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Lot 159
AN ARCHAIC STYLE BRONZE TRIPOD CENSER Of Shang style, with twin handles, the body cast with taotie masks, on three cylindrical supports 15.5cm high Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
Lot 155
A GROUP OF SEVEN ASSORTED METALWARE SNUFF BOTTLES To include a Russian style cloisonne enamel example; a copper circular example; a bronze coloured relief moulded example and others * Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
Lot 40
A SMALL BRONZE RAIN DRUM The top with four stylised frogs and repeating geometric decoration 27cm high; 32cm diameter Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
Lot 8004
Gaul, August -- Fressender BärBronze mit dunkelbrauner Patina auf Bronzeplinthe, auf dunkelgrauen Marmorsockel montiert. 1895.Ca. 10,2 x 8 x 10,5 cm.Seitlich auf der Plinthe signiert "A. Gaul", hinten am Rand mit dem Gießerstempel "H. NOACK BERLIN".Gabler 20-1.Der "Fressende Bär" zählt neben dem "Sitzenden Bären", 1894 (Gabler 8-1) zu Gauls wenigen frühen eigenständigen Plastiken, die er hat gießen lassen. "Sicher wurden nur wenige Bronzegüsse hergestellt. Eine größere Verbreitung fand die Plastik erst nach Gauls Tod, dann jedoch in Porzellan- und Keramikausformungen. Vermutlich besaß Heinrich Zille ein Exemplar in Gips (...)." (Josephine Gabler, August Gaul, Das Werkverzeichnis der Skulpturen, Berlin 2007, S. 48). Gabler kann insgesamt neun Güsse nachweisen, drei davon in öffentlichen Sammlungen. Prachtvoller Guss mit homogener Patina. Selten.Gesamthöhe mit Sockel: 13 cm.Provenienz: Privatbesitz Berlin - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Lot 8098
Barlach, Ernst -- Der Buchleser (Lesender Mann im Wind)Bronze mit rotbrauner Patina. 1936.44,9 x 20,7 x 32,8 cm. Hinten über dem Stand signiert "E Barlach" sowie mit dem zweiteiligen Gießerstempel "BERLIN H. NOACK". Schult 473, Laur 600, 2 (von 3).In kontemplativer Haltung sitzt der Mann vornübergebeugt in seine Lektüre vertieft auf einem kleinen Hügel, die Ellenbogen auf den Knien aufgestützt, in den Händen ein kleines Buch haltend. Barlach erschafft in dieser Figur die Personifizierung von Ruhe und Besonnenheit: Die Augen weit geöffnet, scheint der Mann zu lesen und doch gleichzeitig den Blick in die Ferne zu richten. Sein Körper bildet, im Profil betrachtet, vom Boden über den Rücken bis zum Kopf eine geschlossene Halbkreisform, die auf der Vorderseite der Figur strahlenförmig aufgebrochen wird. Das schwere bodenlange Gewand des Buchlesers, das seitlich und über Armen und Schienbeinen große Falten bildet, lässt ihn dennoch ruhend und geerdet wirken und unterstreicht seine kontemplative Ausstrahlung. Der Beiname "Lesender Mann im Wind" findet seinen Ausdruck, wie ein Fels in der Brandung, in der monumentalen Erscheinung, Erdverbundenheit und Bodenständigkeit der Figur. Diese Monumentalität atmen zahlreiche Skulpturen Barlachs, die er nach prägenden Eindrücken durch das urtümliche Bauernvolk auf seiner Russlandreise 1906 schuf. Das Motiv des Lesens stand für Barlach Zeit seines Lebens an zentraler Stelle in seinem zeichnerischen und bildhauerischen Werk. Gerade im Hinblick auf die infamen Bücherverbrennungen der Nationalsozialisten 1933 prangerte er mit seinem „Buchleser“ mutig die Beschneidung der Freiheitsrechte bezüglich einer selbstgewählten Lektüre an. Barlach ist einer der bedeutendsten Bildhauer der Klassischen Moderne, der selbst unter Verfemung im Dritten Reich litt: Zahlreiche seiner Werke wurden 1937 aus Museen, Kirchen und von öffentlichen Plätzen entfernt. Von dieser beliebten Bronze finden sich Güsse in zahlreichen Museen, wie der Neuen Nationalgalerie, Berlin, dem Sprengel Museum, Hannover, der Stiftung Schleswig-Holsteinisches Landesmuseum Schloss Gottorf und dem Staatlichen Museum, Schwerin.Eines von 31 Exemplaren, die seit 1939 gegossen wurden. Es existieren drei Lebzeitgüsse, entstanden zwischen 1937 und 20.4.1938 sowie ein Exemplar in Zink von 1942. Prachtvoller, posthumer Guss mit wunderbar warmer, gleichmäßiger Patina.Provenienz: Ernst Hauswedell, Buch- und Kunstantiquariat, Hamburg (dort erworben am 25.6.1969, die Kopie der Rechnung liegt vor)Privatbesitz BerlinLiteratur: Sebastian Giesen (Hrsg.), Der Bildhauer Ernst Barlach. Skulpturen und Plastiken im Ernst Barlach Haus - Stiftung Hermann F. Reemtsma, Ausst.-Kat. Ernst Barlach Haus, Hamburg 2007 (ganzs. Abb. S. 197) - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Lot 8099
Kollwitz, Käthe -- Die Klage (Zum Gedenken Ernst Barlachs/ Selbstbildnis)Bronze mit dunkelbrauner Patina. 1938-41.26,6 x 25,5 x 9,7 cm.Seitlich links signiert "KOLLWITZ", dort unten mit dem zweiteiligen Gießerstempel "H. Noack Berlin".Seeler 38 II.B, Timm 59.Kollwitz' bekannteste Plastik bezieht ihre besondere Wirkung aus einer immensen Vielschichtigkeit und Prägnanz. In dem fragmentarischen, engen Ausschnitt tritt ein Antlitz zutage, das selbstbildnishafte Züge trägt. Die linke Hand liegt über der linken Gesichtshälfte, und die rechte Hand bedeckt knapp die Lippen, der Daumen liegt vertikal am Kiefer. Das geschlossene rechte Auge verstärkt den Eindruck einer starken Abgrenzung nach außen. Diese korrespondiert zugleich mit einem regen Innenleben. Geradezu beispielhaft nimmt hier eine Konzentration auf das Innerste Gestalt an. Das Sich-Abschließen erscheint hier nicht als freiwilliger Rückzug, sondern als Ergebnis vom Einwirken äußerlicher Gewalt. Die über den Mund gelegte Hand verdeutlicht, dass nichts von innen nach außen gelangen soll. Mit dem aufrechten Daumen, der wie ein Ausrufezeichen wirkt, scheint zudem das Sprechen untersagt. Ist die an die Wange gelegte linke Hand ein seit der Antike überlieferter Trauergestus, so kommt mit der den Mund verschließenden Rechten noch das erzwungene Schweigen hinzu. Die Künstlerin arbeitete mit der Rechten, und da diese an das Mundhalten gebunden ist, zeigt Kollwitz sich gleichsam selbst als zur Tatenlosigkeit verurteilt."Die Klage" ist zum einen eine beeindruckende Stellungnahme zu ihrer eigenen Situation als Künstlerin zur Zeit des Zweiten Weltkriegs. Stellvertretend für alle, die unter der Diktatur leiden mussten, zeigt Kollwitz vielsagend anhand ihres Gesichts, was es bedeutet, zum Schweigen verurteilt zu sein und die Augen verschließen zu müssen vor einem Unrecht, das man doch nicht aus dem Sinn verbannen kann. Zum anderen ist die Bronze ein Denkmal für ihren Künstlerkollegen Barlach, entstanden unter dem Eindruck seines Todes und des furchtbaren Unrechts, das er unter der Herrschaft der Nationalsozialisten erleiden musste. Unser Relief, in einem hervorragenden Guss mit wunderbar gleichmäßiger Patina, wurde bereits zu Kollwitz' Lebzeiten unter der Hand mittels Fotografien sowie Gipsabformungen und Metallgüssen verbreitet. Es ist das bei Institutionen und Sammlern bis heute begehrteste plastische Werk der Künstlerin.Dr. Annette Seeler, Autorin des Werkverzeichnisses der Plastik von Kollwitz, hält unser Exemplar für einen der wenigen autorisierten, posthumen Güsse vom Modell II, die in den 1960er Jahren bei Noack für die Londoner Marlborough Gallery angefertigt wurden, und zwar genauer für einen der beiden Güsse, die 1967 für die für die Barlach-Kollwitz-Ausstellung in der Marlborough Gallery entstanden. Das Modell II wurde 1960/61 von der im Bestand von Hans Kollwitz befindlichen Bronze (Seeler 38 I.B.3) abgeformt; heute befindet es sich im Käthe Kollwitz Museum, Köln. Das ursprüngliche, seit 1945 genutzte Modell I (Seeler 38 I.A.) war zu dieser Zeit nicht mehr nutzbar und existiert nicht mehr. Bei der nächsten Aktualisierung des Onlinekataloges, der das Werkverzeichnis begleitet, wird unser Relief nach jetzigem Kenntnisstand unter die Vervielfältigungen in der Abteilung II.B aufgenommen werden. Wir danken Dr. Annette Seeler, Berlin, für die Bestätigung der Authentizität des Werks und die freundlichen Auskünfte vom 06.04.2023.Provenienz: Marlborough Gallery, London (dort 1968 erworben, Rechnung liegt vor)Sammlung David Finn, New Rochelle Nye & Co, Bloomfield, NJ, Auktion 09.03.2023, Lot 343Privatbesitz BerlinErrata: Seeler 38 II.B, anstelle von Seeler 38 II.A.- Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Lot 8111
Wotruba, Fritz -- Kleine sitzende FigurBronze mit schwarzbrauner Patina. 1952-53.20,5 x 13 x 19,3 cm.Seitlich auf der Rückseite signiert "F. WOTRUBA" und auf der Innenseite mit dem Stempel der Gießerei Venturi. Auflage 1000 num. Ex. Janett 174/2.Aus kompakten geometrischen Kuben bildet Wotruba die sitzende Figur. Fritz Wotruba zählt zu den bedeutendsten modernen Bildhauern Österreichs. Mit seinen geometrisch-abstrakten Plastiken trug er maßgeblich zur Erneuerung der österreichischen Kunstszene nach dem Zweiten Weltkrieg bei. Prachtvoller Guss, herausgegeben von Euro Art, Wien 1970, auf der Innenseite mit deren schwer leserlichem Herausgebervermerk. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Lot 8114
Marcks, Gerhard -- Hockender GnomBronze mit rotbrauner Patina, auf grob gemeißeltem, stufigen Kalksteinsockel. 1954.Ca. 33 x 19,8 x 19,5 cm.Seitlich hinten mit dem Künstlersignet sowie mit dem Gießerstempel "GUSS BARTH RINTELN". Auflage 8 num. Ex.Rudloff 617.Mit gefalteten Händen sitzt der Gnom breitbeinig und leicht nach vorne gebeugt auf einer steinernen Bank. Die lange Nase und vereinfachten Gesichtsformen bestärken die fabelwesenartigen Züge der Figur und verleihen dem Gesicht etwas Maskenhaftes. Als Autodidakt vereinigt Marcks wie kein anderer deutscher Bildhauer des 20. Jahrhunderts Tradition und Moderne. Ein kraftvolles, vereinfachtes und knappes Formenvokabular, ohne Tendenz zum Ornamentalen und Dekorativen, ist typisch für seine Darstellungsweise. Wobei sein Interesse stets der Figürlichkeit gilt, dessen Motive er in der direkten Umgebung, der christlichen Religion und der griechischen Mythologie fand. Die vorliegende Figur geht nach Aussagen des Künstlers auf einen Eindruck vom Hamburger Hauptbahnhof zurück. Prachtvoller Guss mit herrlich differenzierter, glänzender Patina und Oberflächengestaltung. Selten.Gesamthöhe mit Sockel: Ca. 37 cm.Provenienz: Galerie Nierendorf, Berlin Privatbesitz Berlin - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Lot 8115
Wotruba, Fritz -- KopfBronze mit schwarzbrauner Patina auf Bronzeplinthe, auf dunkelgrauen Marmorsockel montiert. 1958.14,5 x 10,5 x 8,5 cm.Seitlich auf der Plinthe signiert "F. WOTRUBA". Auflage 1521 num. Ex.Janett 212.In reduzierter Formensprache setzt sich der Kopf aus kubischen Formen zusammen. Wotruba konzentrierte sich in seinem gesamten Œuvre vornehmlich auf die Darstellung des Menschen. Seine Figuren wirken sowohl monumental, statisch, mächtig und archaisch wie zugleich auch in sich gekehrt, ruhend und zurückhaltend. Unter dem Einfluss des Spätkubismus schafft Wotruba ein für ihn gültiges Menschenbild. Prachtvoller Guss mit fein strukturierter Oberfläche, herausgegeben von Euro Art, Wien 1958. Gesamthöhe mit Sockel: 17,8 cm. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Lot 8155
Ewel, Gerd -- EvaGips, braun gefasst, auf Gipsplinthe. 1965.52,5 x 18 x 11 cm.Seitlich rechts auf der Plinthe mit dem Künstlersignet "e" sowie datiert.Schlüter 60.Ein gelassenes In-Sich-Ruhen charakterisieren Gerd Ewels Frauenfiguren. Rhythmisch vereinfachte Formen lenken den Blick des Betrachters auf die fließenden Konturen, die erhobenen Arme öffnen die Sicht auf den gestreckten Körper. Die ruhig im angedeuteten Kontrapost stehende Plastik mit interessant changierender Färbung wurde anschließend in kleiner Auflage in Bronze gegossen. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Lot 8206
Ewel, Gerd -- Schreitende (Kleine Gehende)Gips, Schwarz gefasst, auf Gipsplinthe. Um 1986.40,5 x 13,5 x 16 cm.Seitlich links auf der Plinthe mit dem Künstlersignet "e".Schlüter 103.Ewel baut seine Figuren stets aus Gips oder auch Terrakotta, um sie später in Bronze gießen zu lassen; so auch die "Schreitende". Weiche, gerundete Formen unterstreichen die Sinnlichkeit der bewegten Frauenfigur, deren Allansichtigkeit durch den seitwärts gerichteten Blick deutlich gesteigert wird. In ausgewogener Balance bewegt sie sich grazil im Raum, Arme und Beine korrespondieren durch Streckung und Winkelung miteinander. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Lot 395
Ca. 500-300 BC. A helmet of hammered bronze. The domed crown with frontal medial ridges, contoured double curve above the brow continuing as an occipital rib around the helmet. Moveable articulated crescentic cheeky guards with contoured edges are attached by hinges on the sides. The Chalcidian-Type helmet started to replace the Corinthian-type helmet on the battlefield in the 5th century BC due to its restrictive attributes. The new versatile Chalcidian form of battle helmet enabled the owner to adapt on the battlefield. The Chalcidian helmet enabled greater sensory perception as the helmet was lighter and made in with senses in mind. By the time of the Peloponnesian War (434-402 BC) the Chalcidian helmet was the most widely distributed helmet in the Greek ranks. Good condition. Size: L:220mm / W:335mm ; 690g Provenance: Property of a European collector; ex. F. Breydel collection, Belgium, 1970s
Lot 255
Ca. 224-651 AD. A bronze spoon presenting a shallow and broad bowl elegantly merging with a seamless long spike handle, adorned along its entire length with a mesmerizing twisted effect. The Sasanian era, which spanned from 224 to 651 AD, was a period of cultural richness and innovation, marked by an impressive artistic legacy in metalworking. The spoons from this period are highly valued for their exquisite designs and excellent metalwork.Size: L:400mm / W:100mm ; 135gProvenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets.
Lot 362
Qing Dynasty, Ca. 1644-1912 AD. A bronze tripod censer standing proudly on three feet, each one adorned with intricately detailed zoomorphic attributes. The body of the censer is broad and globular in form, subtly tapering towards its mouth to create a harmonious and pleasing shape. The piece is adorned with a pair of ornithomorphic handles, each one elegantly crafted and perfectly balanced, adding an additional touch of refinement to this already exquisite work of art. The censer is topped with a pierced cover, featuring a charming depiction of a foo dog seated atop. The foo dog is a powerful and ancient symbol in Chinese culture, representing protection, luck, and prosperity. This majestic creature is depicted with its jaws open, adding to the overall grandeur and majesty of the piece. This censer is not only a work of art but also serves a significant functional purpose. Traditionally used to burn incense, censers such as this one held an important place in Chinese religious and cultural practices, serving as a means to purify the air and create a tranquil environment for contemplation and meditation.Size: L:310mm / W:255mm ; 3.05kg
Lot 653
Ca. 200-500 AD. A bronze ring with a circular loop with diagonal, incised decoration on the outside, and a slightly raised, oval-shaped bezel bearing abstract pattern. This item probably served as a signet ring used to seal letters or other documents and may have belonged to a Roman merchant. Size: D: 16.1mm / US: 5 1/2 / UK: K 1/2; 7.58g Provenance: Private London collector, acquired on the Austrian Art market, formerly in an old USA collection formed since the 1970s.
Lot 524
Western Asiatic/Aegan, ca. 1200-700 BC. An elegant and symmetrical bronze spearhead with a double-edged blade that tapers gradually to a sharp point. The blade of the spearhead is characterized by a pronounced midrib that runs through its entire length, imparting a distinctive three-dimensional quality to its surface. The flared shoulders of the spearhead are pierced with pairs of rivet holes. The overall construction of the spearhead demonstrates the ancient metalworker's mastery of the bronze casting process, as well as their keen eye for design and attention to detail.Size: L:340mm / W:50mm ; 190gProvenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1990s.
Lot 111
Ca. early 14th century AD. A bronze plate of a shallow form features a circular recess in the center, which is adorned with a striking silver-inlaid seated figure flanked by two birds. The scene is encircled by a mesmerizing interweaving band, which repeats twice on the flange. Between the bands, there is a stunning register of various animals, all captured in motion and facing left, adding a touch of dynamism to the design. Such plates were often used for both decorative and functional purposes. They were frequently used for serving food or as vessels for ritual offerings in the Islamic world. In addition, they were often commissioned by wealthy patrons and used as status symbols, as a demonstration of wealth, power, and prestige. Size: L:220mm / W:20mm ; 355g Provenance: From the collection of a London gentleman; formerly in a collection of A. Kotlar, since the 1970s.
Lot 665
Ca. 100-300 AD. A bronze bowl with a broad body with a brilliant patina enhancing the entire surface. These bowls were often used to serve meals, but also to hold liquids like wine or oil, which were important not just for sustenance, but also for religious ceremonies.Size: L:50mm / W:115mm ; 210gProvenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets.
Lot 697
Ca. 800 AD. A bronze cruciform pendant in the form of a Latin cross decorated with a depiction of Jesus between busts of saints to each arm. The Cross is the principal symbol of Christianity, recalling the Crucifixion of Jesus Christ and the redeeming benefits of his Passion and death. The cross is thus a sign both of Christ himself and of the faith of Christians. This item is in wearable condition and it comes with a modern necklace cord. Size: L:39.7mm / W:21.9mm ; 3.89g Provenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 336
Ca. 202BC - 220AD. A lovely pottery bird standing on its stylised, well-defined bronze legs which support a globular body and elegantly slender neck terminating in a dark brown-coloured head with a cream beak and open attentive eyes. The body is decorated with blue and red plumage and a cream tail. This piece has been precisely dated having undergone Thermo Luminescence analysis 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. Its TL certificate with full report will also accompany this lot. Size: L:120mm / W:190mm ; 340gProvenance: East Anglian private collection; formerly acquired in the early 1990s in Hong Kong.
Lot 694
Ca. 500-600 AD. A cast bronze oil lamp filler, a sublime synthesis of artistry and practicality. This exquisite creation comprises two hemispherical bowls, resplendent with a flat rim and lateral, decorative handles. One of these bowls boasts an ivy leaf-shaped finial, while the other features a long-channeled spout that eases the pouring of oil. But this is no ordinary vessel; it is a work of consummate craftsmanship, designed to enhance both the functionality and aesthetic appeal of oil lamps. The larger compartment is supported by three spiked legs, providing exceptional stability to prevent any unfortunate mishaps. In the world of antiquity, oil lamps were essential sources of illumination, casting a soft and flickering light that imbued every room with a warm and welcoming ambiance. But they required frequent refilling, which could be a cumbersome and messy task. The oil lamp filler was thus an indispensable tool, designed to make the process of refilling as effortless and elegant as possible. Size: L:245mm / W:145mm ; 215gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Lot 718
Norman, ca. 11th century AD. A bronze ring crafted with skillful hands, it features a broad flat-section hoop that gradually expands into a bezel that bears the mark of a cross with trefoil finials. The center of the cross is adorned with the intriguing motif of the "crown of thorns," a powerful symbol in Christianity that has been used in various contexts throughout history. The "crown of thorns" motif is a reminder of the suffering that Jesus endured before his crucifixion. According to the Bible, the Roman soldiers placed a crown made of thorns on Jesus' head to mock him and cause him pain. This brutal act was a part of the torture that Jesus underwent before his crucifixion, and the "crown of thorns" has since become an important symbol of the Christian faith, representing the sacrifice and suffering of Jesus for humanity's sins.Size: D: 18.95mm / US: 9 / UK: R 1/2; 5.3gProvenance: Private London collector, acquired on the Austrian Art market, formerly in an old USA collection formed since the 1970s.
Lot 517
Ca. 1200-900 BC. A cast bronze double axe head characterized by a short cylindrical shaft hole, a flattened top, and a vertical blade with a curved cutting edge. At the back, a smaller horizontal adze blade completes this beautiful design. An adze is designed for tasks that require more precision and finesse, such as carving or shaping wood, and is suitable for a wide range of tasks. In Bronze Age, axes like this one were used not only as tools but also as weapons. The region's abundant resources of copper and tin made it a prime location for the production of bronze weapons, and these axes would have been in high demand for hunting, warfare, and clearing land for agriculture.Size: L:70mm / W:245mm ; 1.5kgProvenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 492
Ca. 300-200 BC. 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 raised and outstretched, symbolizing her divine power and authority. The statue stands atop a circular decorative base, which enhances the overall aesthetic appeal of the piece. 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. The Etruscans were renowned for their skill in bronze casting and produced a range of exquisite figurines that were used for both decorative and religious purposes.Size: L:115mm / W:50mm ; 150gProvenance: Private London collection, B.A.; formerly in pre-2000 European collection.
Lot 504
Ca. 1200-700 BC. A bronze dagger with its beautifully-shaped blade tapering to a sharp point and the hilt masterfully crafted, curving inward from a splayed pommel to form concave, flanged sides to receive an inlay. A nearly 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 a 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. For a similar, see The Metropolitan Museum of Art, Accession Number: 61.261.5.Size: L:315mm / W:40mm ; 145gProvenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1990s.
Lot 651
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 ; 4.47g Provenance: Private London collector, acquired on the Austrian Art market, formerly in an old USA collection formed since the 1970s.
Lot 214
Ca. 12th century AD. A bronze tool of a rectangular-section body that ends in an inverted teardrop-shaped finial on one end and with a round plate on the other. The body is intricately embellished with an Arabic religious oath inscription.Size: L:69mm / W:275mm ; 365gProvenance: Private UK collection, formed since the 1990s on the UK and International Art market.
Lot 515
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, outward turned tang with a small discoid pommel. 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:360mm / W:55mm ; 250gProvenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1990s.
Lot 332
Early Western Zhou Dynasty, Ca. 11th - 10th century BC. The body of the vessel is bulbous in shape, containing a band of elaborately cast scrolling with central taotie masks, and long tailed zoomorphic birds, below this the vessel shows an aesthetically pleasing green patinated body, the body standing on an expanding foot which everts from the body to the bottom with a cast linear line evolving around the centre. The handles are almost C-shaped with surmounted animal heads, possibly kui dragons, and terminates in a pendant tab cast with incised decoration in the form of claws and tail These types of powerful bronze ritual vessels were a highly prized possession of important members of Chinese society, used on an altar to disband rites to their ancestors to gain favour and positive luck away from evil. For another example see Christie’s, March 20, 2012, LOT 1. For a similar gui of similar style and shape see Bronzes in the Palace Museum, Beijing, 1999, p 57, pl.29.Size: L:170mm / W:340mm; 2.8kgProvenance: Private collection of a London doctor; formerly in a Somerset Estate collection; acquired from Hong Kong galleries in the early 1990s.
Lot 403
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. Below this uraeus is depicted protecting him. 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:95mm / W:20mm ; 45gProvenance: Private collection of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Lot 724
Crusaders Era, ca. 1100-1400 AD. A bronze finger ring comprising a round hoop and large circular bezel, featuring a star of Bethlehem motif framed with etched borders. The Star of Bethlehem is a significant symbol that has been used throughout the centuries to represent Christianity. During the Crusades, it was popularly used in Christian jewellery to symbolize the birth of Jesus Christ and honor his divine mission. The star was also used to signify the triumph of the Christian faith over the Muslim forces. Size: D: 16.92mm / US: 6 1/2 / UK: M 1/2; 8.78g Provenance: Private London collector, acquired on the Austrian Art market, formerly in an old USA collection formed since the 1970s.
Lot 514
Ca. 2000-700 BC. A bronze axe head with a short, curved blade, tapering cheek, and a wedge-shaped adze to the rear. The shaft long 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:110mm / W:270mm ; 2.11kg Provenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 338
Ca. 400 BC - 100 AD. A round-shaped bell that features intricate decoration of a stylized bovine head with prominent horns and coiled and hatched patterns along the body. The bell is equipped with two small suspension bars on opposite sides and a large one to the back, suggesting its use as an ornamental object in animal harnesses, possibly on buffalos. This artifact is an excellent representation of the Dong Son culture that flourished in Vietnam during the first millennium BC. The Dong Son civilization was known for its advanced metallurgical technology, which enabled them to create intricate bronze objects like this bell. The culture was also notable for its agricultural practices, which relied heavily on the domestication of buffalos for plowing rice fields.Size: L:150mm / W:125mm ; 690gProvenance: Private collection of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Lot 333
Late Shang Dynasty, Ca. 1300-1100 BC. A bronze cauldron, generally known as a ding. The object comprises a rectangular body with a shelved rim and two horizontal handles. The upper part of the body is intricately decorated with a bas-relief cast zoomorphic pattern. The body is supported by four robust cylindrical legs with some decoration. Some restoration. This beautiful object may have been used for ritual banqueting among the aristocracy of the Late Shang Dynasty, who ruled over the lower and middle Yellow River Valley in the 2nd millennium BC. For a comparable example, see The Metropolitan Museum of Art, Accession Number: 49.135.2. In order to confirm its authenticity, this piece has undergone X-Ray Fluorescence analysis by an independent Belgian Laboratory. The samples collected show the chemical composition to reflect the typical metal contents of the described period, whilst also showing no modern trace elements in the patina.Size: L:280mm / W:200mm; 4.23kgProvenance: East Anglian private collection; formerly acquired in the early 1990s in Hong Kong.
Lot 150
Ca. 1100-1200 AD. A bronze oil lamp displaying intricate openwork, a domed lid with a bird finial, and trefoil-shaped two spouts. The pierced lateral handles and arched handle with a perching bird add to the lamp's beauty and functionality. During the Seljuk period, oil lamps were not merely functional, but also aesthetically pleasing objects that were highly prized for their beauty and craftsmanship. These lamps served as an integral part of daily life, as they provided the primary source of illumination in homes and public spaces. Cf. Christie's Live Auction 9219 Islamic and Indian Works of Art, 18 October 2001, Lot 50.Size: L:230mm / W:180mm ; 1.2kgProvenance: Private London collection of Early Islamic Art - M.A.; formerly acquired on the UK art market since the 1980s.
Lot 547
Western Asiatic/Aegan, ca. 1200-700 BC. A bronze spearhead crafted with great care and attention to detail. This lentoid, triangular-shaped blade boasts a prominent midrib, which runs down the center of the blade, enhancing its strength and rigidity. The shoulders extend downwards, forming distinctive wings that lend both balance and stability to the weapon. The pronounced shaft and long tapering tang allow for secure attachment to a sturdy pole, creating a formidable weapon. During the Bronze Age spears were an essential tool for hunting, fishing, and warfare. These small spears were practical, versatile, and deadly in skilled hands. They could be thrown, thrust, or used in a swinging motion, depending on the situation. 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.290.Size: L:135mm / W:25mm ; 25gProvenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 566
Western Asiatic/Aegan, ca. 1200-700 BC. A group of three cast bronze spearheads, each a stunning masterpiece of ancient weaponry. These triangular-shaped blades boast a prominent midrib that runs along the center, creating a striking visual effect. The shoulders of each spearhead extend downwards, leading to a pronounced shaft and tapering tang for insertion onto a pole. In Bronze Age Western Asia, the spear was a ubiquitous weapon used by soldiers and hunters alike. The pronounced shaft and tapering tang would have allowed for easy attachment to a pole, creating a deadly weapon that could be used from a distance. 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:55-70mm / W:15-20mm ; 20gProvenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 149
Ca. 10th-11th century AD. A bronze bowl characterized by a deep body, rounded base, and high sides. The bowl's interior is smooth and unadorned, while its exterior is finely decorated. The bowl's exterior features an engraved band of small circles with a dot around the rim, and the main register is an intercrossing of diagonal lines, interspersed with small circles, to create mesmerizing design. The base features a large six-pointed star within the circle and a dot band. The purpose of this bowl remains elusive, perhaps it was used in religious ceremonies, or as a decorative item for wealthy patrons, or even as a practical vessel for everyday use. Islamic metalwork is renowned for its intricate designs, superb craftsmanship, and ornamental motifs that often draw upon Islamic calligraphy and geometry. Metalworkers employed various techniques such as engraving, inlay, and casting to create a diverse range of objects, including bowls, ewers, lamps, and candlesticks.Size: L:125mm / W:255mm ; 1.4kgProvenance: Private London collection of Early Islamic Art - M.A.; formerly acquired on the UK art market since the 1980s.
Lot 656
Ca. 100-300 AD. A bronze mirror, exquisitely crafted with a flat section and circular shape. The mirror boasts a sturdy restored handle, which adds to its beauty and functionality. Mirrors of this type were highly prized in the Roman world and were often used in everyday life. They were commonly made of metal and were polished to a high sheen, reflecting the beauty of the user's surroundings. In the Roman world, hygiene was a critical aspect of daily life, and mirrors played a crucial role in maintaining cleanliness. Wealthy individuals often had mirrors in their bathing chambers, where they could monitor their grooming. Size: L:275mm / W:150mm ; 310g Provenance: From the collection of a London gentleman; formerly acquired in early 2000s in Belgium; previously in 1970s European collection.
Lot 526
Ca. 800-600 BC. A socketed bronze spearhead comprising a substantial lentoid-section blade with raised midrib, and a tubular shaft. Hoplites were the citizen-soldiers of Ancient Greece, where each city state was fiercely independent and could only be sustained through the military power of its male inhabitants. Hoplites primarily fought using the closed phalanx formation to allow best use of their frequently small numbers, and their principal equipment would have included large, circular shields and spears like this one. For more information on Greek hoplite warfare, see Donald Kagan and Gregory F. Viggiano, Men of Bronze: Hoplite Warfare in Ancient Greece, Princeton University Press 2013.Size: L:195mm / W:35mm ; 130gProvenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1990s.
Lot 331
Ca. 1045 - 771 BC. Western Zhou Dynasty. A beautiful bronze ritual wine vessel with cover. The broad spherical body stands on a splayed foot, the broad cover ending in two horns on each side. The body is decorated with a wavy band. 'You' is a ritual wine vessel with a lid and a long U-shaped handle. It entered the religious repertoire in the first century of the Anyang period of the late Shang Dynasty and was in use until the middle Western Zhou period. Incorporating techniques from its Shang predecessors, the Western Zhou dynasty culminated with the prior as the Chinese Bronze Age and established a tremendous material culture of bronze works from 2,000 to 771 BC. The most commonly produced bronzes during the Western Zhou dynasty came in the form of vessels, although other objects included grandiose chariot decorations and fierce weaponry. For more information on this kind of vessels, see Shih, Hsio- Yen (ed.) (1986). Ancient Chinese Bronzes. Oxford University Press.Size: L: 210mm / W: 245mm;3KgProvenance: UK Private Collection; formerly acquired in the early 1990s in Hong Kong.
Lot 714
Crusaders Era, ca. 1100-1400 AD. A bronze finger ring comprising a round hoop and hexagonal-shaped bezel, featuring a star of Bethlehem motif framed with etched borders. The Star of Bethlehem is a significant symbol that has been used throughout the centuries to represent Christianity. During the Crusades, it was popularly used in Christian jewellery to symbolize the birth of Jesus Christ and honor his divine mission. The star was also used to signify the triumph of the Christian faith over the Muslim forces.Size: D: 18.34mm / US: 8 1/4 / UK: Q ; 11gProvenance: Private London collector, acquired on the Austrian Art market, formerly in an old USA collection formed since the 1970s.
Lot 516
Ca. 1200-700 BC. A pair of arrowheads crafted with utmost precision and elegance. Each arrowhead features a beautifully shaped blade with a thick midrib, pointed shoulders, and sharp points that are designed for maximum efficiency and accuracy. The blades are crafted from high-quality bronze, for its exceptional durability and sharpness, and they exhibit a lustrous patina that speaks to their age and rarity. At the base of each arrowhead lies a tang, crafted for easy insertion into a wooden shaft. These arrowheads were likely used for hunting and warfare, and their design allowed them to pierce through armor and penetrate deep into their targets. These arrowheads would have been used in a variety of contexts, ranging from tribal conflicts to hunting expeditions, and their significance is immense, both from a historical and cultural perspective. Cf. O. White Muscarella, Bronze and Iron. Ancient Near Eastern Artefacts in the Metropolitan Museum of Art, New York, 1988, p.290.Size: L:105-140mm / W:28-30mm ; 55gProvenance: Property of a European collector; ex. German collection formed between 1990-2010.
Lot 165
Ca. 11th-12th century AD. A bronze rosewater sprinkler bottle. Its flat base provides a stable foundation for its bell-shaped lower body, adorned with ribbed features and exquisite benedictory inscriptions running along every other two vertical ribs. The funnel-shaped neck of the sprinkler is crowned by a ridge at the lower section, adding to the bottle's elegance and sophistication. In the medieval Islamic world, rosewater held a significant cultural and symbolic value and was used for various purposes, from perfuming clothes and hair to flavoring food and drinks. Rosewater was also employed for religious rituals and ceremonies, as well as for its medicinal properties. Rosewater sprinklers, such as this remarkable piece, were used to dispense rosewater during festivities and social events, enhancing the atmosphere and creating an aromatic ambiance. Cf. Christie's Live Auction 5169, Art of the Islamic and Indian Worlds, 26 April 2012, Lot 84.Size: L:150mm / W:100mm ; 505gProvenance: Property of a London Islamic art specialist collector; previously in a collection formed since the 1980s.
Lot 339
Possibly Ming Dynasty, Ca. 1368-1644 AD. A bronze ritual pouring vessel with a squat body resting on four slender legs. The finely decorated main body consists of a broad and deep container with rounded walls, a long tubular spout, and a sturdy handle to the rear. It is topped with a Pheonix-shaped lid with a beautifully incised body. This fine vessel possibly served as a water vessel for ritual offerings to the gods or to ancestors.Size: L:270mm / W:235mm ; 1.96kgProvenance: Property of a London Islamic art specialist collector; previously in a collection formed since the 1980s.
Lot 286
Ca. 2nd-1st millennium BC. A storage vessel, crafted from hard stone. Its delicate form features a skillfully carved globular body that elegantly tapers towards the open mouth. The vessel rests upon a flat circular base, proudly displaying its exquisite craftsmanship and the mastery of the artisans who created it. In the Bronze Age, storage vessels played a vital role in the daily lives of the people of the Holy Land. This stone vessel would have served as a sturdy container for various commodities, including grains, oil, and wine. Such vessels were an essential part of the agricultural and economic systems of the time, used for the safe storage and transportation of valuable goods.Size: L:115mm / W:120mm ; 980gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Lot 167
Ca. 800-900 AD. A bronze bottle featuring a piriform body, which is accented by rectangular-shaped plaques with repousse teardrop designs that add texture and visual interest to the surface of the bottle. The vessel stands on a splayed cylindrical foot, which provides stability and balance to the piece. The narrow neck of the bottle leads up to a tall funnel-shaped mouth, which is adorned with a band of protruding knobs that add a sense of dimensionality to the overall design. The foot and mouth of the bottle feature a register of an interlocking pattern. Bronze bottles such as this one were serving both functional and decorative purposes. They were used to store and transport liquids such as water, oil, and perfumes, as well as serving as luxurious display pieces in affluent households. For a similar, see The Keir Collection of Islamic Art on loan to the Dallas Museum of Art, Object Number: K.1.2014.522.Size: L:210mm / W:95mm ; 650gProvenance: Property of a London Islamic art specialist collector; previously in a collection formed since the 1980s.
Lot 558
Ca. 700-500 BC. A collection of three cast bronze arrowheads, each with a lentoid-sectioned blade that has a raised midrib, a tang, and are sharpened to a point at the tip. The blade has a smooth surface that gives it a sleek, streamlined look, and the midrib adds further complexity to the design. The shape of the arrowheads is thought to have been designed to create an aerodynamic quality, allowing them to penetrate and stay in the target more easily.Size: L:38.2-40.4mm / W:13.7-15.5mm ; 30.88gProvenance: Private London collector, acquired on the Austrian Art market, formerly in an old USA collection formed since the 1970s.
Lot 617
Ca. 100-200 AD. A moulded pottery oil lamp with a small spout and recessed tondo featuring relief decoration and a slightly off-centre filling hole. The lamp is notable for its small loop handle located to the rear and its flat base, which is typical of Roman oil lamps. The relief decoration on the tondo is likely to be a depiction of a mythological or religious significance. 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:85mm / W:60mm ; 40g Provenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 662
Ca. 1-200 AD. A bronze ladle with a deep, rounded bowl, attached to a long, flat-section handle, forms a perfect harmony of form and function, while the loop at the end of the handle adds a touch of elegance and convenience. In the Roman world, such ladles were an essential part of daily life, used for serving and transferring various liquids and semi-liquids, including stews, soups, and sauces. The durable and practical design of this ladle ensured that it could withstand the rigors of everyday use.Size: L:180mm / W:68mm ; 60gProvenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 565
Western Asiatic/Aegan, ca. 1200-700 BC. A collection of four bronze weapons, including three spearheads and a flat axe. The three spearheads are with blades boasting a midrib and tapering to a sharp point, each with a tang for easy insertion into a wooden shaft. The design of these spearheads was carefully crafted for maximum efficiency, allowing warriors to pierce through armor and flesh with ease. The flat axe is equally impressive. Its flat design, rounded butt, and curved and flared cutting edge to the opposite end, allow for quick and efficient cutting and chopping. The axe represents the ingenuity and adaptability of ancient peoples, who harnessed the power of bronze to create objects of practical use in daily life.Size: L:110-170mm / W:20-35mm ; 180gProvenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 549
Western Asiatic/Aegan, ca. 1200-700 BC. A cast bronze spearhead featuring a triangular-shaped blade with a pronounced midrib that runs down the center, lending both strength and rigidity to the weapon. The blade tapers to a sharp point, designed to penetrate armor and flesh with equal ease. The shoulders of the spearhead extend downwards to form wings, enhancing its aerodynamic properties and ensuring swift and accurate strikes. The pronounced shaft provides a sturdy grip, while the long tapering tang allows for secure insertion onto a wooden pole, creating a formidable weapon that was instrumental in Bronze Age warfare. In the Bronze Age, the spear was the most common and effective weapon, used for hunting, fishing, and warfare. These small spears were utilitarian tools, invaluable in a wide range of everyday tasks, from hunting to defending one's community. 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:115mm / W:22mm ; 20gProvenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 706
Ca. 900-1100 AD. A penannular bronze bracelet crafted from a single piece of bronze. It features a mesmerizing twisted body that creates an intricate and hypnotic effect. The Vikings were known for their exquisite craftsmanship, and their twisted bracelets were no exception. These bracelets were a symbol of wealth and status, worn by both men and women to showcase their importance in society. The twisted design of the bracelet not only added visual interest but also made the bracelet stronger and more durable.Size: L:75mm / W:70mm ; 60gProvenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets.
Lot 713
Crusaders Era, ca. 1100-1400 AD. A bronze finger ring with a circular band and a large bezel decorated with the star of Bethlehem - a recurrent decorating motif in Medieval jewellery, and a powerful symbol of Christian tradition. According to the Gospel of Matthew (2: 1– 2), three wise men from the East (the Magi) traveled to Jerusalem guided by the Bethlehem star to greet the King of the Jews, i.e. Jesus.Size: D: 17.53mm / US: 7 1/4 / UK: O; 9.48gProvenance: Private London collector, acquired on the Austrian Art market, formerly in an old USA collection formed since the 1970s.
Lot 685
Ca. 1st-3rd century AD. A bronze statuette of an archer. The figure is depicted standing upright, with his long legs placed on an integral spool-shaped pedestal. The archer is represented with simplified features, including an accentuated nose and double-pointed coiffure. The figure is shown wearing a quiver on his back, which is filled with arrows. The overall form of the figure exudes a sense of power and strength, which is typical of Celtic and Roman depictions of warriors. Celtic-Roman bronze figurines were produced during the late Iron Age and early Roman periods and are characterized by their unique blend of Celtic and Roman artistic traditions. These figurines were often used as votive offerings in religious ceremonies or as decorative items in wealthy households. They were also used to illustrate myths and legends or to depict important historical events.Size: L:55mm / W:25mm ; 15gProvenance: Property of a London Ancient Art gallery, formerly an European private collection.
Lot 546
Western Asiatic/Aegan, ca. 1200-700 BC. A bronze spearhead, crafted with skill and purpose. Its triangular-shaped blade boasts a prominent midrib, providing additional strength and stability to the weapon. The shoulders flare outwards, allowing for a wider penetration upon impact. The pronounced shaft and long tapering tang are designed for easy attachment to a pole, transforming this spearhead into a deadly weapon. During the Bronze Age, spears were an indispensable tool for hunting and warfare. These small spears, like the one here, were utilized for close-range combat and could be thrown or thrust with precision. The design of the spearhead allowed for a swift and powerful strike, capable of piercing armor and delivering a fatal blow. 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:140mm / W:25mm ; 35gProvenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 279
Ca. 500 AD. A bronze plate with the majestic form of a horned ibex in stunning detail. The sculpture is expertly crafted, with the beautiful patina enhancing the entire surface. The ibex is depicted in a standing pose, with back legs firmly planted on the ground and its forelegs resting on the rim of the plate, head held high. The animal's body is rendered in intricate detail, with every curve and contour of its musculature painstakingly captured by the artist. The ibex's distinctive horns are particularly eye-catching, with their dramatic curvature and pointed tips adding a sense of dynamism and power to the piece. The plate on which the ibex is perched is similarly well-crafted, with a tripod base that provides a stable foundation for the sculpture. The smooth, unadorned surface of the dish contrasts beautifully with the textured, lifelike appearance of the ibex, making the piece a feast for the eyes.Size: L:110mm / W:215mm ; 955gProvenance: From the collection of a London gentleman; formerly acquired in early 2000s in Belgium; previously in 1970s European collection.
Lot 535
Ca. 1200-1000 BC. A bronze axe head with a vertical round-section shaft and a curved blade with flaring ends. The exterior side of the shaft is adorned with intricate diagonal etchings. Axes played a crucial role in the lives of the people of the Bronze Age, serving as a tool for agriculture, woodworking, and as a weapon in times of conflict. The curved blade with flaring ends was specifically designed for efficient chopping and cutting, demonstrating the ingenuity and practicality of the Bronze Age society.Size: L:100mm / W:150mm ; 1.34kgProvenance: From the private collection of Mr. R. Unger; previously with a London gallery; acquired in the 1980s on the UK art market.
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