We found 350105 price guide item(s) matching your search
There are 350105 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
350105 item(s)/page
Lot 745
MIYABE ATSUYOSHI, EINE DECKELDOSE AUS BRONZE UND GEMISCHTEM METALL Japan, Meiji-Zeit Bronze/Silber etc.. 6.5x7.5x2.5 cm. Die rechteckige Deckeldose ist mit Mischmetall mit der Darstellung einer Elster auf einem Prunusbaum und verstreuten Blumen eingelegt. Der Innenraum ist mit Silber ausgekleidet und die Deckelunterseite ist mit einem Vogel graviert. Die Dose ist auf der Unterseite signiert "Dai Nihon Kyoto ju Ikkodo Miyabe Atsuyoshi". Min. besch., mit Gebrauchsspuren.
Lot 749
EINE FIGUR EINES BOGENSCHÜTZERS AUS BRONZE Japan, Meiji-Zeit Bronze. H. ca. 35 cm. Die Figur kniet auf den Knien, gekleidet in ein Haramaki und mit Kamon und Rädern verzierte Roben, mit Bogen in den Händen, rückseitig signiert "Seiji saku". Die Figur hat einen Sockel aus Holz. Mit Altersspuren.
Lot 840
EINE VERGOLDETE SITZENDE FIGUR VON SHAKYAMUNI AUS BRONZE Mongolei, wohl 18./19. Jahrhundert Bronze. H. 20.5 cm. Shakyamuni sitzt in vajrasana auf einer Lotusbasis mit der rechten Hand in bhumisparsa mudra und der linken Hand ursprünglich eine Almosenschale haltend. Part. besch., mit Altersspuren, Schale fehlt.
Lot 841
EINE SITZENDE FIGUR VON VAJRADHARA AUS BRONZEChina, 19./20. Jahrhundert Bronze. H. 26.1 cm. Der einen juwelenbesetzten Dhoti tragend Vajradhara sitzt in vajrasana auf einem Lotussockel und umarmt seine Gefährtin Samantabhadri. Die Figur ist teilweise bemalt und mit Steineinlagen sowie Marke "Daming Yongle Nian Shi". Part. besch., mit Altersspuren.
Lot 849
EINE SITZENDE FIGUR VON BUDDHA AUS BRONZE Thailand, 19./20. Jahrhundert Bronze. H. 50.8 cm. Der Buddha sitzt im Meditationssitz auf einem Lotussockel, der sich auf einer abgestuften Basis befindet, mit der rechten Hand in bhumisparsa mudra und der linken Hand auf Beinen ruhend. Part. besch. u. rest, mit Alters- und Vergoldungsspuren. Provenienz: Aus einer alten badischen Privatsammlung.
Lot 870
EIN WEIHRAUCHBRENNER IN FORM EINES LUDUAN AUS BRONZE China, im Ming-Stil Bronze. H. 24 cm. Der Weihrauchbrenner ist in Form eines Luduan mit separatem Kopf gegossen, der auf einer schlangenähnlichen Kreatur steht, die die Basis bildet. Der Luduan trägt ein Halsband mit Kalebasse, der Körper ist an den Seiten mit Wirbeln und Ruyi-Mustern dekoriert. Mit Gebrauchsspuren.
Lot 881
EIN CHAMPLEVÉ EMAILLE WEIHRAUCHBRENNER IN FORM EINES LUDUAN AUS BRONZE China, 19./20. Jahrhundert Bronze. H. 43.7 cm. Der Weihrauchbrenner hat die Form eines Luduan mit einem separaten Kopf, der vorne mit dem Körper verbunden ist. Der Körper ist mit Lotus und Schmetterlingen verziert. Part. besch., mit Gebrauchsspuren.
Lot 84
Rowan Gillespie (b. 1953)Peace II (1998)Bronze 78cm (30¾")Signed, inscribed and dated on the base No. 9/9Provenance: With The Solomon Gallery, Dublin, where purchased by the present owners.Literature: Roger Kohn, Rowan Gillespie Looking for Orion, O'Brien Press, 2007, illus. p. 97Female figures are quite prominent in Gillespie’s work, with his depiction of the body often acting as a celebration of female liberty and the vitality of life. They are not treated in the same way as a classical sculpture in which the female form was often depicted as an object of beauty. Instead Gillespie strives to create thoughtful expressions of the free-spirited and independent nature of modern women.Freedom is a constant thread in Gillespie’s work, something his sculptures seem to always be striving towards, whether they are scaling the side of a building, Aspiration (1995) or perched on a window ledge, Birdy (1997). His figures seem to affect an act of defiance in the face of gravity. While Gillespie’s sculptures are often struggling under the weight, literal and metaphorical, of the base, elemental forces of life there is also a lightness, a joy found within his depictions of the human form.There is a visual link between the outstretched arms in Peace II and the Blackrock Dolmen (1987), although on this occasion the figures are not supporting the heavy weight of the stone. Instead with their arms outstretched, reaching upwards towards an imaginary light, one is reminded of his respective large-scale public commissions in Italy and Dublin, Leta della donna (2009) and The Age of Freedom (1992). On both occasions the figures stand, similar to the present work, naked, offering some form of thanksgiving to the sun. The two figures in Peace II, seem to grow upwards from the same source, their bodies intertwined with one another. It is an expression of gratitude, a gesture of sublimation and hope.While he is known for his emotionally arresting Famine memorial, here there is a delicacy to the treatment of the material which seems to hark back to his earlier investigations into the human form. The finish of the bronze in this work is the antithesis of the cracking, raw patinas of his Famine figures. However, once again he has created a visual as well as physical connection to the raised arms of his Jubilant Man (2007) sculpture in Irelands Park, Toronto, who upon safe arrival in Canada is utterly overcome with emotion.Niamh Corcoran, May 2023
Lot 136
Gerda Frömel (1931-1975)Head (c. 1972/73)White marble, 36cm (14¼") highOn a rectangular steel base, 20.2 x 26.5cm (8 x 10¾")Provenance: With The Dawson Gallery, Dublin, May 1973, where purchased, thence by descent to the present owners; The Estates of Dr. John & Mary Esther O’Driscoll, KildareBorn in Czechoslovakia in 1931, Greda Frömel was the eldest of four children born to German parents. When she was 14 the family moved to Vienna. Three years later she was attending the Stuttgart Academy of Art and Design studying sculpture, winning in 1949 the Scholarship for Young Artists. In 1953 she spent a year in Ireland, and while there met Werner Schürmann, a young German sculptor and musician, whom she married in 1955. It was in Ireland that she began to exhibit her work in earnest. By 1954 she had begun to exhibit in the Irish Exhibition of Living Art (IELA) and continued to show there regularly, while in 1962 and ‘63 she exhibited at the Independent Artists, also exhibiting at the Oireachtas, where in 1973 she won the Gold Medal. In 1964 and 1970 she had solo exhibitions with Leo Smith in The Dawson Gallery in Dublin, and had a joint show there with Michael Scott in 1967. Frömel’s work achieved critical acclaim and with it many important commissions, including in 1970 her polished stainless steel work entitled Sails for P.J.Carroll and Son, Dundalk. This was, at the time, the largest private sculptural commission in Ireland. Frömel also worked in stained glass for churches in Ireland and Germany, including a stained glass-window at St Brigid’s Cathedral, Kildare. Prof. Paula Murphy noted that Frömel brought several influences to bear in her work, “from Brancusi, in her smooth ovoid forms worked in stone”, (as in the present work), “and Giacometti, in her seemingly melting, textured bronze sculptures, to the Henry Moore circle, notably Hepworth and Ben Nicholson, in her abstract discs and rectangular forms.”Frömel died in a drowning accident, while on holidays with her children in Co. Mayo, at the age of 44. The following year a major retrospective exhibition of her work, organised jointly by the Arts Council and the Goethe Institute, was held at Dublin’s Hugh Lane Gallery.
Lot 40
Bank rolls with the Union Jack; each roll contains 50 bronze penny coins.Reverse side of the penny shows Britannia seated wearing a helmet and holding a trident. Obverse side features the bust of Queen Elizabeth II facing right. 1 roll measures: 3.75in H x 1.25in Dia. 1 penny measures: 1.25in Dia. 1 penny weighs: 10g. Artist: Mary Gillick and Charles W. CoombesIssued: 1967Country of Origin: EnglandCondition: Age related wear.High Res Image 1High Res Image 2High Res Image 3High Res Image 4
Lot 41
Bank rolls with the Union Jack; each roll contains 50 bronze penny coins.Reverse side of the penny shows Britannia seated wearing a helmet and holding a trident. Obverse side features the bust of Queen Elizabeth II facing right. 1 roll measures: 3.75in H x 1.25in Dia. 1 penny measures: 1.25in Dia. 1 penny weighs: 10g. Artist: Mary Gillick and Charles W. CoombesIssued: 1967Country of Origin: EnglandCondition: Age related wear.High Res Image 1High Res Image 2High Res Image 3High Res Image 4
Lot 42
Bank rolls with the Union Jack; each roll contains 50 bronze penny coins.Reverse side of the penny shows Britannia seated wearing a helmet and holding a trident. Obverse side features the bust of Queen Elizabeth II facing right. 1 roll measures: 3.75in H x 1.25in Dia. 1 penny measures: 1.25in Dia. 1 penny weighs: 10g. Artist: Mary Gillick and Charles W. CoombesIssued: 1967Country of Origin: EnglandCondition: Age related wear.High Res Image 1High Res Image 2High Res Image 3High Res Image 4
Lot 106
VIKING GOLD BRACELET EASTERN SCANDINAVIA OR THE BALTIC, EARLY 2ND MILLENNIUM A.D. formed of solid gold, the exterior stamped with alternating bands of circular and triangular decoration, terminating in dual loopsDimensions:8.2cm diameterProvenance:Simon Bendall, London, United KingdomThe Hall Family Collection, acquired from the aboveFortuna Fine ArtsPrivate collection, United Kingdom, acquired from the above, a copy of the original invoice to be included with the itemNote: Note: Please note that this item has been studied and assessed by experts at the Jorvik Viking Museum, York. During the Viking era, both men and women wore jewellery, typically made from bronze or silver, with gold being reserved for the elite. At the onset of the Viking era in 800 A.D., the jewellery was characterized by minimalistic designs. However, as techniques evolved and Vikings encountered new cultures through exploration and raiding, jewellery became increasingly intricate, incorporating designs from these cultures. Certain families of high social standing began to use ornamentation that was exclusive to their clan, and not to be replicated by others.Beyond their decorative function and status symbol, jewellery served as a form of currency during this period. Pieces were often broken up into smaller parts to accommodate transactions, resulting in complete pieces becoming rare.
Lot 48
LURISTAN BRONZE DEER FIGURE NEAR EAST, C. EARLY 1ST MILLENNIUM B.C. cast bronze, the standing animal reduced to the essence of form, the head subtly upturned with broad antlers curling upwards, the back and neck joined by an integral loopDimensions:6.9cm longProvenance:Provenance:Private collection, BelgiumRalph I. Chait Gallery, Los Angeles
Lot 77
LURISTAN BRONZE SWORD NEAR EAST, 1ST MILLENIUM B.C. cast bronze, the cotton reel pommel with a flaring base over the tapering rectangular guard with circular and linear stamped decoration, ending in a long blade with dual ridgesDimensions:51cm long, 4cm wideProvenance:Provenance:Previously in a private collection, acquired between 1965 – 2020
Lot 21
FINE BRONZE AGE HALLSTATT SPIRAL FIBULA SOUTH CENTRAL EUROPE, LIKELY BALKANS, C. 1000 - 800 B.C. bronze wire, the base of the fibula formed of a single large spiral below a bow with eight smaller lateral spirals, which are attached to the central bow by three cuffs, the head formed into a loop with a quadruple spiral, the reverse with surviving pinDimensions:21.2cm longProvenance:Provenance:Private collection, Walton-on-Thames, acquired 1930-1970sPrivate collection, United Kingdom, acquired from the above 1970sNote:Note:The spiral motif is a prevalent feature of Bronze Age art across Europe, particularly in the Late Bronze Age around 1300-700 B.C. The spiral is believed to have held symbolic meaning, and its presence in various forms of art suggests that it held significance for people during this period. Its importance is widely debated, but it is often associated with notions of cyclical time, movement, and transformation. The significance of the spiral in Bronze Age art may have also been influenced by the materials and techniques used in its production. Bronze Age artisans were skilled in the creation of intricate metalwork, and the spiral may have been seen as a way to showcase their technical abilities. It is also possible that the spiral was used as a decorative element to enhance the beauty and value of objects, such as jewellery and weapons.
Lot 81
COLLECTION OF LURISTAN PERSIAN SPEAR HEADS NEAR EAST, C. 1000 - 750 B.C. cast bronze, each with leaf-shaped blade and raised central mid-rib, rounded shaft and squared shank below, each raised on a bespoke mount and displaying a beautiful range of deep green and azure blue patination (7)Dimensions:largest 48cm longProvenance:Provenance:Private collection, United Kingdom, acquired on the UK art market 1980sPrivate collection, London, United Kingdom 2017 from the aboveNote: Note: It is generally believed that the Luristan region was a significant centre for metalworking during the Iron Age in the ancient Near East; producing weapons, ornaments, and other objects of bronze and iron. A large number of these artefacts, especially weaponry, have been found in other neighbouring territories, suggesting that they may have been traded or commissioned, including to the Persian Empire.
Lot 107
VIKING GOLD FINGER RING EASTERN SCANDINAVIA OR THE BALTIC, EARLY 2ND MILLENNIUM A.D. gold, formed of six interwoven bands tapering into a thinner, solid sectionDimensions:UK size: V, US size: 11Note: Note: Please note that this item has been studied and assessed by experts at the Jorvik Viking Museum, York. During the Viking era, both men and women wore jewellery, typically made from bronze or silver, with gold being reserved for the elite. At the onset of the Viking era in 800 A.D., the jewellery was characterized by minimalistic designs. However, as techniques evolved and Vikings encountered new cultures through exploration and raiding, jewellery became increasingly intricate, incorporating designs from these cultures. Certain families of high social standing began to use ornamentation that was exclusive to their clan, and not to be replicated by others.Beyond their decorative function and status symbol, jewellery served as a form of currency during this period. Pieces were often broken up into smaller parts to accommodate transactions, resulting in complete pieces becoming rare.
Lot 28
EUROPEAN BRONZE AGE FLAT AXE WESTERN EUROPE, C. 1500 - 1200 B.C. cast bronze, the haft recessed with dual flanges meeting at the base of the shaft, the blade tapering at the centre and leading to a convex cutting edge, displaying a dark olive patinaPrivate collection, Walton-on-Thames, acquired 1930-1970sPrivate collection, United Kingdom, acquired from the above 1970sDimensions:21cm long
Lot 108
VIKING GOLD FINGER RING EASTERN SCANDINAVIA OR THE BALTIC, EARLY 2ND MILLENNIUM A.D. gold, formed of three interwoven bands tapering into a thinner, solid sectionDimensions:UK size: V, US size: 11Provenance:Private collection, CaliforniaThe Hall Family Collection, acquired from the aboveFortuna Fine ArtsPrivate collection, United Kingdom, acquired from the above, a copy of the original invoice to be included with the itemNote: Note: Please note that this item has been studied and assessed by experts at the Jorvik Viking Museum, York. During the Viking era, both men and women wore jewellery, typically made from bronze or silver, with gold being reserved for the elite. At the onset of the Viking era in 800 A.D., the jewellery was characterized by minimalistic designs. However, as techniques evolved and Vikings encountered new cultures through exploration and raiding, jewellery became increasingly intricate, incorporating designs from these cultures. Certain families of high social standing began to use ornamentation that was exclusive to their clan, and not to be replicated by others.Beyond their decorative function and status symbol, jewellery served as a form of currency during this period. Pieces were often broken up into smaller parts to accommodate transactions, resulting in complete pieces becoming rare.
Lot 102
VIKING GOLD BRACELET EASTERN SCANDINAVIA OR THE BALTIC, EARLY 2ND MILLENNIUM A.D. gold, formed from eight braided strands hammered into elegant solid finials with looped ornamentDimensions:8.6cm diameterProvenance:Provenance:Christian Blom, New YorkThe Hall Family Collection, acquired from the aboveFortuna Fine ArtsPrivate collection, United Kingdom, acquired from the above, a copy of the original invoice to be included with the itemNote: Note: Please note that this item has been studied and assessed by experts at the Jorvik Viking Museum, York. During the Viking era, both men and women wore jewellery, typically made from bronze or silver, with gold being reserved for the elite. At the onset of the Viking era in 800 A.D., the jewellery was characterized by minimalistic designs. However, as techniques evolved and Vikings encountered new cultures through exploration and raiding, jewellery became increasingly intricate, incorporating designs from these cultures. Certain families of high social standing began to use ornamentation that was exclusive to their clan, and not to be replicated by others.Beyond their decorative function and status symbol, jewellery served as a form of currency during this period. Pieces were often broken up into smaller parts to accommodate transactions, resulting in complete pieces becoming rare.
Lot 105
VIKING GOLD TORC EASTERN SCANDINAVIA OR THE BALTIC, 900 - 1100 A.D. gold, formed of strands of thick gold braided together in the lower half and hammered into a single strand in the top halfDimensions:14.2cm diameter, 105gProvenance:Provenance:BA Seaby Ltd, 11 Margaret Street, London, United KingdomPrivate collection, Kansas City, United StatesThe Hall Family CollectionPrivate collection, London, United KingdomNote: Note: Please note that this item has been studied and assessed by experts at the Jorvik Viking Museum, York. During the Viking era, both men and women wore jewellery, typically made from bronze or silver, with gold being reserved for the elite. At the onset of the Viking era in 800 A.D., the jewellery was characterized by minimalistic designs. However, as techniques evolved and Vikings encountered new cultures through exploration and raiding, jewellery became increasingly intricate, incorporating designs from these cultures. Certain families of high social standing began to use ornamentation that was exclusive to their clan, and not to be replicated by others.Beyond their decorative function and status symbol, jewellery served as a form of currency during this period. Pieces were often broken up into smaller parts to accommodate transactions, resulting in complete pieces becoming rare.
Lot 103
VIKING BRAIDED GOLD PENNANULAR BRACELET EASTERN SCANDINAVIA OR THE BALTIC, EARLY 2ND MILLENNIUM A.D. gold, formed of a series of interwoven strands combining and tapering at the edges to form solid flat terminals stamped with triangular decorative elementsDimensions:7.5cm diameterProvenance:Provenance:Freeman and Sear, Los AngelesThe Hall Family CollectionFortuna Fine ArtsPrivate collection, United Kingdom, acquired from the above, a copy of the original invoice to be included with the itemNote: Note: Please note that this item has been studied and assessed by experts at the Jorvik Viking Museum, York. During the Viking era, both men and women wore jewellery, typically made from bronze or silver, with gold being reserved for the elite. At the onset of the Viking era in 800 A.D., the jewellery was characterized by minimalistic designs. However, as techniques evolved and Vikings encountered new cultures through exploration and raiding, jewellery became increasingly intricate, incorporating designs from these cultures. Certain families of high social standing began to use ornamentation that was exclusive to their clan, and not to be replicated by others.Beyond their decorative function and status symbol, jewellery served as a form of currency during this period. Pieces were often broken up into smaller parts to accommodate transactions, resulting in complete pieces becoming rare.
Lot 24
BRONZE AGE BANGLE CENTRAL EUROPE, C. 1200 - 800 B.C. cast bronze, the broad pennanular bangle with subtle tiering at the terminals, incised with geometric patterning throughout, rich green patinationDimensions:8.5cm diameterProvenance:Provenance:Private collection, Walton-on-Thames, acquired 1930-1970sPrivate collection, United Kingdom, acquired from the above 1970sNote: During the Late Bronze Age in Central Europe (1300 to 800 B.C.), and indeed Europe more widely, archaeological evidence suggests that societies were increasingly characterised by a martial ethos, hierarchical social structures and a focus on military prowess as a means of securing and expanding territory. There is evidence of the emergence of a specific warrior class that held a prominent place in society. Many such individuals were buried with their weapons and other possessions, which were believed to be necessary for their journey into the afterlife. The following collection contains a range of objects that would have belonged to people from this world. Echoes of this martial culture are to be found in Homer's contemporaneous epic poem, the Iliad, which provides a vivid portrayal of the spirit of the Late Bronze Age, where large groups of armed individuals would travel significant distances in search of plunder and enrichment. The actual reasons for the emergence of these warrior cultures is not entirely clear. However, some scholars suggest that it may have been driven by a need for protection and control of natural resources such as metal ores and fertile land. Others propose that it may have been linked to the increasing complexity of political structures and the need for military power to enforce social order. In Central Europe, this warrior elite appears to have enjoyed high social status and power, and the objects featured here reflect their world of privilege. The drinking cup (lot 17) would likely have originally been part of a set, with a number of such cups accompanying a larger vat from which would have been served beer or in more southerly locales, wine. Archaeological evidence from burials also reveals the importance of personal grooming in Late Bronze Age Central Europe. Alongside martial gear, warriors were often buried with personal care items such as razors and knives (see lots 18, 19, 20) suggesting that personal grooming and appearance was an important aspect of their culture. For example, a burial discovered in Hungary contained the remains of a male warrior who was buried with a set of bronze grooming tools, including tweezers, a razor, and a comb. The presence of these grooming items alongside weapons and armour suggests that personal appearance and hygiene were important considerations for warriors, and that they may have used these items to maintain a clean-shaven or trimmed appearance. Further to the south in Mycenaean Greece, we have contemporaneous literary traditions making reference to such practices. For instance, within the Iliad there are several references to personal grooming among the warrior elites. In Book 18, the Trojan prince Hector is described as taking a moment to comb his hair and beard before re-entering the battle. This moment of personal grooming suggests that even in the midst of a violent conflict, appearance and presentation were still important considerations for warriors. The twisted torque (lot 22), bronze bangle (lot 24), spiral fibula (lot 29) & spiral brooch (lot 21) are fine examples of the ostentatious jewellery worn by the elites of the Late Bronze Age. In the case of the brooch & fibula, their use of the spiral is also significant; the spiral is believed to have held symbolic meaning, and its presence in various forms of art suggests that it held significance for people during this period. Its importance is widely debated, but it is often associated with notions of cyclical time, movement, and transformation. The significance of the spiral in Bronze Age art may have also been influenced by the materials and techniques used in its production. Bronze Age artisans were skilled in the creation of intricate metalwork, and the spiral may have been seen as a way to showcase their technical abilities.
Lot 22
BRONZE AGE NECK TORC CENTRAL EUROPE, C. 1200 B.C. cast bronze, of twisted construction, the tapering ends with flattened, coiled terminalsDimensions:21.5cm diameterProvenance:Provenance:Private collection, Walton-on-Thames, acquired 1930-1970sPrivate collection, United Kingdom, acquired from the above 1970s
Loading...-
350105 item(s)/page