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Click here to subscribeCa. 1000 AD. A cast-bronze two cruciform plaques, one is decorated with the engraved image of nimbate Saint George, with his arms raised in the Orans position. To the upper edge, the Greek inscription ???????C, (George) confirms the identity of the Saint. The other plaque with perforated junction and concentric circles motifs to each arm.Size: L:85mm / W:60mm ; 75gProvenance: Private UK collection; From an old London collection formed in the 1990s.
Ca. 1100-1300 AD. A bronze cruciform pendant with arms slightly tapering in towards the center. At the junction, a square-shaped setting with an engraved cross motif. Each arm is decorated with a banded collar. The suspension loop makes this piece wearable and it comes with a modern necklace cord.Size: L:52.4mm / W:31.2mm ; 9.29gProvenance: From the private collection of a South London art professional; previously in a collection formed on the UK/European art market in the 1980s;
Ca. 1100-1300 AD. A bronze cruciform pendant with scalloped arms and an integral circular suspension loop. The obverse is embellished with an incised image of the crucified Christ. The Cross, the principal symbol of Christianity, recalls 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:39.4mm / W:27.1mm ; 5.87gProvenance: From the private collection of a South London art professional; previously in a collection formed on the UK/European art market in the 1980s;
Crusaders Period, Ca. 1100-1400 AD. A bronze cruciform pendant with scalloped arms and an integral circular suspension loop. The obverse features sets of five recesses to each arm, possibly to accept an inlay. The Crusades were military expeditions that began in the late 11th century AD. They were organized by Western European Christians in response to centuries of Muslim wars of expansion in the Holy Lands. People of all social classes took place in the Crusades, from heavily armed knights to humble peasants using improvised weapons, all in pursuit of salvation in the afterlife. This item is in wearable condition and it comes with a modern necklace cord.Size: L:70.5mm / W:49mm ; 16.27gProvenance: From the private collection of a South London art professional; previously in a collection formed on the UK/European art market in the 1980s;
Ca. 1100-1400 AD. A bronze cruciform pendant with arms tapering in towards the center. At the junction, there is a Maltese Cross in relief. The suspension loop makes this piece wearable and it comes with a modern necklace cord. The Crusades were military expeditions, beginning in the late 11th century, that were organized by western European Christians in response to centuries of Muslim wars of expansion in the Holy Lands. People of all social classes took place in the Crusades, from heavily armed knights to humble peasants using improvised weapons, all in pursuit of salvation in the afterlife. This item is in wearable condition and it comes with a modern necklace cord.Size: L:39.7mm / W:24.4mm ; 5.38gProvenance: From the private collection of a South London art professional; previously in a collection formed on the UK/European art market in the 1980s;
Viking Age, Ca. 900-1100 AD. A bronze cross pendant comprising four flat arms decorated with concentric circles representing Sun motifs. Good condition. The suspension loop makes this piece wearable and it comes with a modern necklace cord. The Cross, the principal symbol of Christianity, recalls 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. Size: L:44.6mm / W:26.5mm ; 6.79gProvenance: From the private collection of a South London art professional; previously in a collection formed on the UK/European art market in the 1980s;
Ca. 1100-1300 AD. A bronze pendant in the form of a cross with a rounded suspension loop at the top. The front bears a moulded relief of a cross. 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 beautiful item may have belonged to a crusader knight, who traveled to the Holy land to defend his faith. This item is in wearable condition and it comes with a modern necklace cord.Size: L:37.6mm / W:26.6mm ; 8.29gProvenance: From the private collection of a South London art professional; previously in a collection formed on the UK/European art market in the 1980s;
Ca. 1200 AD. A bronze archer's ring comprising a circular hoop and projecting triangular guard. The exterior of the guard is covered in extensive incised geometric motifs. An archer's ring was worn on the thumb to protect the skin when the bowstring was drawn. Excellent condition; beautiful patina.Size: D: 21.79mm / US: 12 1/2 / UK: Z; 7.9gProvenance: From the private collection of a South London art professional; previously in a collection formed on the UK/European art market in the 1980s;
Crusaders Period, Ca. 1100-1400 AD. A solid bronze ring comprising a circular band, shield-shaped shoulders linearly decorated, and a large round bezel engraved with a cross inscribed within a circle flanked by a decorative band. Good condition. The cross, the principal symbol of Christianity, recalls 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 Christian faith. For more information on Crusader period rings, see Pollio, T.N. (2018). Ancient Rings - An Illustrated Collector's Guide. McFarland, Incorporated, Publishers, 88-99. Good condition, wearable.Size: D: 17.73mm / US: 7 1/2 / UK: O 1/2; 7gProvenance: From the private collection of a South London art professional; previously in a collection formed on the UK/European art market in the 1980s;
Ca. 8th-12th century AD. Beautifully decorated bronze bracelet. Flat with raised figurative designs and edges. Penannular with some green patina. Wearable. Jewellery was an important part of viking culture, for men and women alike. Contrary to modern ideas of vikings, historical chroniclers like English monk John of Wallingford recorded that the vikings took great interest in their physical appearance. Moreover, jewellery was used as a status indicator, so precious materials and elaborate designs were favoured.Size: L:50mm / W:62mm ; 24gProvenance: Property of a North London gentleman; previously acquire on the UK/European art market before 2000
Ca. 8th-12th century AD. Beautifully decorated bronze bracelet. Flat with raised figurative designs and edges. Penannular with some green patina. Wearable. Jewellery was an important part of viking culture, for men and women alike. Contrary to modern ideas of vikings, historical chroniclers like English monk John of Wallingford recorded that the vikings took great interest in their physical appearance. Moreover, jewellery was used as a status indicator, so precious materials and elaborate designs were favoured.Size: L:50mm / W:61mm ; 24gProvenance: Property of a North London gentleman; previously acquire on the UK/European art market before 2000
Ca. 600 AD. A gold finger ring having a tapered shank with a fine ringed border bezel set with a garnet cabochon. A nice and sturdy example suitable for wearing. The medieval empire of Byzantium was justly famous for the elegance of its jewellery, whether in precious metals for the aristocracy or in bronze for people further down the social ladder. This gorgeous piece may once have belonged to a Byzantine noblewoman or princess.Size: D: 17.32mm / US: 7 / UK: N 1/2; 4.62gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market since the 1970s.
Ca. 1100-1300 AD. A stunning pair of gold earrings each with a wide hoop, fine catch plate, and circular openwork body comprising a cross design framed by four concentric registers of elegant filigree decorations arranged in geometric patterns. Suspended from the body are three filigree pendants each threaded with three stone beads in various colours. The medieval empire of Byzantium was justly famous for the elegance of its jewellery, whether in precious metals for the royalty and aristocracy, or in bronze for people further down the social ladder. These beautiful items may once have belonged to a Byzantine noblewoman. Excellent condition; wearable.Size: L:67mm / W:33mm ; 10.83gProvenance: Property of a professional London art expert; obtained from an old British collection formed in the 1970-80s.
Ca. 500-600 AD. An elaborate pair of gold earrings, each comprising a hinged wire hoop with a pin closure and a large sphere richly adorned with filigree decoration. The medieval empire of Byzantium was justly famous for the elegance of its jewellery, whether in precious metals for the aristocracy or in bronze for people further down the social ladder. These gorgeous pieces may once have belonged to a Byzantine noblewoman or princess.Size: L:26.7-29.1mm / W:16.6-16.8mm ; 5.14gProvenance: From an old British collection, acquired on the UK art market in the 1980s.
Ca. 1000–650 AD. . Western Asiatic, Urartu. A rare, intact bronze belt made of a wide lateral bronze band embellished with geometric, floral decoration as well as depictions of animals all over. The borders are decorated with circles. These wide bands are joined by a thin band of bronze at the back and a closure at the front fashioned in the shape of two interlaced snakeheads with incised decoration. Bronze belts first appeared in the 2nd millennium BC in Urartu, one of the ancient metalworking centres of the ancient world. From Iran, representations of belts in art are known from two regions: Susiana, Elam, and their adjacent districts, on the one hand, and north-eastern Iran on the other. (Neo-)Elamite belts are characterised by being narrower than their predecessors and sometimes decorated with a zigzag pattern or rosettes. Item comes with a professional historical report from Ancient Report Specialists. For more information on ancient belts, see Moorey, P. R. S. (1967). Some Ancient Metal Belts. Their Antecedents and Relatives. Iran 5, pp. 83ff. & Calmeyer, P. in Reallexikon der Assyriologie III, 1957-71, pp. 689-93.Size: L:385mm / W:98mm; 380gProvenance: ex-Davis collection, Houston, Texas, acquired before 2013 from various auction houses in London and New York. Exhibited: Olympia Art & Antiques fair, London June 2022.
Ca. 2300-1650 BC. An attractive red slip ware amphora with a bulbous body, slim cylindrical neck, tubular rim, and two handles joining shoulder to neck. Amphorae such as this were used to hold and transport oil, wine, milk, or grain. During the Late Bronze Age, Cyprus was an important centre for the manufacture of works of art that show an amalgam of local and foreign influences. Stylistic features and iconographic elements borrowed from Egypt, the Near East, and the Aegean are often mixed together in Cypriot works. The pottery of the prehistoric Cypriots, especially that produced in the Early and Middle Bronze Ages, is exuberant and imaginative in shape and decoration. Size: L:400mm / W:270mm ; 3.75kgProvenance: Property of a central London Gallery; formerly in a 1980s UK collection.
Ca. 3100-2900 BC. Early Bronze Age, Ca. 3100-2900 BCA Holy Land storage vessel with a spherical body and two ledge handles. The vessel has a wide, slightly out-turned mouth, decorated below with a band of prick dots. Two prominent ledge handles, gently crimped appearance to the edges, are situated at the waist. Standing on a flat base.For similar see: Cf. Ruth Amiran, Ancient Pottery of the Holy Land.Size: L:149mm / W:135mm ; 390gProvenance: Ex High Wycome Estate Collection, Ex German Gallery, Ex Private gallery Mist H.S from Den Bosch Collected between 1969 - 1990
Middle Bronze Age, Ca. 1950-1730 BC. A fine example of a coil-made red burnished pottery jug with globular, almost amphora-like body, with a trefoil spout and strap handle. For a similar see Ruth Amiran: Ancient Pottery of the Holy Land from its beginnings in the Neolithic period to the end of the Iron Age.Size: L:270mm / W:140mm ; 1kgProvenance: Property of a London gallery; formely in High Wycombe Estate collection; formerly acquired on the UK Art market.
Middle Bronze Age IIA, Ca. 2000-1730 BC. A burnished cream slip pottery jug with a piriform body and button-shaped base. The surface is decorated with a series of brown-painted concentric circles and horizontal bands.Size: L:135mm / W:86mm ; 220gProvenance: London Art Market, Ex High Wycombe Estate collection 2000, Ex Mr David Giles Collection
Middle Bronze IIB-C, Ca. 1730-1550 BC. A finely sculpted, pottery bowl in cream buff with a carinated shoulder from which the walls of the body taper into a neck with sloping sides. Standing on a ring foot. For a similar see Ruth Amiran, Ancient Pottery of the Holy Lands, plate 27.Size: L:152mm / W:245mm ; 1KgProvenance: Ex High Wycombe Estate Collection, Ex Wiltshire Gallery, Ex J.Birkin, London UK
Ca. 3000-2500 BC. A fine example of a monochrome Indus Valley civilization pot with a bulbous body rising from an undecorated conical-shaped base. The exterior's decoration consists of a black-painted register of running ibexes, surrounded by geometric motifs. The Indus civilization, also called the Harappan civilization, is the earliest known urban culture of the Indian subcontinent and was an important Bronze Age culture which arose around ca. 3300 BC and lasted until ca. 1300 BC. It extended from modern-day northeast Afghanistan to Pakistan and northwest India. To find out more about the Indus civilisation and its material culture, see Possehl, Gregory L., 2002. The Indus Civilization: a Contemporary Perspective. Walnut Creek, CA: AltaMira Press.Size: L:170mm / W:195mm ; 1.03kgProvenance: Property of a London gallery; formely in High Wycombe Estate collection; formerly acquired on the UK Art market.
Ca. 3000- BC. A terracotta bowl or vessel, comprising a biconvex body resting on a ring foot. The upper portion of the buff coloured vessel is decorated with polychrome abstract motifs. The lower section is undecorated. The Indus Valley Civilisation was an important Bronze Age culture which arose in ca. 3300 BC and lasted until ca. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd Millennium BC.Size: L:135mm / W:210mm ; 865gProvenance: Property of a London gallery; formely in High Wycombe Estate collection; formerly acquired on the UK Art market.
Western Asiatic, Ca. 1200-700 BC. An attractive ceremonial axe head with flared blade and wide, cylindrical shaft tube. On the back, a solid bronze animal climbs the poll of the axe. The diligently worked-out muscular body is fixed on the shaft. Bronze weaponry production flourished from the 2nd millennium BC to about 700 BC when it was gradually replaced by iron. Swords, mace heads, spears, and arrows were exchanged via trade and war and are discovered in both civic and ritual contexts. An axe head 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 mace heads were common votive offerings in shrines. Size: L:145mm / W:100mm ; 650gProvenance: Property of a North London gentleman; previously acquired on the UK/European art market in the 1970s.
Ca. 1500-1000 BC. A bronze axe head featuring a curved blade with a tapering cheek, and a pick end with four spikes. 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:190mm / W:60mm ; 355gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Ca. 2000-700 BC. A double axe-head cast in bronze. The weapon features a short cylindrical shaft hole with two horizontal bands, a flattened top with a vertical crescent-shaped blade with sides that broaden out towards the cutting edge and a smaller horizontal blade to the back. Beautiful green patination covers the surface.Size: L:200mm / W:100mm ; 1.86kgProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Ca. 1500-1000 BC. A cast bronze war axe head featuring a cylindrical shaft and a flattened blade, drawn out from the top of the shaft, broadens out towards the cutting edge which is slightly convex. Beautiful green and olive patination covers the surface of the weapon.Size: L:180mm / W:95mm ; 820gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Ca. 2000-700 BC. A bronze axe head with a 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:245mm / W:90mm ; 1.64kgProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Ca. 3rd millennium BC. A cast bronze mace head/cudgel of a tubular shape. The upper part is decorated with 9 rows of raised chevrons, separated by a series of vertically orientated bands and framed above and below by three raised bands. A mace head 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 mace heads were common votive offerings in shrines. Reference: O. W. Muscarella, Bronze and Iron. Ancient Near Eastern Artifacts in The Metropolitan Museum of Art, New York, 1988, item 516, p. 391.Size: L:235mm / W:30mm ; 460gProvenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection.
Ca. 3rd millennium BC. A fine example of a cast bronze mace head with a cylindrical body, probably placed around a wooden or less decorated metal staff. The upper half is decorated with panels of seventeen raised chevrons. The lower half is plain and the shaft hole is collared. Reference: O. W. Muscarella, Bronze and Iron. Ancient Near Eastern Artifacts in The Metropolitan Museum of Art, New York, 1988, item 516, p. 391.Size: L:240mm / W:30mm ; 520gProvenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection.
Ca. 3rd millennium BC. A cast bronze mace head/cudgel of a tubular shape. The upper part is decorated with panels of 13 rows of raised chevrons, separated by a series of vertically orientated bands and framed above and below by three raised bands. A mace head 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 mace heads were common votive offerings in shrines. Reference: O. W. Muscarella, Bronze and Iron. Ancient Near Eastern Artifacts in The Metropolitan Museum of Art, New York, 1988, item 516, p. 391.Size: L:220mm / W:30mm ; 430gProvenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection.
Ca. 600 BC. A bronze combat helmet of Archaic Corinthian-Type, hammered from a single sheet of bronze with finely contoured almond-shaped eyes that gently taper to a point. Simplistic curvilinear eyebrows. Arched enveloping cheek pieces that provide a vertical opening for the mouth. A border has been drilled with rounded head-headed rivets to secure an interior lining. The nose-guard is wide with a round conical shaped terminal end. The dome-shaped calotte with a widely protruding round back of the head continuing into a slightly flaring neck-guard. The ridge decorated with linear decoration above the eyebrows. The domed skull with attachments for plumes. This fine example of helmet would have been owned by a wealthy member of the social elite. Perhaps someone of high importance. Item comes with a professional historical report from Ancient Report Specialists. Literature: Martin D’Arcy, S.J., Dr Werner Muensterberger, Edward Sullivan, C.S.B Persona Grata, an Exhibition of Masks from 1200 B.C. to the Present, exhibit catalogue, University of St. Thomas, Houston, 1960, no. 1, illus. R. Hixenbaugh, Ancient Greek Helmets: A Complete Guide and Catalogue, New York, 2019. Cf. Christie’s, 19738, Antiquities, 21 April 2021, lot 52 and 72. The Walters Art Museum, Accession Number: 54.2304. The British Museum, Accession Number: 1824.0407.32. This elite form of hoplite helmet is commonly referred to as “Corinthian-Type” because it is worn by the goddess Athena on Corinthian coins. Originating in Greece it was named after the polis Corinth. Although these helmets were not limited to one production place. These helmets were popular in Greece and in territories colonised by or in regular contact with the Greeks. The hoplite wearing a Corinthian helmet would have been a frightening sight to any enemy with a pair of glaring eyes behind a stylised cut-out.The helmet is completely intact, without repair or restoration which is rare on the global art market.Size: L:160mm / W:280mm ; 725gProvenance: Important Private collection of Ancient Art, London UK; formerly in an old Spanish 'Cervera' collection, acquired in the early 1990s.
Ca. 400 BC. A bronze helmet forged from a single hammered sheet with a finely central crest in high relief depicting a stylised gorgoneion with intricately made snake heads depicting scales, in between two long cyclindrical erect plume holders. The crown with a raised spiral tendril in relief. The ridge terminates at the back in a pronounced carinated edge, an arching ridge above the neck-guard; the cheek-pieces hinged. The helmet is surmounted by a pair of engraved sheet bronze wings. Two finely decorated wings of sheet bronze riveted to the sides. This extraordinary example of Chalcidian helmet was likely owned by someone of importance. A wealthy member of social standing. Item comes with a professional historical report from Ancient Report Specialists. Literature: R. Hixenbaugh, Ancient Greek Helmets: A Complete Guide and Catalog, New York, 2019, p. 491, no. X356. For a similar helmet in the Mougins Museum with plume holders and peaked brow see no. 108 in Merrony, op. cit. Graells, R. Lorrio, A., Qesada F.. Cascos Hispano-Calcidos, 2014. Mainz. John Hewitt, Official Catalogue of the Tower Armouries, London, 1859, no. 1.19. M. Burns, “Graeco-Italic Militaria” in M. Merrony (ed) Mougins Museum of Classical Art, France, 2011, p.215. fig 97.Cf. Christie’s, 19992, Antiquities, 12 Ocober 2021, lot 44. Christie’s, 5524 Axel Guttman Collection of Ancient Arms and Armour, Part 2, lot 101. Christie’s. 2364, Antiquities including property from the collection of Max Palevsky, lot 109. Hermann Historica, 7 October 2009, lot 58. The Royal Armouries, Accession Number: 11.197.This extravagant form of helmet with a pair of divine celestial wings would have would have been a frightening sight to any enemy. 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.Size: L:355mm / W:485mm ; 1.11kgProvenance: Important private collection of Ancient Art, London UK; acquired from J.Lawton collection Surrey, UK; previously with the Parthenon Gallery, obtained from Axel Guttmann (Munich) pre-2000.
Ca. 500-300 BC. A helmet comprising of hammered tinned bronze. The domed crown with front with medial ridge, with contoured double curve above the brow continuing as an occipital rib around the helmet, with pronounced arched brows and narrow flared neck guard. The crown domed with a mask-like front featuring eyes that have been carefully cut out. The round sections are each accentuated with a separately applied moulded bank. A tear-drop shaped nose guard is reaching down, moveable articulated crescentic cheeky guards with contoured edges are attached by hinges on the sides, rounded, and tapering towards the thin allowing binding.Cf. The Walters Art Museum, Baltimore, accession number 54.2468. The British Museum, London, accession number: 1919, 1119.6. Bonhams, 7th October 2021, lot no 72. Literature: R. Hixenbaugh, Ancient Greek Helmets: A Complete Guide and Catalog, New York, 2019. Ohly, D., Die Ägineten, Die Ostgiebelgruppe, Munich, 1976; Pflug, H., 'Chalkidische Helme' in Antike Helme, RGZM Monographien 14, Mainz, 1988, pp.137-150. 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. Size: L:345mm / W:285mm ; 1.16kgProvenance: Property of an European collector; formerly in the private English collection of J.Q., forrmed in the 1980s; purchased on the London art market.
Ca. 100-200 AD. A large marble cupid statue carved in the round. Cupid is depicted nude and fleshy, standing and motion to the right, with his right foot, turned outwards. The tree stump behind him is both decorative and a source of support in large statues like this one which lacked the tensile strength of their bronze counterparts. Item comes with a professional historical report from Ancient Report Specialists. Cupid stands on a square base bearing a Greek-language inscription which reads: "Tatas, son of Theouphistos, [fulfilled this] vow." Cupid is the god of desire, erotic love, attraction, and affection; perhaps this piece reflects a lover giving thanks to the god for his assistance in an affair of the heart. Good condition. Item comes with a professional historical report from Ancient Report Specialists. Size: L:530mm / W:235mm ; 21.75kgProvenance: property of a Central London Gallery, acquired by a private collector, formerly in a private East Coast, USA collection; ex collection from Germany; ex-private Belgium collection, acquired in 1980s
Ca. 100-300 AD. A pair of bronze chariot appliqués, each with a bust formed separately and mounted at the centre, each comprising a discoid body with domed inner ring decorated with concentric circles, busts modelled in the round presenting nude male figures, hollow from the neck down at the reverse, with semi-naturalistic detailing to the torsos, nipples, almond-shaped eyes, brows, noses, mouths and fleshy chins, hair arranged into short waves, rectangular slot to the back of each head for attachment; mounted on a custom-made display stand. Cf. The British Museum, museum number 1854,0717.53, for a comparable chariot fitting, dated c.1st century AD; s. also Gudea, N., Porolissum. Un complex arheologic daco-roman la marginea de nord a Imperiului roman. II. Vama romana (monografie arheologica"). Contributii la cunoasterea sistemului vamal din provinciile dacice Cluj-Napoca, 1996, p.180; Palagyi, T., Facsady, A., Romains de Hongrie, Lyon, 2002, nos.83-84. Size: L:145mm / W:140mm ; 530gProvenance: London art gallery; ex. property of a gentleman from Vienna, from his private collection formed since the 1970s.
Ca. 200 AD. A cast bronze decorative tripod stand with an oil lamp. The feet are rounded, abstract forms that suggest the paws of an animal; a heavy, skirt-like form is around the legs. Above that is an elegant, columnar leg with various disc-like forms along its length. It is capped by a steep-walled, circular bowl with a spike through it to attach to the lamp. The lamp with head of Cupid, conjoined by a mirror.Size: L:520mm / W:198mm ; 3kgProvenance: Property of a North London professional; previously acquired on the UK art market in early 1990s; ex. Munro Walker collection.
Ca. 100-200 AD. A beautiful cast-bronze oil lamp in the shape of a right foot wearing a sandal. The lamp has two openings, each finely detailed with foliate designs. The handle of the lamp is in the form of an acanthus leaf, with a ring at the bottom, and the spout and neck are decorated in the form of buds.? The hole where a wick would be placed protrudes beside the foot's big toe. The hole for filling runs through the hollow ankle. The presence of two small loops might suggest, that this lamp was designed for suspension. This type of lamp was widespread in the first two centuries AD. It is likely that they were associated with the Eastern cult of Serapis, and it is no coincidence that this type of lampstand was popular among the legionaries positioned on the outskirts of the Empire, who were among the first to adopt and then spread the cults of Eastern deities among the population of the Roman Empire. Item comes with a professional historical report from Ancient Report Specialists. For a similar example, see Christie's, Live Auction 2007, Antiquities, 4 Jun 2008, Lot 252. Scientific sources : cf. Siegfried Loeschcke, Lampen aus Vindonissa, Zurich (1919), pl. XXIII:1084-1085, p. 161F for a discussion; Bailey, Donald M. A Catalogue of the Lamps in the British Museum, IV, Lamps of Metal, and Stone, and Lampstands. London: British Museum Press, 1996.Size: L:50mm / W:165mm ; 410gProvenance: Property of an European collector; bought from a UK gentleman collection, formed in the 1960s-1990s.
Late Period to Ptolemaic Period, Ca. 664-32 BC. An ancient Egyptian gilt wood and bronze Ibis depicted seated, the body sculpted in wood, covered in gesso and gilt, the closed wings articulated, the legs and the head each separately cast of bronze and inserted, the legs folded under, the forelegs and talons incised with crosshatching, with a sinuous neck and long hooked bill, two deep grooves along the length of the bill, the eyes inlaid below ridged brows, two tenons below each leg for insertion. Thoth, a multipurpose god in the Egyptian pantheon associated with language, writing and intellectual activity, was most often depicted with an ibis head and human body. In the Late Period and Ptolemaic Period, ibises were bred throughout Egypt to be slaughtered, mummified and offered as votives to Thoth. Gilt, wood and bronze ibises, such as the present example, were often formed as coffins for mummified ibises, or as boxes for "dummy mummies" formed of straw and mud. With or without the mummy, the ibis-form figure would have likely been an offering to the god. Some restoration. Item comes with a professional historical report from Ancient Report Specialists. Die Sammlung Hubertus und Renate Wald Hamburg, Hamburg, 1998, pp. 196-197. For a fine ibis coffin and a further description of the type, see no. 91 in Fazzini, et al., Ancient Egyptian Art in the Brooklyn Museum. Gregorian Egyptian Museum https://www.museivaticani.va/content/museivaticani/en/collezioni/musei/museo-gregoriano-egizio/sala-vi--la-collezione-carlo-grassi/statuetta-di-ibis.html Accession Number: 37295.For similar see: Bonhams, 16 April 2015, lot 29.Size: L:190mm / W:235mm ; 1.5kgProvenanance: Private London collection; ex Attal collection, Austin Texas. Via family descent from great uncle; firstly acquired in the firts half of the 20th Century.
Late Dynastic Period, Saite Period. Egyptian, Ca. 664-332 BC. A bronze figure of Osiris standing mummiform with his hands emerging from his cloak, holding the crook and flail, and wearing a broad beaded collar with tassels and the Atef-crown. His face with fully outlined lips and eyes and eyebrows. 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. For a similar see: The Metropolitan Museum of Art, Accession Number: 10.175.133. Art Institute Chicago, Acc no. 1892.130.Size: L:300mm / W:85mm ; 1,92kgProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
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