Ca. 1100-1300 AD. A bronze cruciform pendant bearing an ornate design, with a pair of round protrusions extending from each arm. The pendant is crafted from bronze and features a detailed decorative pattern along its arms, as well as a central suspension loop. Medieval cross pendants were widely worn as a symbol of faith and devotion to Christianity as they spread throughout Europe in the Middle Ages. They were used as both a symbol of faith and as a fashion accessory. The most common type of cross pendant was the Latin cross, which is a cross with four equal-length arms. Other types of cross pendants included the Maltese Cross, the Jerusalem Cross, and the Celtic Cross.Size: L:29.2mm / W:21.5mm ; 3.89gProvenance: Private London collector, acquired on the UK Art market, pre-2000.
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
Ca. 500-600 AD. A beautiful bronze ring with a smooth, circular band supporting a large bezel decorated with a five-petaled floral design. Further incised decoration runs around the perimeter of the bezel.Size: D: 18.35mm / US: 8 1/4 / UK: Q 1/2; 7.75gProvenance: Private London collector, acquired on the UK Art market, pre-2000.
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. For a similar, see The Metropolitan Museum of Art, Accession Number: 37.75.39.Size: L:34mm / W:19.4mm ; 4.07gProvenance: Private London collector, acquired on the UK Art market, pre-2000.
Ca. 500-600 AD. A bronze finger ring composed of a plain, circular band, that gradually expands to form a circular bezel. The shoulders are decorated with radiating lines and a bezel bears a depiction of a stylised cross enclosed in a round frame with four etchings. The cross has held significant importance in the Byzantine Empire since its inception in 330 AD. It was the symbol used in the official banner of the Byzantine Empire and is closely associated with Christianity, which was the official religion of the state. The cross was used to symbolize victory over the enemies of the empire, and it was also used as a symbol of hope, as it was believed to represent resurrection and eternal life.Size: D: 16.92mm / US: 6 1/2 / UK: N ; 6.79gProvenance: Private London collector, acquired on the UK Art market, pre-2000.
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 cross 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:36.5mm / W:27.7mm ; 5.89gProvenance: Private London collector, acquired on the UK Art market, pre-2000.
Ca. 600 AD. A gilded bronze cruciform pendant consisting of four bulbous arms extending from a central rectangular-shaped plaque that holds an etched design at its junction. On top of the pendant is a suspension loop for attaching the piece to a necklace or other piece of jewelry. This piece is in wearable condition and it comes with a modern necklace cord.Size: L:35mm / W:25mm ; 10gProvenance: Private London collector, acquired on the UK Art market, pre-2000.
Ca. 1100-1400 AD. A bronze finger ring of a slender hoop is stunningly contrasted with a flat oval-shaped bezel, which is decorated with an eight-pointed star motif. The star is surrounded by a raised frame with radiating decoration. The Crusades were a series of religious wars fought by Christian forces from Europe in the Middle Ages, initially motivated by the desire to reclaim the holy land from Muslim rule. The Crusaders, as they were known, launched several expeditions to the Levant, the region of the Near East around Jerusalem, in the 11th-13th centuries. These expeditions were marked by violence, suffering, and destruction, but also by moments of heroism and religious fervor. While the initial goal of the Crusades was to liberate the holy land from Muslim control, the movement soon took on a wider significance, becoming a symbol of Christian power and a rallying point for European knights. Ultimately, the Crusades failed to achieve their original goal, but they left a lasting legacy in the form of cultural exchange, military innovations, and a deep appreciation for the power of faith.Size: D: 18.14mm / US: 8 / UK: P 1/2; 7.6gProvenance: Private London collector, acquired on the UK Art market, pre-2000.
Ca. 1100-1300 AD. A bronze cross pendant featuring a classic Latin cross design with a trefoil decoration at each finial, giving it a timeless look. The intricate carving at the arms and center of the cross, the fine texture, and the intricate details of the trefoils are truly remarkable. Size: L:40.1mm / W:29.1mm ; 6.19gProvenance: Private London collector, acquired on the UK Art market, pre-2000.
Ca. 1100-1400 AD. A nice bronze ring with a plain, round hoop slightly expanding to form a large, circular bezel with an intricately etched pattern with a central, stylised cross motif. The Crusades were a series of military campaigns led by European Christians between the 11th and 15th centuries to recover the Holy Land from Muslim rule. The Crusades had a profound impact on the political, religious, and cultural landscape of Europe and the Middle East.Size: D: 18.75mm / US: 8 3/4 / UK: R; 5gProvenance: Private London collector, acquired on the UK Art market, pre-2000.
Late Shang Dynasty, ca. 11th century BC. The body is slightly tapering, formed in a deep rectangular body which has been raised on four columnar supports, each delicately cast in high relief at the top with a taotie mask with sternly depicted ears which are ever watching. The body is cast in high relief on each side with a band of decoration motifs with what appear to be kui dragons. The everted rim is set with a pair of inverted U-shaped handles. The bronze has a milky green patinated surface with malachite and cuprite encrustation. The Fangding was considered to be the most highly regarded of all Chinese bronze ritual vessels, used as a cauldron standing on four raised supports, traditionally used for cooking and storing of ritual offerings to ancestors, these were place on the family altar for worship in order to gain positive favour and continuation against evil. For similar see: The Ashmolean Museum, Oxford: EA1956.834.Size: L:222mm / W:170mm; 1.8kgProvenance: Private collection of a London doctor; formerly in a Somerset Estate collection; acquired from Hong Kong galleries in the early 1990s.
Ca. 600-800 AD. A cruciform bronze pendant depicting a stylized Jesus Christ during his crucifixion. His arms and legs are outstretched with nails driven through his hands, reflecting his suffering on the Cross.Size: L:40.1mm / W:20.2mm ; 4.7gProvenance: Private London collector, acquired on the UK Art market, pre-2000.
Ca. 1100-1400 AD. A bronze finger ring with a slender hoop, finely etched shoulders, and a flat oval-shaped bezel decorated with a radiating Star of Bethlehem, which is a significant symbol in Christianity. The Star of Bethlehem is said to have appeared in the sky during the Nativity of Jesus Christ, signifying his divine origin. The symbol of the Star of Bethlehem became a powerful symbol of Christ's birth, and over time, it came to represent faith, hope, and the promise of salvation.Size: D: 18.54mm / US: 8 1/2 / UK: Q 1/2; 7.53gProvenance: Private London collector, acquired on the UK Art market, pre-2000.
Ca. 1200-1350 AD. A shield-shaped horse harness pendant with a straight upper edge, a central hinged hanger, and convex sides meeting at a point at the bottom. The obverse is embellished with a heraldic emblem on a field of red enamel, which has since worn off over the years. These decorative pieces of metal were used to adorn a horse's harness and provided both decorative and practical benefits. Decoratively, they were used to enhance the appearance of the horse, often made of materials such as copper, bronze, silver, and gold. In addition, they were also used to denote the horse's owner, providing a way to identify the horse and its rider.Size: L:55mm / W:35mm ; 20gProvenance: Private London collector, acquired on the UK Art market, pre-2000.
Ca. 900-1100 AD. A bronze finger ring with a flat-section round hoop that widens to form a roundish bezel decorated with an intricate interwoven swastika pattern. The swastika was used by the Vikings as a representation of the sun, and also as a symbol of life and luck. The swastika is also a common motif in traditional Viking artwork, and can be found on many items of jewelry and pottery, as well as on rune stones and wood carvings.Size: D: 19.15mm / US: 9 1/4 / UK: S; 3.46gProvenance: Private London collector, acquired on the UK Art market, pre-2000.
Ca. 1200-1400 AD. A bronze pendant consisting of a round plaque with a decorative edging of radiate trefoils and a raised relief of an eagle with its wings outstretched. The eagle is depicted in a lifelike manner, with details of its feathers, beak, and claws. Its head is raised and its eyes gaze into the distance. This piece is in wearable condition and it comes with a modern necklace cord.Size: L:50mm / W:40mm ; 15gProvenance: Private London collector, acquired on the UK Art market, pre-2000.
Ca. 900-1100 AD. A bronze finger ring with a flat-section round hoop that gently widens to form a lozenge-shaped bezel decorated with stylised motif. On the corners of this bezel, there are four raised bosses that add to the beauty of the piece. The borders of the bezel are further decorated with hatch marks.Size: D: 17.45mm / US: 7 1/4 / UK: O 1/2; 7.2gProvenance: Private London collector, acquired on the UK Art market, pre-2000.
Ca. 900-1000 AD. A cast-bronze circular pendant featuring one face decorated in a low relief depiction of Odin, the one-eyed god gripping ravens Huginn and Muninn. Odin, the chief god of Norse mythology, was known for his wisdom, war, and poetry. Huginn and Muninn, his trusted ravens, symbolize thought and memory, respectively. This pendant is in wearable condition and it comes with a modern necklace cord. Cf. The North Lincolnshire Museum, NLM-7F954A.Size: L:30.8mm / W:21.3mm ; 9.93gProvenance: Property of European collector. Private Dutch collection of D.O., 2000s.
Ca. 300 BC - 200 AD. A bichrome vessel of ovoid body, flaring neck, and rounded base. The decoration on the exterior of the vessel consists of several red lines meandering across the surface, creating a mesmerizing pattern. The lines are expertly executed, and their placement seems intentional, evoking a sense of harmony and balance. The Ban Chiang culture was an ancient civilization that thrived in what is now northeastern Thailand from around 1500 BC to 200 AD. They were known for their highly skilled artisans who produced intricate pottery, bronze jewelry, and other artifacts. The Ban Chiang culture was also notable for its social organization, which included complex burial practices and a hierarchical system of governance. 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:370mm / W:275mm ; 5.53kgProvenance: From the collection of a London gentleman; formerly acquired in early 2000s in Belgium; previously in 1970s European collection.
Ca. 900-1100 AD. A bronze coiled bracelet that is intended to evoke the form of a snake. The bracelet consists of several coils formed of a bronze rod, which has been carefully arranged in a way that creates a sense of movement and fluidity, further emphasizing the snake-like design. In Viking society, arm rings and bracelets were not just decorative, but also served to mark bonds of loyalty between a lord and his followers in a culture where honour was a matter of life and death. Such items were also given to young men to mark their coming of age and bracelets of precious metals were also used as currency in a time before the widespread availability of coinage.Size: L:82mm / W:83mm ; 280gProvenance: Private English collection, 1980s.
Ca. 900-1100 AD. Crafted from solid bronze, this Viking terminal takes the form of the upper body of a wolf. It is sculpted with precise detail, capturing the wolf's expressive eyes and ornately incised fur. It was meant to be a symbol of strength and power, embodying the fierce nature of the wolf.Size: L:25mm / W:10mm ; 10gProvenance: Property of a European collector; formerly acquired on the EU Art market pre-2000.
Warring States Period, ca. 500-400 BC . The hook finely formed by a small dragon head with the arched shaft with intricate and sinuous zoomorphic patterns in gold and silver inlay set flush with the bronze, the reverse cast with a knob inlaid in gold with three cylindrical characters. For further information see Jean-Pierre Dubosc, Arte Cinese; Catalogo della mostra Venezia, Venice, 1954, no. 114. Bernard Karlgren, “Bronzes in the Wessén Collection,“ Bulletin of the Museum of Far Eastern Antiquities, no. 30, Stockholm, 1958, pl. 33. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: L:114mm / W:20mm; 60g Provenance: Private collection of a London doctor; formerly in a Somerset Estate collection; acquired from Hong Kong galleries in the early 1990s.
Ca. 1500 AD. A bronze spoon featuring a large oval bowl and a long square-shaped, slightly tapering handle that terminates in a baluster-type knop. The bowl of the spoon was designed to hold a substantial amount of food, while the handle provided the user with a secure grip. Spoons were an essential part of medieval dining in England, and their design evolved over time to meet changing culinary needs. The large oval bowl of this particular spoon was perfect for eating soups and stews, which were popular dishes at the time. The long handle allowed the user to reach into deep bowls, while the tapering design made it easy to scoop food out of narrow containers.Size: L:155mm / W:50mm ; 40gProvenance: From the private collection of an Essex gentleman; previously in an old British Collection, formed in the 1980s.
Ca. 1500 AD. A bronze spoon formed of a large oval bowl, perfect for scooping up hearty stews and soups, and a long, round-shaped handle, which terminates in an ornate baluster-type knop, adding to the spoon's aesthetic beauty. The craftsmanship of the spoon is remarkable, with intricate detailing throughout, highlighting the skill of the artisan who created it.Size: L:165mm / W:48mm ; 45gProvenance: From the private collection of an Essex gentleman; previously in an old British Collection, formed in the 1980s.
Ca. 1600-1700 AD. A bronze finger ring featuring an open-work bezel with a distinctive human skull design. The deeply recessed eyes of the skull add a striking detail, instantly drawing attention to the piece. This particular design is a representation of the Memento Mori, a Latin phrase meaning “remember you must die”. Throughout history, this phrase has served as a reminder of the inevitability of death, providing a philosophical outlook on life. This design was often seen on jewelry in the post-medieval era, such as necklaces, rings, and brooches. This particular finger ring, with its intricate design and open-work bezel, is a fine example of this time period’s craftsmanship.Size: D: 17.75mm / US: 7 1/2 / UK: P; 2.4gProvenance: Private London collector, acquired on the UK Art market, pre-2000.
Ca. 224-651 AD. A bronze vessel with a hemispherical body and a low, concave foot, which provides stability for the vessel, but also adds to its elegant appearance. The vessel is adorned with a stylized handle that includes a finger support, which would have allowed the user to comfortably grasp the vessel. The Sasanian Empire, which existed from 224 to 651 CE, was a powerful and prosperous civilization. One of the most impressive aspects of Sasanian art and culture was their metalwork, which was characterized by intricate designs and high levels of craftsmanship.Size: L:60mm / W:150mm ; 330gProvenance: Acquired from a Central London Antique Shop; previously in a collection formed on the UK/International art market in the 1980s.
Ca. 224-651 AD. A bronze vessel with a bulbous body, broad mouth, flat base, and a small loop handle. The outer wall of the vessel features a checkered pattern, which adds to its decorative appeal. The Sasanian Empire, which existed from 224 to 651 CE, was a powerful and prosperous civilization. One of the most impressive aspects of Sasanian art and culture was their metalwork, which was characterized by intricate designs and high levels of craftsmanship.Size: L:110mm / W:125mm ; 240gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Ca. 1100-1200 AD. A heavy bronze mortar comprising an out-turned rim, a cylindrical body decorated with pyramidal bosses, and a stepped-out foot. This beautiful object may have been used in the kitchen for food preparation, or for the mixing of medicines by a medieval doctor. For a similar, see the Louvre Museum, inventory number: MAO 2218.Size: L:135mm / W:145mm ; 5.08kgProvenance: Private UK collection; From an old British collection formed in the 1990s.
Ca. 1200 AD. A beautiful tray hammered from a thin sheet of bronze into a rectangular shape with a shallow basin and broad lateral panels with a pronounced edge. The interior of the basin is adorned with elaborate and intricate decoration. A central roundel featuring three playful hares serves as the focal point of the design, surrounded by calligraphic panels, floral motifs, and depictions of birds. The hares in the central roundel may symbolize various meanings, such as fertility, rebirth, or abundance, reflecting the importance of nature in the Seljuk worldview. The calligraphic panels around the roundel feature blessings, adding a spiritual element to the design and reflecting the Islamic cultural values of the time. Bronze trays such as this one were often used for serving food or as decorative display pieces, with their ornate designs and calligraphic inscriptions serving as expressions of wealth, status, and cultural identity.Size: L:185mm / W:285mm ; 315gProvenance: Private UK collection; From an old British collection formed in the 1990s.
Ca. 800-900 AD. A charming 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 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:160mm / W:60mm ; 215gProvenance: Private UK collection; From an old British collection formed in the 1990s.
Ca. 618-907 AD. A bronze circular mirror adorned with intricate relief decoration, which covers the entire surface of the mirror in a series of concentric circles around the central knob, which is used for suspension or attachment. The relief decoration on the mirror is rich and varied, featuring a mix of figurative, calligraphic, and abstract elements. Figures such as beasts, and humans are depicted in a variety of poses, while calligraphic inscriptions in the elegant Tang dynasty script add a layer of meaning and symbolism to the design. Geometric and abstract motifs, such as chevrons and triangles, are also present, adding a sense of rhythm and harmony to the overall composition. On the obverse side, the mirror would have been polished to a high sheen, creating a reflective surface. The combination of functionality and beauty is characteristic of Tang dynasty art, which placed a high value on aesthetics and design in all aspects of life.Size: L:180mm / W:180mm ; 685gProvenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed in the 1980s on the UK /European art markets.
Ca. 618-907 AD. A beautifully decorated bronze mirror with a small fluted loop framed by a plain roundel around which four animals (dragon, bird, tiger, and turtle) representing the four cardinal directions radiate. The Four Symbols are four mythological creatures in the Chinese constellations. They are the Turquoise Dragon of the East, the Vermilion Bird of the South, the White Tiger of the West, and the Black Tortoise of the North. Each one of them represents a direction and a season, and each one has its own characteristics and origins. They have been depicted in many myths and tall tales, and also appear in many modern manga and anime. For a similar example, see The Yale University Art Gallery, 1969.55.6.Size: L:110mm / W:110mm ; 300gProvenance: UK private collection of Asian Art; formerly acquired in the early 1990s in Hong Kong.
Ca. 618-907 AD. A bronze circular-shaped mirror adorned with a symmetrical and intricate relief decoration that surrounds a central hemispherical pierced boss. The decoration is comprised of six roundels with foliate designs that radiate outward from the knob, creating a harmonious and balanced composition. The raised band that surrounds the foliate designs is decorated with simple, linear motifs that add an additional layer of visual interest. Further bands of calligraphy and geometric patterns contribute to the overall complexity and richness of the decorative scheme. The obverse side of the mirror would have been polished to a high shine, further enhancing its reflective properties. Bronze mirrors were a significant art form during the Tang Dynasty, with examples ranging from simple circular mirrors to complex multi-panelled mirrors with intricate decoration. These mirrors were highly valued both for their aesthetic beauty and technical excellence.Size: L:185mm / W:185mm ; 765gProvenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed before 2000 on the UK /European art markets.
Ca. 618-907 AD. A circular mirror crafted from bronze adorned with relief decoration. The central hemispherical boss adds an intricate layer of complexity to the design. Meanwhile, the broad rim is left unadorned, creating a subtle contrast that draws the viewer's gaze towards the central motif. Its obverse side, which would have been polished, would have provided a clear and accurate reflection, adding an element of functionality to its beauty. The Tang Dynasty is renowned for its production of bronze mirrors, with examples ranging from simple circular mirrors to ornate, multi-panelled mirrors with intricate decoration. These mirrors were highly valued both for their beauty and for their technical excellence.Size: L:190mm / W:190mm ; 815gProvenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed before 2000 on the UK /European art markets.
Ca. 618-907 AD. A discoid bronze mirror with Bagua (Eight Trigrams) low relief patterns arranged around a central rondel containing a small loop for suspension. The mirror is further embellished with a decorative outer border formed of multiple rams standing one behind the other. The Bagua is an octagonal diagram featuring a different trigram on each of its sides, each corresponding, at the same time, to a philosophical concept, a direction, a state of nature, and a member of the family. It is a fundamental philosophical concept of ancient China used in Taoism and the Yi Jing, but also in other areas of Chinese cultures, such as feng shui, martial arts, or navigation.Size: L:140mm / W:140mm ; 388gProvenance: Private UK collection; From an old British collection formed in the 1990s.
Ca. 1800-1900 AD. An attractive gilt bronze Shakyamuni is seated in padmasana, atop a lotus base, the figure exudes a sense of calm and serenity. The left hand is in Bhumisparsa Mudra, a gesture that represents the moment when the Buddha touched the earth to call it to witness his enlightenment. The right hand holds an alms bowl, a symbol of the Buddha's renunciation of material possessions. The broad face, with its serene and downcast expression, is flanked by long earlobes beneath the tight whorls of hair. The figure is dressed in loosely draped, decorated robes that add to the overall aesthetic beauty of the piece. Shakyamuni, also known as Gautama Buddha, was the founder of Buddhism. He was born in ancient India and achieved enlightenment while meditating under a bodhi tree. He spent the rest of his life teaching others about the path to enlightenment and the end of suffering.Size: L:180mm / W:120mm ; 930gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Ca. 1800-1900 AD. A gilt-bronze Vajrasattva is seated in padmasana on a lotus base, the figure holds a vajra in his right hand and a ghanta in his left. The vajra, a ritual object in Vajrayana Buddhism, represents the indestructible nature of reality, while the ghanta, a bell-like instrument, represents wisdom. The figure wears a pleated dhoti, a fine necklace curled over the arms, and many body ornaments. The face of the Vajrasattva is particularly noteworthy, with a serene expression, an urna, and smiling lips. Elongated earlobes with circular earrings draw attention to his divine nature, while a five-leaf crown adorns his head. The hairdress is buttoned in a chignon, adding to the overall elegance of the piece. Vajrasattva is a Bodhisattva in Vajrayana Buddhism, representing the purity of the mind. He is often depicted holding a vajra and ghanta, symbolic of the union of method and wisdom, and is considered a powerful deity for purifying negative karma.Size: L:330mm / W:195mm ; 3.3kgProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Ca. 1st millennium BC. A delightful cast bronze vessel for holding kohl. It features a flattened, round body, a long tubular neck with a flat and broad rim, and four bent legs, each with a knob-like little foot. Kohl is a type of black powder or paste made by grinding stibnite and used to darken the eyelids, eyelashes, and eyebrows. It was popular among many cultures from antiquity to the present. In the Ancient Near East, kohl was often used as a form of cosmetic to enhance beauty, although it was also believed to ward off evil spirits and provide protection from the sun.Size: L:90mm / W:60mm ; 140gProvenance: Private UK collection; From an old British collection formed in the 1990s.
Ca. 3rd-2nd Millennium BC. A cast bronze elongated male head wearing a cap. His broad brows are merging with a prominent nose, the lips closed, with a slightly smiling expression. The eyes hollow to accept insets.Size: L:80mm / W:25mm ; 120gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Ca. 1000-600 BC. A pair of thick and heavy cast bronze bracelets or arm rings with circular sections and square, recurved terminals with incised decoration. In the Bronze Age bracelets and arm rings were used not only as jewellery but also as ritual objects of high value, which allowed their owners to store wealth before the invention of coinage. Such items are discovered in burials as grave gifts or found in large hoards, and an important part of the Bronze Age cultures in both Europe and Asia. Good condition; a beautiful patina.Size: L:Set of 2: 125mm / W:125mm ; 2kgProvenance: Property of an established London gallery; acquired from a private estate collection formed before 2000.
Ca. 1200-700 BC. A cast bronze horse bit composed of two cheekpieces, each in the form of a stylised horse on a groundline, connected to each other by rectangular-section rods. The horse bit is a type of equestrian equipment that has been used by civilizations in the region of Luristan, located in western Asia, since the Iron Age. It was used to control and maneuver a horse. Literature: Oscar White Muscarella, Bronze and Iron: Ancient Near Eastern Artifacts in the Metropolitan Museum of Art (New York, Metropolitan Museum of Art, 1988), p. 155-166.Size: L:230mm / W:110mm ; 400gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Ca. 1800-600 BC. A nicely patinated bronze harness fittings comprising a pair of snaffle bits. The horse bridle bit features terminal rings in different sizes. The item is joined at the smaller rings; an unadorned bar extends from each side and splays out into a large terminal ring, through which the cheek pieces would have originally passed. This piece would have sat in the horse's mouth attached to the reins giving the rider more control over the animal.Size: L:210-215mm / W:35-48mm ; 135-220gProvenance: Private UK collection; From an old British collection formed in the 1990s.
Ca. 800-500 BC. A bronze libation bowl of hemispherical body fashioned from a hammered bronze sheet. The interior is ornamented with incised floral design. Bowls of this kind were used for pouring libations to the gods and for drinking on more ordinary occasions.Size: L:146mm / W:48mm ; 195gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Ca. 500-300 BC. Six flat-section bronze mounts in the form of stylised zoomorphic beasts with loops to the back. Zoomorphic mounts were affixed to garments as decoration in patterns, with multiple mounts on a single item of clothing. Scythians were nomadic people who lived in the Eurasian Steppe region of Central Asia from the 9th century BC to the 4th century AD. They were a major power in the ancient world, and their culture was renowned for its horsemanship, archery, and metalworking.Size: L:15-35mm / W:45224mm ; 30gProvenance: From the private collection of a South London art professional; previously in a collection formed on the UK/European art market in the 1990s.
Ca. 800-500 BC. A bronze bowl featuring a hemispherical body with a brilliant patina enhancing the entire surface. This beautiful bowl may have been used on ritual occasions and during banqueting. The Achaemenid Empire (the first Persian empire) was an ancient empire founded by Cyrus the Great and stretching from the Balkans and Eastern Europe to the Indus Valley and covering 5.5 million square kilometres at its height. This empire is also famous for being the antagonist of the Greek city states during the Greco-Persian wars.Size: L:138mm / W:48mm ; 225gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Ca. 3100-2900 BC. A red burnished pottery Early Bronze Age Trans Jordan jar featuring a large bulbous shaped body with an unusual spouted mouth and standard for a separate dipper juglet.Size: L:180mm / W:160mm ; 875gProvenance: Ex High Wycombe Estate Collection, Ex London Gallery, Ex Important London collection acquired in the 1970s
Late-Early Western Zhou Dynasty, ca. 12th-11th century BC. The body is bulbous in form raised with three column-like supports and cast with raised relief on the upper section of the body with a register of kui dragons, with stylised elongated bodies confronted on and separated by two flanges, decorated with a series of rounded boss like motifs with central dotted circle with almost swirl like surround, held by a U-shaped handle rising from the rim. These forms 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. Bronze vessels referred to as ding vessels were used as cooking pots, reserved for offerings of food to ancestors. The ruler controlled the supply of copper and tin, thus showing this object was made for someone of high social status within society. For similar see: The Metropolitan Museum of Fine Art: 43.27.2. A. Martin, “American Mandarin,” Connoisseur, November 1984, p. 99.Size: L:195mm / W:145mm; 985gProvenance: Private collection of a London doctor; formerly in a Somerset Estate collection; acquired from Hong Kong galleries in the early 1990s.
The Dave DegensDresda-Triumph 8-valve 500cc Racing MotorcycleFrame no. DA7Engine no. DA7•Built for Classic racing in the 1980s/1990s•Very successful•Highly developed specificationDave Degens began racing in 1956 on a BSA Gold Star. After a year racing the 'Goldie', Dave bought an AJS 7R from Twickenham dealer Geoff Monty and raced it with some success, only to have to sell the bike back to Monty when called up for National Service in the Army. Fortunately, Dave had an understanding CO, who allowed him time off to go racing, commencing with an outing at Brands Hatch aboard one of Monty's 350cc Manx Nortons. Dave kept racing Monty's bikes while doing his National Service and began working for him when it was over. In 1963 Dave bought Dresda Autos, formerly a retail outlet for scooters on Putney Bridge Road in Southwest London. By this time he had already built three Tritons. As Dave's business activities began to expand, so did his racing career. By this time he had already built three Tritons. As Dave's business activities began to expand, so did his racing career. He rode for prominent entrants such as Syd Lawton, Paul Dunstall, Tom Arter and Tom Kirby, and it was while riding for Lawton that he enjoyed his first taste of endurance racing success, winning both the 1964 and 1965 Thruxton 500-mile races on a Triumph Bonneville. It was at Barcelona in 1964, when he was riding a works BMW, that Dave conceived the idea of building a machine specifically for endurance racing, which he was convinced would be capable of beating the works prototypes. The result was another Triton. Dave's faith in the project was duly rewarded when he and co-rider Rex Butcher won at Barcelona in 1965, enjoying a trouble-free ride against formidable factory opposition. By this time Syd Lawton had lost faith in the complacent British motorcycle industry and switched allegiance to the Italian Aermacchi company with which his name is forever associated. Dave was surprised to discover that the diminutive pushrod singles handled better than a Manx Norton; so he took the logical next step and built a Norton Featherbed-style frame incorporating Aermacchi geometry: the Dresda had been born. It was on a Dresda-Triumph that he won the Barcelona 24 Horas for the second time, in 1970 with Ian Goddard. Dave then began to wind down his racing activities but returned in the 1980s, competing in Classic events.Dave was immensely successful in Classic racing in the 1980s and 1990s on this very fast Dresda-Triumph 8-valve machine. Specification highlights of this highly developed racer include a Nourish 180-degree crankshaft; new bearings; lightweight valves; bronze combustion chamber hemispheres with squish; electronic ignition; crankcase breather conversion; pressurised oil feed to the rockers; Amal Concentric Mk2 carburettors; five-speed gearbox; belt primary drive; Dresda box-section swinging arm; Smiths 12,000rpm tachometer; and 18' Akront alloy wheel rims. The race fairing is loose/detached but is included in the sale. Following a period of inactivity, the machine will require re-commissioning and thus is sold strictly as viewed. It is hoped that supporting documentation will be available at time of sale. Key not required.Footnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.For further information on this lot please visit Bonhams.com
1994 Ducati Monster 900Registration no. L50 DUCFrame no. ZDM900M*001629*Engine no. ZDM904A2C*014195*•Early example very likely from 1993 build, the first year of production.•Extraordinarily original UK bike showing 21479 miles•The origins of Ducati and Italy's best selling motorcycleThe Monster made designer Miguel Angel Galluzzi's name, and Ducati what they are today. When first launched Ducati thought they might sell 1,500 Monsters a year but was so cash strapped that production was delayed because they couldn't pay for petrol tanks or brakes.When the Castiglioni family took over Ducati, it was initially simply as an engine supplier for their Cagiva models. Next came a range of unashamedly upmarket motorcycles, but the 8-valve twins were too expensive to sell in any number, and the sports-touring Paso 750/906 was an even bigger disappointment.Cagiva fell back on building versions of the enlarged Pantah motor to sell on the reflected glory of the 8-valve Superbike range. After a shaky start and a restyle in 1991 by Galluzzi these bikes revived the 750 and 900SS names. At last Ducati had a big seller and Galluzzi was offered a full time job.Galluzzi began his career with Honda, tasked with spotting new trends. One craze he picked up on seemed universal: that if a sportsbike was crashed owners usually just took the fairing off, fitted flat handlebars and painted it in a less garish manner than the original. When Galluzzi joined the Castiglionis this was the idea foremost in his thoughts, and he was soon pestering them with sketches of what would become the Monster. The M900 made it to production without much adulteration; the silencers were bigger than Galluzzi would have liked, and the 8-valve engine was ruled out because was nowhere for a big enough battery to run fuel injection. But the 900SS derived motor meant the Monster was – for a Ducati – good value for money and versatile, offering the top notch 888 chassis in a package that could be ridden every day.This was a revolution in motorcycling. Ducati sold more than 1,500 M900s in Italy alone during 1993, starving their traditional overseas fan bases. So Ducati brought forward the 1994 production run into late 1993, explaining why there are only tiny differences between the model years: the most obvious is that the rocker arm on the swingarm was originally painted yellow like the donor 888s' on early '93 bikes, and thereafter a bronze colour to match the frame.The M900 Monster offered here, although UK registered in 1994, has a frame number 900M*001629 (the first would be 000001) suggesting a first year of production (1993) example when 4,424 M900s were built, many to 1994 specification. The rocker arm on the aluminium alloy swingarm is also painted yellow as on early '93 bikes. Unlike many Monsters of the era it retains the original silencers and seat cowl, and is believed to be entirely original. A remarkable example of the motorcycle that set Ducati on the road to its current success. Supplied with keys.Footnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.For further information on this lot please visit Bonhams.com
EDGAR DEGAS 1834 - Paris - 1917: Danseuse regardant la Plante de son Pied droit, quatrième étude. Bronze mit goldbrauner Patina (Wachsmodell um 1882-1900), Nachguss. Vgl. Czestochowski/Pingeot 40, Bronzegüsse von Albino Palazzolo in der Gießerei A. A. Hébrard, 1919-37. - Mit dem geprägten Namenszug und Stempel „Cire perdu...“ (verlorenes Wachs) im Sockel. Höhe: 45,5 cm. Breite: 24,5 cm. Tiefe: 17,5 cm. Mit vereinzelten Spuren von Grünspan. Im Bereich des oberen Innenschenkels des stehenden Beines kleine Auslassungen in der Bronze, bei der der Gipskern durchscheint. Degas gestaltete Wachsmodelle von Tänzerinnen als dreidimensionale Bewegungsstudien. Als nach seinem Tod sein Atelier aufgelöst wurde, schlossen die Erben einen Vertrag mit der renommierten Gießerei von Adrien Hébrard, der eine begrenzte Anzahl von Bronzen gießen sollte. Die Wachsmodelle waren in keinem gutem Erhaltungszustand; sie waren durch die Trockenheit porös geworden und bei einigen sah man die Armierung. Albino Palazzolo, der Meistergießer Hébrards, kannte ein Verfahren, bei dem das Original-Wachsmodell gerettet werden konnte, indem er – in mehreren Prozessen und ohne Verwendung von Hitze – eine Form schuf, mit der man zunächt eine Wachskopie des Originals erstellte und schließlich nach dem klassischen Wachsausschmelzverfahren den Bronzeguss anfertigte. Durch dieses Verfahren konnte man auch die Bronze mit dem Original vergleichen. Obwohl Degas seine Wachsfiguren modellierte, um seinen Gemälden und Zeichnungen mehr Ausdruck und Leben zu verleihen, fanden die daraus entstandenen Bronzen großen Anklang und erfreuen sich heute noch großer Beliebtheit, wie man an den entstandenen Nachgüssen und Repliken erkennen kann. [ms]
CONSTANTIN MEUNIER Etterbeek/Brüssel 1831 - 1905 Ixelles/Brüssel: Cheval à l’Abreuvoir. Reiter mit Pferd an der Tränke. Bronze mit schwarzbrauner Patina auf separater Mamorplinthe 1889/90. Vgl. P. Derom, Les Sculptures de Bruxelles. Catalogue raisonné, Galerie Patrick Derom, Bruxelles, 2002, p. 71 (Kolossalfassung der Reiterstatue auf dem Square Ambiorix in Brüssel; Bronze 1899). - Mit dem Namenszug sowie der Gießeradresse „B. Verbeyst. Fondeur / Bruxelles“. Höhe: 84 cm. Breite: 65 cm. Tiefe: 30 cm. Plinthe: 72 x 34,5 x 2 cm. Mit vereinzelten schwachen Bereibungen. Die Reiterstatue im realistischen Stil, deren Entwurf bereits 1889/90 entstand, war ursprünglich als Dekoration für eine öffentliche Tränke vorgesehen. Das Werk wurde als maßstabsgetreue Monumentalfassung in Bronze Ende 1899 für den Square Ambiorix fertiggestellt. Die Brüsseler Fonderie Bastien (eigentl. Jean-Baptiste) Verbeyst wurde nach 1895 zur vorrangigen Gießerei Meuniers. Weitere Exemplare der vorliegenden Bronze sind in der Alten Nationalgalerie, Berlin und dem Städelschen Museum, Frankfurt/M. ausgestellt. [ms]
KARL BOBEK Berlin 1925 - 1992 Maroth: Weiblicher Torso, nach vorne gebeugt. Bronze mit Spuren braungoldener Patina, auf Steinsockel montiert um 1969. Höhe: 18,5 cm; Breite: 21 cm; Tiefe: 7 cm (sämtlich einschl. Sockel). Stellenweise mit schwachen, herstellungsbedingten Gipsspuren. Sockel mit Klebespuren. Erschienen als Jahresgabe des Heidelberger Kunstvereins, 1969. [bg]
RUDOLF SCHWAIGER Ebensee/Oberösterreich 1924 - 1979 Wien: Elisabeth aus der Küche. Bronze mit goldbrauner Patina 1976. Nicht mehr in der Werkstatt-Monographie. - Expl. V/XL. Mit dem Monogramm (ligiert) und Datum sowie der geprägtern Gießeradresse von Alfred Zöttel, Wien. Höhe: 19,5 cm. Breite: 8 cm. Tiefe: 6,5 cm. [ms]
PAUL WUNDERLICH Eberswalde bei Berlin 1927 - 2010 Saint-Pierre-de-Vassols: Minotaurus. Bronze (zweiteilig), teils in Goldbraun patiniert und poliert sowie Edelstahl 1977. Spielmann/Riediger 37. - Expl. 167/2000. Mit dem Namenszug und Giesserstempel „Venturi Arte“(zweifach). Höhe: 78 cm. Breite: 18,5 cm. Tiefe: 15 cm. Edelstahl mit geringfügiger Korrosion. [bg]
Loading...-
350105 item(s)/page