Provenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1990s.
Lot 7
Ca. 500-300 BC.A bronze helmet with a hemispherical dome, which provided a protective covering for the wearer's head. Positioned at the front, a nasal guard served as a safeguard for the nose, while also contributing to the overall aesthetic appeal of the helmet. The contoured and raised eyebrows, skillfully incorporated into the design, add an element of visual interest. Rounded eye cuts are strategically placed to allow the wearer adequate visibility without compromising protection. Another notable feature of this helmet is the raised neck flange, which extended down to safeguard the back of the wearer's neck. The hinged cheekpieces, offering additional protection to the sides of the face, were designed to be easily opened or closed, providing flexibility and comfort during battle. Chalcidian helmets originated in ancient Greece, particularly in the region of Chalcis. They were a significant development in helmet design, incorporating advancements in head protection and improved visibility for the wearer. They were widely utilized by Greek hoplites during the Archaic and Classical periods. Size: L:270mm / W:240mm ; 1.1kg Provenance: Private London collection, acquired on the European art market prior to 2000.
Lot 316
Ca. 900-1100 AD.A bronze bracelet, meticulously crafted in the round with a flat-section shank, epitomizes an exquisite specimen of adornment from the Viking era. Characterized by an open-type design, this bracelet showcases a seamless union of elegance and craftsmanship. While the interior of the bracelet maintains a smooth surface, the exterior delights the eye with a masterfully engraved pattern, demonstrating the Vikings' meticulous attention to detail and their penchant for ornamental artistry. Viking bracelets held multifaceted significance within their culture, serving as symbols of wealth, status, and personal identity. Worn by both men and women, these bracelets were cherished accessories that adorned the wrists of individuals across the social spectrum. Beyond their decorative function, Viking bracelets could also hold cultural and religious symbolism, acting as talismans for protection or as expressions of devotion to deities. Size: L:55mm / W:50mm ; 20g Provenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets.
Lot 213
Ca. 300 AD.A bronze finger ring with its design comprising a round hoop, meticulously shaped from a flat-section shank, ensuring a comfortable fit and durability. The octagonal-shaped bezel of the ring features a grooved border, framing the central motif of four concentric circles that symbolize the sun. The depiction of the sun holds great significance in Roman rings, representing various interpretations and conveying a range of symbolic meanings. In Roman culture, the sun was associated with divinity and celestial power. It symbolized light, vitality, and warmth, embodying the life-giving energy that sustains all living beings. The sun was revered as a deity, often identified with Sol, the Roman god of the sun. Its depiction on the ring served as a visual tribute to this celestial entity, evoking a sense of reverence and awe. Size: D: 17.73mm / US: 7 1/2 / UK: O 1/2; 4.72g Provenance: Private London collector, acquired on the Austrian Art market, formerly in an old USA collection formed since the 1970s.
Lot 143
Ca. 100-200 AD.An outstanding bronze pendant in the shape of a phallus, with stylised testicles and a suspension loop for hanging. The pendant is exquisitely crafted, made from bronze, and carefully hand-polished to a beautiful sheen. The phallic amulets were protective talismans that could ward off evil and were believed to bring good luck, health, and fertility. For a similar, see The Metropolitan Museum of Art, Accession Number: 60.117.2. This item comes with a modern necklace cord. Size: L:40mm / W:20mm ; 21.49g Provenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 440
Western Asiatic/Aegan, ca. 1200-700 BC.A finely cast bronze dagger, comprising a triangular-shaped, double-edged blade with raised mid-rib and a flanged, hollowed hilt. The dagger's design is both practical and aesthetic. Bronze weaponry was an essential part of life in the Bronze Age, used for hunting, warfare, and even ritual purposes. A bronze dagger is characterized by its triangular-shaped, double-edged blade with a raised mid-rib and a flanged, hollowed hilt, showcasing the intricate design elements that were both practical and aesthetically pleasing. The dagger's blade, crafted with precision and skill, features a triangular shape that tapers to a sharp point on both edges. This design provided the weapon with optimal piercing and cutting capabilities, making it effective in combat and hunting scenarios. The raised mid-rib along the center of the blade added structural strength and rigidity while maintaining a balanced weight distribution. Bronze weaponry, including this finely cast dagger, held great significance in Bronze Age societies. These weapons were essential tools of daily life, serving various purposes such as hunting, warfare, and even ritualistic practices. Bronze daggers were not only utilitarian objects but also symbols of power and authority. Owning such a finely crafted weapon was a testament to one's status and skill as a warrior or hunter.Size: L:395mm / W:55mm ; 315g Provenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 137
Ca. 400 AD.A bronze figurine depicting a rooster, elegantly poised atop an integral square-shaped base. Crafted from bronze, this figurine showcases remarkable attention to detail. The slender legs of the rooster provide a stable foundation, supporting a beautifully sculpted body that tapers gracefully towards its raised tail. The wings of the rooster are depicted in a folded position, while its arched neck leads to a round head with a short beak and large, expressive eyes situated on the sides. The rooster's head is adorned with a raised crest and notable wattles, further enhancing its visual appeal. Roosters held significant symbolism in the Roman world, often associated with various aspects of Roman culture and belief systems. They were considered sacred birds and were associated with the god Apollo, who was often depicted with a rooster by his side. Roosters were believed to possess divine qualities, such as the ability to ward off evil spirits and bring good fortune. They were also closely linked to concepts of vigilance, courage, and fertility. Size: L:105mm / W:75mm ; 160g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Lot 441
Western Asiatic/Aegan, ca. 1200-700 BC.A bronze dagger features a triangular blade that tapers to a sharp point, exhibiting a design intended for effective thrusting and cutting actions. The blade also displays a distinctive feature in the form of double grooves along the midsection. The hilt of the dagger is equipped with a flanged design to accept inlay, enabling the addition of decorative elements or materials to further enhance the dagger's visual allure. Bronze weapons were highly valued for their strength, durability, and superior cutting and thrusting capabilities compared to earlier stone and copper weapons. The development and use of bronze as a material for weaponry marked a technological advancement during this period, revolutionizing warfare and hunting practices. Size: L:370mm / W:40mm ; 180g Provenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 479
Ca. 2nd millennium BC.A suite of bronze harness fittings comprising a snaffle bit and two cheek-pieces, each with three rings to one face. The item is joined at the smaller rings; an unadorned bars extends from each side and splays out into a large terminal ring. This piece would have sat in the horse's mouth attached to the reins giving the rider more control over the animal. A brown and green patination remains on the surface. Size: L:215mm / W:185mm ; 310g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Lot 478
Ca. 1st millennium BC.A bronze bull aquamanile. It stands on all four slender legs, portraying the strength and grace associated with the majestic bull. The aquamanile serves as a vessel for pouring water, typically used for ceremonial or functional purposes. They played a significant role in ablution rituals, symbolizing purification and cleansing. The muscular body of the bull not only reflects the physical attributes of the animal but also serves as a functional reservoir for holding water. One of the notable features of the aquamanile is the spout protruding from the bull's back. The presence of the spout indicates the intended function of the aquamanile as a vessel for dispensing water. The face of the bronze bull aquamanile is adorned with simplified features, emphasizing the essence of the bull's identity. The head is crowned with a pair of horns, symbolizing strength and power. Size: L:50mm / W:55mm ; 100g Provenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 120
Ca. 100-300 AD.A bronze finger ring boasting a round hoop, carefully shaped with a flat-section shank. The shoulders of the ring exhibit a captivating incised pattern, meticulously carved to enhance its aesthetic appeal. The bezel of the ring takes on an octagonal shape, commanding attention with its geometric elegance. Adorned with an etched border, it exhibits intricate detailing. The central decoration on the bezel consists of three horizontal lines, each precisely etched to create a visually captivating design. At the upper section of this decorative motif, a small cross emerges, adding a significant symbolic element to the ring. Size: D: 19.15mm / US: 9 1/4 / UK: S; 9.65g Provenance: Private London collector, acquired on the Austrian Art market, formerly in an old USA collection formed since the 1970s.
Lot 537
Ca. 618-907 AD or later.A bronze mirror with a captivating depiction of Hundred Beasts adorning its surface. This bronze mirror features a round body with a central raised boss, pierced for functional and decorative purposes. The mirror's raised rim provides both structural support and a visually pleasing frame for the intricate design. The central field showcases a relief decoration that portrays finely detailed representations of Hundred Beasts set against a mesmerizing spiraling background. The motif of Hundred Beasts holds profound significance within Chinese art and culture. In Chinese mythology and symbolism, animals are often associated with specific qualities, virtues, or cosmic forces. The depiction of the Hundred Beasts on this mirror reflects the belief in the harmonious coexistence of various creatures and the integration of nature within the human realm. Each animal depicted carries symbolic meaning, representing auspiciousness, protection, or attributes valued within the Tang Dynasty's cultural and social context. The obverse of the mirror remains smooth, allowing for clear and reflective surfaces. This feature enhances the mirror's practical function, enabling it to serve as a functional tool for personal grooming or self-reflection. Bronze mirrors held great importance in ancient Chinese society, not only as functional objects but also as cultural artifacts. They were highly valued possessions and often held symbolic meaning, representing social status, wealth, and aesthetic appreciation. Bronze mirrors were frequently used by both men and women as essential accessories, reflecting the importance placed on personal grooming and beauty standards. Size: L:185mm / W:185mm ; 690g Provenance: East Anglian private collection; formerly acquired in the early 1990s in Hong Kong.
Lot 439
Western Asiatic/Aegan, ca. 1200-700 BC.A bronze dagger with its beautifully-shaped blade tapering to a sharp point and a round-section hilt masterfully crafted with a discoid pommel. A circular crescent guard encloses the upper part of the midrib, overlapping the hilt and enhancing the blade's durability and strength. Bronze weaponry in the Bronze Age of Western Asia was a crucial element of warfare and social status. The mastery of bronze casting and the use of weapons in warfare and hunting was significant factor in the rise and fall of many empires during this period. The Western Asiatic region was renowned for its impressive bronze weapons, which were frequently adorned with intricate designs and motifs, as is exemplified by this magnificent dagger. Size: L:365mm / W:45mm ; 290g Provenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 349
Ca. 600-800 AD.A flat-section cross pendant made of bronze, with flaring arms and suspension loop. At the heart of the pendant and at the tip of each arm lies a motif of concentric circles, which all together form five wounds of Christ, an iconic image of the Christian faith. The imagery of the Five Wounds of Christ symbolizes the passion and suffering of Jesus and can be seen as a reminder of the selflessness and sacrifice of Jesus, who died for the sins of mankind. The motif has been used in many Christian artworks to show a sense of reverence, piety, and devotion to Jesus, as a symbol of his suffering, and as a source of inspiration for Christians everywhere. Size: L:40.1mm / W:26.2mm ; 7.77g Provenance: Private London collector, acquired on the Austrian Art market, formerly in an old USA collection formed since the 1970s.
Lot 119
Ca. 100-300 AD.A bronze penannular ring featuring a round hoop that gracefully wraps around the wearer's finger, providing both comfort and stability. The raised bezel, positioned prominently on the ring, draws attention to its intricate details and serves as a focal point of visual interest. The bezel of the ring takes the form of an eye shape. This unique design element adds a touch of elegance and allure to the overall composition. The surface of the bezel is adorned with etched decorations. Size: D: 16.92mm / US: 6 1/2 / UK: M 1/2; 10.84g Provenance: Private London collector, acquired on the Austrian Art market, formerly in an old USA collection formed since the 1970s.
Lot 356
Ca. 1100-1300 AD.A highly detailed bronze cruciform pendant incorporating a vast array of ornate design elements. The cross arms have both a distinct angular look and a series of intricate line work that circles around each arm. The protrusions extending from each arm also contain similar stylized line work, adding to the pendant's stunning appearance. Medieval cross pendants were a popular form of jewelry in the Middle Ages, worn by people of all ages and social classes. Crosses were a symbol of faith, often used in processions and holy days, and they were believed to have a protective power. Cross pendants varied in design, size, and material. Size: L:26.3mm / W:18.9mm ; 2.41g Provenance: Private London collector, acquired on the Austrian Art market, formerly in an old USA collection formed since the 1970s.
Lot 430
Western Asiatic/Aegan, ca. 1200-700 BC.Fashioned from bronze, this sword features a long blade that elegantly tapers to a sharp point, enabling precise thrusting and cutting actions. Notably, the blade is distinguished by a prominent raised mid rib, which not only enhances the structural integrity of the weapon but also adds visual sophistication to its design. The sword's guard exhibits a distinctive curved shape that overlaps the blade, serving to protect the wielder's hand during combat while contributing to the overall elegance of the weapon. The hilt of the sword is skillfully crafted with a round-section shank, characterized by a pair of ribs. These ribs not only provide a comfortable grip but also enhance the wielder's control and maneuverability during combat situations. The sword is beautifully finished with a crescent pommel, adding a touch of uniqueness and functionality to the weapon. Bronze weapons held immense importance in Bronze Age Western Asia, significantly shaping warfare, hunting practices, and societal dynamics. The advent of bronze weaponry represented a remarkable technological advancement, as bronze provided superior strength, durability, and cutting capabilities compared to earlier materials like stone or copper. Size: L:605mm / W:80mm ; 605g Provenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s.
Lot 138
Ca. 100-300 AD.A bronze dog figurine depicts a dog in a state of alertness, captured in a realistic and lifelike manner. The meticulous attention to detail is evident in the finely sculpted body, characterized by its slender legs, erect ears, and pointed muzzle, which contribute to the overall sense of vitality and energy. The positioning of the tail, centered along the middle of the hind legs, further enhances the naturalistic representation of the animal. Roman figurines of animals, including dogs, served various purposes, ranging from votive offerings to decorative items. These figurines were often associated with religious practices, where they were offered to deities or placed in household shrines. Size: L:30mm / W:35mm ; 20g Provenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 464
Ca. 1200-900 BC.A cast bronze figurine depicts a slender-bodied bull standing on all fours, with a raised small tail and a long neck supporting a head adorned with impressive, curved horns. The facial features are simplified, creating a sense of elegance and abstraction. Notably, the dewlap of the bull is adorned with a concentric circles design, while horizontal incisions embellish the legs. Bronze animal figurines, like this bull, held significant cultural and symbolic roles in Bronze Age societies. They were not merely decorative objects but were imbued with meaning and function. The bull, in particular, was a prominent and revered animal in various ancient civilizations. It symbolized strength, fertility, and power, often associated with deities and natural forces. These figurines might have been used in ceremonial contexts, placed in sanctuaries, or employed in ritualistic offerings or processions. Size: L:90mm / W:80mm ; 75g Provenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 497
Western Asiatic/Aegan, ca. 1200-700 BC.A bronze spear features a leaf-shaped blade that tapers to a sharp point, enabling both piercing and cutting actions. A prominent feature of the blade is the raised midrib, which extends the length of the blade and smoothly transitions into a tang, providing structural reinforcement and facilitating the attachment of the spearhead to the shaft. Bronze weapons held immense significance in Bronze Age Western Asia, serving as vital tools for warfare, hunting, and societal practices. The advent of bronze weaponry represented a technological advancement, as bronze offered superior strength, durability, and the ability to retain a sharp edge compared to earlier materials such as stone or copper. Size: L:385mm / W:50mm ; 365g Provenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 465
Ca. 100-200 AD.A bronze goddess figurine portrays a goddess with a pleasantly rounded, chubby body, gracefully adorned in what appears to be a long skirt. Standing atop an integral flat base, she emanates an aura of divine presence. The goddess assumes a poised stance, with her left arm gently resting along her body, while her right hand is raised and outstretched, delicately holding a five-petaled flower. The head of the figurine is notably large, featuring simplified yet captivating facial features. Her eyes, prominently large, exude a sense of watchfulness, while her broad nose and fleshy lips add a sense of naturalistic beauty. Her ears are adorned with heavy earrings, further emphasizing her status and elegance. The elaborate headpiece crowning the goddess's head signifies her elevated status and may reflect her association with particular attributes or spheres of influence. This item comes with a custom-made stand. Size: L:110mm / W:45mm ; 155g Provenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 413
Ca. 1100-1200 AD.A bronze finial in the form of a lion's head originating from an incense burner. The head is characterized by a strikingly crafted countenance replete with a pair of erect ears and a broad, commanding nose. Notably, the conical neck of the finial is meticulously perforated, facilitating the graceful release of scented smoke. For a complete incense burner in the shape of a lion see The Metroplitan Museum, Credit Line: The David Collection, Copenhagen (48/1981). Size: L:80mm / W:75mm ; 220g Provenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 174
Ca. 600 BC.Openwork bronze sun pendant comprising two concentric circles with raised decorative dots at regular intervals joined by four horizontal bars. The sun is commonly depicted in Bronze Age art and seems to have been a powerful symbol of fertility and the passage of time. However, the sun was not just a natural phenomenon but was often viewed as a god in many Bronze Age societies. Good condition; on modern neck loop. Size: L:67mm / W:55mm ; 27.74g Provenance: Private London collection.
Lot 462
Ca. 500 AD.A bronze goblet, distinguished by its generous size cup, corseted walls, and conical-shaped base. Supported by a small, gracefully concave foot, this goblet showcases a harmonious balance between form and function. The cup of the goblet culminates in a slightly everted rim, enhancing the aesthetic appeal and facilitating a comfortable drinking experience. Lower section of the cup features decorative register, which serves as a platform for intricate design. The two thick ridges positioned on the top and bottom of the band add visual prominence and emphasize the artistic elements within the goblet's overall design. These goblets were most likely used during feasts, banquets, and special occasions, emphasizing their role in communal gatherings and social rituals. Size: L:140mm / W:145mm ; 430g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Lot 468
Ca. 2nd millennium BC.A cast bronze cloth pin exhibits a sleek and slender form, tapering to a sharp point at one end, while the opposite terminal is adorned with a head depicting a horned animal with impressive antlers. Bronze pins such as this one held significant functional and symbolic roles in Bronze Age societies. Primarily, they served as fasteners or clasps for securing garments, particularly cloth and textiles. The sharp point of the pin allowed it to be easily inserted through layers of fabric, effectively holding them in place. The opposite end, featuring the intricate representation of a horned animal, not only added visual appeal but also acted as a functional grip, facilitating the manipulation and positioning of the pin. Beyond their utilitarian purpose, bronze pins often held symbolic significance in ancient societies. They were frequently associated with status, wealth, and personal adornment. The presence of decorative elements, such as the representation of an animal with imposing antlers in this particular cloth pin, further emphasizes the symbolic importance of the item. The horned animal motif may have carried cultural or religious meanings, reflecting beliefs or affiliations of the wearer. Size: L:310mm / W:75mm ; 250g Provenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 435
Ca. 900-700 BC.A bronze whetstone socket is shaped as a tapering tube, culminating in an intricately fashioned ibex head at one end. The exterior of the socket exhibits a smooth surface, devoid of any decorative embellishments, thereby emphasizing the simplicity and elegance of its design. The finely detailed ibex head serves as the focal point of the piece. The curved long horns gracefully curve backward, while the erect ears and recessed eyes lend a sense of alertness and poise to the depiction. The pronounced snout and straight neck contribute to the overall realism and accuracy in portraying the ibex. Functionally, the whetstone socket played a crucial role as a tool for sharpening blades and weapons. Its tapering shape facilitated the secure placement of a sharpening stone or whetstone, allowing for efficient and effective sharpening. The ibex head not only added an aesthetic touch but also functioned as a handle, enabling a firm grip and precise control during the sharpening process. For a similar, please see Bonhams, Antiquities, London, 6 july 2017, Lot 191. This item comes with a custom-made stand. Size: L:50mm / W:155mm ; 545g Provenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 532
Ca. 202 BC - 220 AD.A bird figure expertly crafted from terracotta, with naturalistically shaped bronze legs that lend a sense of lifelikeness to the piece. The bird's polychrome plumage is vibrant and finely rendered, with a well-defined tail and a red-pigmented head featuring wide-open eyes and a cream-colored beak. This exquisite example of Mingqi, or burial art, was created to accompany the deceased into the afterlife, serving as a representation of the wealth and status they held in life. The intricate detailing and masterful execution of this piece speak to the skill and craftsmanship of the artisans of the Han Dynasty. 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:185mm ; 345g Provenance: East Anglian private collection; formerly acquired in the early 1990s in Hong Kong.
Lot 314
Ca. 900-1100 AD.Forged from a singular bronze rod, this open-type bracelet boasts a captivating composition, characterized by a twisted body and gracefully flared terminals. Enhancing its rugged allure, the bracelet's flattened terminals are adorned with exquisite drop-shaped openings, imparting a touch of refined elegance. Embraced by Vikings, twisted bracelets emerged as a favored style, transcending gender boundaries and serving as powerful emblems of societal stature and opulence. Meticulously crafted through the intertwining of slender metal strips, these bracelets manifest a striking spiral motif, combining both robustness and arresting visual appeal. Beyond its aesthetic merits, the twisted pattern imbues the bracelet with enhanced fortitude and longevity, further augmenting its inherent allure and making it an enduring symbol of strength and endurance. Size: L:70mm / W:55mm ; 55g Provenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets.
Lot 208
Eastern Hellenistic, ca. 300-200 BC.A bronze bracelet of open type showcases a smooth interior, ensuring a comfortable fit for the wearer, while the exterior features a ribbed body, adding textural interest and visual appeal. The central plaque of the bracelet presents an en-face portrait of a goddess, capturing her commanding presence through a compellingly intense and staring gaze. Flanking the central plaque are two similar panels adorned with incised motifs, enhancing the overall aesthetic value of the bracelet. As the bracelet extends towards its ends, it culminates in exquisitely fashioned bulging finials. These finials showcase the skilled craftsmanship of the creator, each portraying a human head with a flat top, possibly representing masks or other symbolic elements. The Hellenistic period, which followed the conquests of Alexander the Great, witnessed a blending of Greek culture with local traditions across vast regions. Bronze bracelets with finials depicting deities, mythological figures, or masks were prevalent in the artistic repertoire of this era. Size: L:65mm / W:70mm ; 145g Provenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 495
Western Asiatic/Aegan, ca. 1200-700 BC.A bronze spearhead featuring a leaf-shaped blade tapering to a sharp point, and is characterized by its prominent midrib and short tang. Bronze spearheads of this type were highly prized due to their superior strength and durability compared to other materials such as bone or stone. The use of bronze for weapons production was a hallmark of advanced civilizations, as it required significant knowledge and expertise in metallurgy. Size: L:505mm / W:65mm ; 575g Provenance: Private UK collection; From an old London collection formed in the 1990s.
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