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Lot 745
A 19TH CENTURY FRENCH BRONZE AND MARBLE GARNITURE DE CHEMINÉE the clock case in the form of a section of fluted column, surmounted by the figure of cupid, Moudin two-train movement outside countwheel striking the hours and half hours on a bell, the pair of figural candelabra with two branches; each with a marble base. (3) Clock 36cm highA couple of scratches to the dial. With pendulum and back cover. It appears to be working and striking correctly but not monitored for a given length of time and, therefore, unwarranted. The marble is in good condition.
Lot 741
A FIRE-GILT BRONZE TABLE CLOCK, CIRCA 1875 the case elaborately cast in the Rococo tendency with scrolls and acanthus leaves, the circular dial with Roman numeral hours and Arabic outer minutes, with a two-train movement and outside countwheel striking the hours and half hours on a bell. 49cm highIn good condition.
Lot 665
EDITH BARRETTO STEVENS PARSONS (AMERICAN, 1878-1956), SCOTTISH TERRIERS the terriers depicted in playful mood, one ready to play, the other chasing its tail, both with cast signature and Gorham Foundry mark, bronze with brown patina. (2) Height of tallest 13.5cm, 18cm longIn very good condition. Nice brown patina.
Lot 101
A GEM-SET AND DIAMOND 'CAMPANELLE' SAUTOIR NECKLACE, BY CHANTECLERThe fancy-link chain suspending various detachable bell-shaped 'campanelle' charms set with brilliant-cut diamonds, blue sapphires, yellow sapphires, emeralds, rock crystal... mounted in 18K gold, signed Chantecler, chain length 81cmFascinated by the beauty of the Neapolitian island, jeweller Pietro Capuano set up his company Chantecler in Capri in 1929.A descendant of a family of jewellers, Capuano was well versed in the business and led him to establish a very successful company. The name has quite a personal relation to the man himself, Chantecler being his nickname given to him by his friends. It reflected his love of fun and socialising often staying up partying until the early morning hours.Nearly two decades on from beginning to trade in Capri, Chantecler opened his first shop on the Via Camerelle. As the first jewellery shop on the island it was a highly respected institution even after the arrival of many more companies in the following years.Living amongst the beautiful landscape of Capri, Chantecler derived most of its inspiration from the natural world. Marine subjects were very popular amongst their designs and became instant classics. He fully immersed himself in the glamorous lifestyle of Capri, befriending the rich and famous personalities and hosting lavish parties at his villa.Chantecler had only one main collaborator during his career, Salvatore Aprea, who began working with the company in 1947 and who continued the business following Capuano’s death in 1981. Today the brand is run by his family, headed by his children Maria Elena, Constanze and Gabriele. They have continued on their father’s legacy, caring for the heritage of the brand while also maintaining it’s relevance in the current market. They have expanded to a number of locations including Milan, Tokyo and most recently Hong Kong.Inspired by the legendary stories of Capri, Campanella is a timeless jewel.The inspiration came from the Capri legend of San Michele, in which a young shepherd finds his lost sheep thanks to the tinkling of a bell given to him by the Saint. Since then, the bell has become a talisman recognized as a symbol of peace and good fortune.Its history began in 1947 when President Roosevelt received the first bell as a peace gesture from Pietro Capuano who had the idea of making a bronze bell to give to him.The modern Campanella is constantly changing while adhering to its founding principles. It is a poignant, graceful, and vibrant porte-bonheur. Campanella epitomizes the unique elegance of Capri. Condition Report: Normal signs of wear, overall in good conditionEach charm vary in retail prices on Chantecler website, between €3,100 to €7,000https://www.chantecler.it/en/jewelry/collections/campanelle.aspx?idx=6&types=149&sort=collectionTotal gross weight approx. 123.4g
Lot 55
A PAIR OF GEM-SET NOVELTY BROOCHES, BY FASANO, CIRCA 1960Composed of two whimsical lions, each openwork gold body with circular-cut emeralds for eyes, brilliant and single-cut diamond muzzle and applied black enamel nose, to polished wirework mane and whiskers, mounted in 18K gold, both signed Fasano, lengths 4.4cm & 3.6cmBorn to a family of cotton manufacturers in Chieri in 1900, Mario Fasano’s undoubted eye for beauty would lead to him opening his first jewellery business, ‘Gioielleria Fasano’, in Turin in 1928. Throughout his work, Fasano adhered to the traditional practices of Parisian jewellers, and, while styles changed, the craftmanship that lay at the heart of their work was honoured by him throughout his life. He married Stella Piovano in 1932 and she was to be his life-long partner in every sense of the term. Together in 1935 they opened their first store in Piazza Castello, the heart of Turin’s lively social scene.As the white gems and platinum of the 1930s gave way to the bold colours and yellow gold of the 1940s and 50s, Fasano’s signature pheasant or ‘Fagiona’ brooch, the emblem of his maison, became a recognisable staple in the world of fine Italian jewellery. As the 50s progressed, Fasano’s and Stella’s attention moved more towards the selection of precious and unusual stones, favouring cabochon cuts and those less traditional cuts. When their son Dario Fasano joined the family business in the 1960s, the older generation drew on his experiences studying abroad to bring a fresher spin on their materials and techniques, such as lava stone and gold/bronze combinations.Fasano Jewellers closed operations in 2013, but their pieces still embody some of the best in mid-century jewellery. Condition Report: Diamonds: bright and lively - estimated clarity VSEmeralds: of bluish-green hue, overall well matched in colourBoth signed FASANO and 750 for 18K goldTotal gross weights: 18.7g & 13.6g
Lot 756
Art Nouveau bronze and glass chamberstick, glass column and bowl, with figural bronze mount of a female nude, height 12cm.Condition report:There is a very slight nick to the external rim of the bowl/ tray. Otherwise the glass has remained in very good condition and is blown in one shaped piece. The patina to the figure and metal mounts is even and free of any significant scratching. The shape remains good although the mount is a little loose.
Lot 718
Pair of silver fox mask menu holders, Adie Brothers, Birmingham 1934, height 3cm, 2.5ozt in total, a cold painted bronze grouse menu holder, 3.5cm, and a silver match box frame, C & Co., Birmingham 1934, 4.5cm, 1.1ozt.Qty: 4Condition report:One of the menu holders has had the back support ring bent significantly backwards so the menu wouldn't sit very upright in it. Otherwise the holders and matchbox frame are in good condition. The small cold-painted bronze pheasant is a little loose on the base, and the onyx disc has a crack through it, but it appears stable.
Lot 156
LOUIS COMFORT TIFFANY (AMERICAN 1948-1933)'Turtle-Back' desk lamp, circa 1905Patinated bronze and marbled glass, having a screen-like shade, each panel centred with a 'turtle-back', mounted on a bronze base with scroll and ribbed pattern.36.2 cm highShade marked Tiffany Studios, base stamped Tiffany Studios, New York, 71452.For further information on this lot please visit Bonhams.com
Lot 155
TIFFANY STUDIOS (1899-1930)'Abalone' pattern magnifying glass, 1178, circa 1905Gilt bronze handle and frame for the glass, the handle with linear decoration and scrolls set on each side with three small plaques of abalone shell.22.3 cm longStamped on the end Tiffany Studios, New York, 1178.For further information on this lot please visit Bonhams.com
Lot 178
ATTRIBUTED TO PAUL PHILLIPELady in a flared dress, circa 1930Art Deco, cold-painted bronze and ivory figure, cast and carved from a model and depicting a young woman wearing a flared dress decorated with flowers, with flowers in her hair and on her chest and wearing a red locket, with a checkerboard floor on an onyx and slate base.45 cm high, 13.7 cm wide (with base)Unsigned.Ivory exemption certificate number: VVYFJFUZThis lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the UK, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
Lot 177
FERDINAND PREISS (GERMAN, 1882-1943)Flute Player, circa 1930Art Deco, cold-painted bronze and ivory figure, cast and carved from a model and depicting a young man striding forth and playing a flute, raised on an onyx and slate base.45 cm high, 24.2 cm wide (with base)Signed on the base F Preiss.Ivory exemption certificate number: 55PHVU9EFootnotes:LiteratureAlberto Shayo, Ferdinand Preiss, Art Deco Sculptor, The Fire and the Flame, Antique Collectors' Club, 2005, p. 184 (similar model illustrated)This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the UK, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
Lot 124
GOTTFRIED HONNEGER (NE NE 1917)Monoforme 26, 1989 Bronze à patine dorée réalisé pour le Bicentenaire de la RévolutionSigné et numéroté 284/500 sur le côtéAssociation pour la célébration du Bicentenaire de la Révolution Française en Dauphiné, éditeur, GrenobleUn certificat de l'éditeur sera remis à l'acquéreur26 x 26 x 13 cmBronze with gilded patina made for the Bicentenary of the French Revolution, signed and numbered 284/500 on the sideThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 126
JOSE LUIS SANCHEZ (1926-2018)Sans titre, circa 1970 Sculpture de forme géométrique en bronze reposant sur un socle en marbreSignée et numérotée 33/300 en creux23,5 x 11 x 8 cmBronze and marble, signed and justified '33/300'Footnotes:ProvenanceCollection particulière, ParisThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 55
MAN RAY (1890-1976)Herma (phrodite), 1973 Bronze poli et socle en boisSculpture signée et numérotée 169/350 en creuxEditée par les éditions Artcurial, Paris Hauteur: 35 cm (socle inclus)Polished bronze and wooden base, sculpture signed and numbered 169/350 in intaglioThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 189
CLAUDE LALANNE (1925-2019)Pomme bouche, circa 1999 Petite broche en bronze patinéEdition Arthus-Bertrand, Paris4 x 4 cmBronze brooch and patinaThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 174
VASSILAKIS TAKIS (1925-2019)Magnetic evidence, 1983 -1991 Bronze à patine dorée, aimant et clousSigné en creux en bas du torsePorte la numérotation tapuscrite 879/1000 sur un cartel au dosÉdition Artcurial, Paris, 1991Å’uvre présentée dans son emboîtage original et le certificat de l'éditeur45 × 30 × 20 cmBronze with gilded patina, magnet and nails, certificate justified 879/1000This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 190
CLAUDE LALANNE (1925-2019)Pomme bouche, circa 1999 Petite broche en bronze patinéSignature en creux au dos Edition Arthus-Bertrand, Paris4 x 4 cmSmall patinated bronze brooch, signed in intaglio at the backThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 125
JEAN-MICHEL FOLON (1934-2005)Le Prix Stendhal, 1993 Bronze à patine marronSigné en creux sur le coté et numéroté 5/8Cachet du fondeur Romain Barelier15,5 x 15,5 x 16 cmBronze with patina, inscribed Folon on the side and numbered 5/8Footnotes:Nous remercions la Fondation Folon de nous avoir confirmé l'authenticité de cette oeuvre et pour les informations communiquéesCette Å“uvre fut créée pour la remise du Prix Stendhal pour le Journalisme et la Communication en Europe par la Fondation Adelphi, sous le Haut Patronage du Parlement européen et de la Commission des Communautés européennes.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 215
UNITED KINGDOM. Victoria, 1837-1901. Bronze halfpenny, 1862. Royal Mint. Laureate bust of Queen Victoria facing left; VICTORIA D : G : BRITT : REG : F : D :. Design by Leonard Charles Wyon. / Britannia seated on a rock facing right, holding a trident; hand resting on shield decorated with the Union flag; lighthouse and sailing ship in the distance; date in exergue; around above, HALF PENNY. Design by Leonard Charles Wyon. Edge plain.Reference: S-3956; KM-748Mintage: 61,107,200.Diameter: 25.5 mm.Weight: 5.7 g.Composition: Bronze.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.
Lot 214
UNITED KINGDOM. Victoria, 1837-1901. Bronze halfpenny, 1861. Royal Mint. Laureate bust of Queen Victoria facing left; VICTORIA D : G : BRITT : REG : F : D :. Design by Leonard Charles Wyon. / Britannia seated on a rock facing right, holding a trident; hand resting on shield decorated with the Union flag; lighthouse and sailing ship in the distance; date in exergue; around above, HALF PENNY. Design by Leonard Charles Wyon. Edge plain.Reference: S-3956; KM-748Mintage: 54,118,400.Diameter: 25.5 mm.Weight: 5.7 g.Composition: Bronze.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.
Lot 1033
11th-10 century B.C. Comprising four tanged arrowheads, two with elongated triangular blades and raised midrib, sharp central groove, cylindrical stem with handle for the shaft; one with barbed shoulders and convex sides; one with narrow and flattened blade and short tang; the javelin head with slightly rounded shoulders, lanceolate shape and flattened blade. See Khorasani, M.M., Arms and Armour from Iran. The Bronze Age to the End of the Qajar Period, Tübingen, 2006, figures 463, 468, for some of these types. 164 grams total, 13.1-17.8 cm (5 1/8 - 7 in.).From London art market, acquired in 1990s. Ex C.J. Martin, London, UK. Accompanied by a copy of the Spanish export licence.These types of arrowheads were commonly used in Anatolia and Mesopotamia from the 2nd millennium B.C., but it appears that their employment began earlier in this area, where types like these occur alongside the non-barbed, predominantly ribbed and tanged types. [5] For this specific lot, 5% import VAT is applicable on the hammer price
Lot 1034
13th-12th century B.C. Showing a long tapering blade with rounded shoulders and prominent mid-rib, the tang straight and rectangular in section. Cf. Khorasani, M.M., Arms and Armour from Iran. The Bronze Age to the End of the Qajar Period, Tübingen, 2006, s. cat 280, for type; Christies, Axel Guttmann collection of Ancient Arms and Armour, Part 2, London, South Kensington, 28th April 2004, lot 40. 348 grams, 43.4 cm (17 in.).Acquired 1980-2015. Ex Abelita family collection.The weapon belongs to the type 1 of the Khorasani spearhead classification, mainly from Marlik or Amlash areas. Similar pieces have been dated by Stutzinger to 1200-1100 B.C., but the period of use is attested to at least until 1000 B.C.
Lot 1065
Circa 11th-14th century A.D. With a piriform body and domed mouth with two indented lines decorating the mid section; intended to be filled with explosive liquid and wick, used as a hand grenade. Cf. Arendt, W. I., Granaten des 13-14. Jahrhunderts, die an der Wolga gefunden sind, Zeitschrift fur Historische Waffen-und Kostumkunde, 11 (1926-8), p.42; cf. Arendt, W., Die Spharisch-konischen Gefasse aus Gebranntem Ton, ibid; cf. Ayalon, D., Gunpowder and Firearms in the Mamluk Kingdom, London, 1956, p.16; for the way of employment see D'Amato, R., Byzantine Naval Forces 1261-1461, The Roman Empire's Last Marines, Oxford, 2016, plate B, p.41. 964 grams, 15.5 cm high (6 1/8 in.).Acquired 1980-2015. Ex Abelita family collection. Accompanied by an academic paper by military specialist Dr Raffaele D'Amato, dated 15 July 2019 and titled 'Eastern Roman Empire - Greek Fire Bomb or Hand Grenade (??????? k???????) 9th-11th century AD'.Apart from the use of siphons or manual flame-throwers called cheirosiphona, special Roman soldiers employed terracotta grenades, in the form of small jars, abundantly evidenced in archaeological excavations. Such were the ??????, vessels (sometimes also in bronze) used for Greek fire. They were called ?????? k?????? or ???????????? where the former had a bulbous shape and the latter a more cylindrical form. [No Reserve]
Lot 938
Circa 2nd-3th century A.D. Comprising two fragments of sheet bronze each with one straight edge and nail-holes or attachment, inked or painted Aramaic text; mounted in a display case. 214 grams total, 13 x 13.5 cm including case (5 1/8 x 5 1/4 in.).Collected from 1970-1999. From the collection of the late Mr S.M., London, UK.
Lot 1218
Circa 4th-7th century A.D. Decorated with filigree bands of overlapping semi-circular motifs to the sidewall; slender handle with plaited decoration. Cf. Khrapunov, I. and Stylegar, F.A., Inter Ambo Maria, Contacts between Scandinavia and the Crimea in the Roman Period, ????? ?, ?., ???????????? ?, ?, 1989, ?? ????? ????????? ?????????-???????? ???????? ??????? ? ????????? ??????, ??, No.3; see. Meaney, A., Anglo-Saxon Amulets and Curing Stones, Oxford, BAR British Series 96, 1981, p.166-168, for discussion of the type. 1.71 grams, 19 mm high (3/4 in.).Private collection formed in Europe in the 1980s. Westminster collection, central London, UK.Pendants in the form of miniature buckets have been found in a number of pagan Anglo-Saxon and Viking contexts and are generally made of bronze or iron, with gold examples being rare; three gold examples were found with the hoard from Hoen, Norway. Bronze bucket amulets have been found at Driffield in Yorkshire, and Vimose bog in Denmark, among other places. In form they represent wooden buckets bound with bronze or iron bands which have been found in Anglo-Saxon and Viking graves and are believed to have held mead or ale and were used to replenish the cups from which warriors drank. As amulets they probably represent the ecstatic power of alcoholic drink and the role of women as the dispensers of these precious beverages. [No Reserve]
Lot 482
Late Period-Ptolemaic Period, 664-30 B.C. Carved limestone body of an ibis with hole above the shoulders for the bronze neck and head casting, and two angled holes beneath for the legs. 55 grams, 58 mm (2 1/4 in.).Private collection formed in the 1990s. Acquired from a central London gallery. Property of an Essex gentleman. [No Reserve]
Lot 1608
20th century A.D. and earlier. Comprising: a translucent glass token with a profile male to one side and an eagle attacking to the other; a restrung string of African terracotta beads; four seal impressions; four carnelian mounts; a carved rock crystal pendant; a bronze Dark Age style eagle mount; a ceramic tongue-shaped finial with a standing figure; a bronze standing figure of male wearing a bowler hat; a bronze fob seal with calligraphic inscription and a Belgian coin pendant; a large tinned lead mount; and a small floral lead(?) mount with an old handwritten label. 106 grams total, 1.6-74 cm (5/8 - 29 1/8 in.).UK private collection formed 1970s-1990s. Property of an East Sussex, UK, gentleman. [17, No Reserve]
Lot 457
20th century A.D. and earlier. Comprising: a small composition shabti with T-shaped inscription giving the dedication: s?? ws?r ?m-n?r p?-di….? ms n ?st-?r.s m?? ?rw ‘The illuminated, the Osiris, God’s Servant, Pa-di...(?), born to Isis-ires true of voice’; bronze Horus with sun disc and lappet wig; accompanied by two after the antique items: figure of Bes with feather headdress and a composition aegis plaque. 134 grams total, 1.8 - 13.1 cm (3/4 - 5 1/8 in.).Acquired from a private UK collection in the late 1990s. Private collection of Mr T.H., Norfolk, UK. [4, No Reserve]
Lot 1062
2nd millennium B.C. With plain cylindrical socket and staff, off-set at the base, of simple undecorated shape with a long lentoid-section D-shaped blade with scooped profile. Cf. Moorey, P.R.S., Catalogue of the ancient Persian Bronzes in the Ashmolean Museum, Oxford, 1971, pl.1, items 4 and 5. 465 grams, 18 cm (7 in.).Earlier 20th century collection. Mayfair, London gallery, UK. Dr D.G. collection, 1990s-2019.Many examples of bronze axeheads are attributed to the Luristan culture and various shapes have been discussed by different scholars. Moorey (1971, pp.39-41) shows similar axeheads, stating that the texts executed on some specimens have shown them made of arsenical bronze, and attributes them to the late 3rd millennium B.C. or 2nd millennium B.C., period in which this alloy was used abundantly.
Lot 349
Circa 10th century A.D. With fusiform hexagonal-section crystal bead modified for use as a pendant with the addition of a bronze collar bearing stamped 'bowtie' motifs attached to two lateral straps converging at the end to form a knotted and looped bail; finial formed as a beast-head with raised snout and piriform eyes, shallow flange ears, slanted muzzle; thick bronze wire suspension loop with ends twisted around the shank. Cf. similar animal-head profile on the weathervane from Källunge church, Gotland in Franceschi, G., Jorn, A. & Magnus, B., Fuglen, Dyret og Mennesket i Nordisk Jernalderkunst, vol.2, Borgen, 2005, pl.181. 42.01 grams, 83 mm high (3 1/4 in.).Private collection formed in Europe in the 1980s. Westminster collection, central London, UK. [No Reserve]
Lot 719
1st century A.D. and later. Comprising: a small bronze animal figure; three ceramic spindle whorls/weights; tinned ring with keeled hoop; a bronze swan-head finial; and a bronze ring with blue glass intaglio. 91 grams total, 20-45 mm (3/4 - 1 3/4 in.).Property of a UK gentleman, acquired in the 1970s. Property of an East Sussex, UK, gentleman. [7, No Reserve]
Lot 1101
Circa 1000 B.C. The blade with a tapering profile, triangular in overall form, with slender shoulders, penannular guard with strong midrib, flanged hilt with crenellated grip, widening slightly into a fan-shaped pommel, cracked. Cf. similar sword in Khorasani, M.M., Arms and Armour from Iran. The Bronze Age to the End of the Qajar Period, Tübingen, 2006, cat.12, for a similar weapon. 421 grams, 42 cm (16 1/2 in.).Acquired 1980-2015. Ex Abelita family collection.These types of short sword or dirks were usually cast in one piece, and the penannular rib in relief was cast on at the same time with the handle of the blade. In some cases, however, the penannular rib was later cast on the dagger, possibly to strengthen a weak point at the junction of hilt and blade. The flanged hilt was originally inlaid with organic material such as bone.
Lot 137
Circa 2nd-4th century A.D. Modelled in relief with openwork elements, stylised detailing to both figures; hollow reverse. Cf. Mille, B., 'The Casting Techniques of Antique South Arabian Large Bronze Statues,' in Jett, P., McCarthy, B. and Douglas, J.G. (eds.), Scientific Research on Ancient Asian Metallurgy: Proceedings of Fifth Forbes Symposium at the Freer Gallery of Art, Washington, Smithsonian Institution, 28-29/10/2010, Washington, 2012, pp.225-247, fig.5, for similar images. 182 grams, 10.2 cm high (4 in.).Acquired 1990s-early 2000s. East Anglian private collection.Hollow cast bronze images of Eros riding a lion are linked to the Eastern Levant and have been found for example in Tamna, probably a Roman import. The importance of long-distance contacts within the Eastern Mediterranean areas was rapidly reflected in provincial artistic styles, probably as soon as in Hellenistic times, at the beginning of the third century B.C., possibly even earlier. The unquestionable Greek influence led a number of scholars to define three main styles for the bronzes discovered in the eastern Roman provinces: a local type and iconography locally produced, Greek or Roman imports, and Oriental, Hellenistic, or Roman style, locally produced.
Lot 809
1976-1980 A.D. Lloyd laing - Pottery in Britain 4000 BC to AD 1900 - A Guide to Identifying Pot Sherds - 2003, card covers, 133 pp, colour photographs, line drawings; H.N. Savory - National Museum of Wales - Guide Catalogue of the Early Iron Age Collections - 1976, card covers, 119 pp, monochrome photographs, line drawings; H.N. Savory - National Museum of Wales - Guide Catalogue of the Bronze Age Collections - 1980, card covers, 258 pp, monochrome photographs, line drawings. 1.58 kg total, 24.6 x 18.5 - 25 x 19 cm (9 5/8 x 7 1/4 - 9 7/8 x 7 1/2 in.).Property of a Stowmarket, UK, gentleman. [3, No Reserve]
Lot 783
Circa 10th-15th century A.D. Comprising: a penannular bronze earring pair with integral granulated pendant drops; a bronze penannular pair with thick hoop, a white stone bead attached with coiled wire to the hoop; a pair of silver earrings with round-section hoops; a pair of annular bronze hoops with collars, one with a blue glass bead and the other with a collared silver bead. 35.2 grams total, 31-44 mm (1 1/4 - 1 3/4 in.).Acquired in the 1980s-1990s. Property of a Nottinghamshire gentleman. [8, No Reserve]
Lot 61
Circa 8th century B.C. The head covered by a small low-top cap; sharp and pronounced nose, prominent eyebrows, small swollen mouth; the hair divided into two braids; mounted on a custom-made display stand. Cf. Lilliu, G., Sculture della Sardegna Nuragica, Nuoro, 2008, figs.4, 5, 7, 28, for similar heads. 53 grams total, 91 mm including stand (3 5/8 in.).Ex Frank Sternberg collection, Zürich, Switzerland, circa 1980-1985. Property of an East Sussex, UK, private collector.These bronzes are stylised representations, although very detailed as regards to the elements of material culture, of warriors, tribal leaders, priests, athletes, male characters and women of society of the late Sardinian Bronze Age and the Iron Age.
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389642 item(s)/page