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Lot 10
Ca. 200-300 AD.A bronze-cast phalera mount in the form of Cupid (Greek Eros) with fleshy features and curly hair. His cheeks chubby portray the features of youth, his stylised wings between his shoulders. An important object possibly a military phalera, with the upper body of Cupid in high relief. This was likely to have been worn on the breastplate of a soldier or formed part of a chariot fitting. Objects formed of bronze were ubiquitous in the Roman world, being used by the Roman military, for instance, for both practical and decorative purposes. The phalera is the sculptured disk (typically formed of bronze) on the breastplate, which was worn by Roman soldiers as a reward for the outstanding service, or as representation of military rank. In Roman mythology, Cupid (known as Eros to the Greeks) was the god of love. He is generally represented as an aesthetically chubby boy with wings, who carries a bow and a quiver of arrows. He is normally shown as a follower or acolyte of the goddess Aphrodite.Size: L:148mm (with stand) / W:110mm ; 735g.Provenance: Property of a North London professional; previously acquired on the UK art market in early 1990s.
Lot 122
Ca. 100-300 AD.A double-sided bronze fitting in the shape of a griffin with an open mouth and right foreleg raised, portrayed as a creature with the body, tail, and back legs of a lion, the head and wings of an eagle standing upon four slender legs.Size: L:130mm / W:75mm ; 279gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Lot 124
Ca. 1-200 AD.A cast bronze figurine of an eagle perching on an integral stand. Expertly cleaned and conserved with a smooth patina. An aquila (eagle) was a prominent symbol used in ancient Rome, especially as the standard of Roman legions. Size: L:40mm / W:25mm ; 21gProvenance: Private London collector, acquired on the Austrian Art market; formerly in an old USA collection, formed since the 1970s.
Lot 127
Ca. 100-300 AD.A bronze openwork gammadion or tetra-gammadion brooch with a catchplate on the reverse, composed of four capitalised ? (gamma). Brooches were an important element of Roman dress, used to fasten clothing but they also served as dress accessories in their own right. Thousands of different types and subtypes of Roman brooches are attested, and they seem to have played an important role in Roman people's self-expression. This item may have belonged to a devotee of Jupiter, probably a soldier, as he was a particularly important deity among Roman military communities. For comparable brooches, see The British Museum, Museum number 1874,1228.4; The Mougins Museum of Classical Art (MACM), Inv. n°: MMoCA615; Richard Hattatt (2000), A Visual Catalogue of Richard Hattatt's Ancient Brooches. Oxbow Books, p. 357, item 1145.Size: L:25mm / W:25mm ; 9gProvenance: Private London collector, acquired on the Austrian Art market; formerly in an old USA collection, formed since the 1970s.
Lot 144
Ca. 1-300 AD.A beautiful bronze patera comprising a deep body, with a rounded rim, and a protruding, flaring handle terminating with perforation for hanging. A patera is a broad dish usually made of bronze, and typically used as a sacred libation vessel during religious events. Though the patera could also be used in the domestic sphere for the preparation or serving of food items.Size: L:105mm / W:110mm; 331.2g.Provenance: Property of a private London collection; formerly in an Estate of Eldert Bontekoe, Pegasi Numismatics, Ann Arbor, Michigan, USA acquired before 2000.
Lot 146
Ca. 900-800 BC.A single-handled blackware cup, that stands on a slightly rounded, wide base. The bulged shoulder is embellished with diagonally cut linear patterns. Villanova or Villanovan culture (900-700 BC) is the term used by archaeologists to designate an Iron Age culture which represents the oldest phase of Etruscan civilization, derived from the Proto-villanovan culture of the late Bronze Age. It was named after a major archaeological site discovered in 1853 - Villanova di Castenaso, located in the Bologna region.Size: L:48mm / W:100mm ; 135gProvenance: From the private collection of a Central London gentleman; previously in a collection formed on the UK/European art market before 2000.
Lot 209
Ca. 3100-2900 BC.An early Bronze Age red burnished terracotta jar with a globular-shaped body with four prominent ledge handles situated at the shoulder. Standing on a flat base. For similar see: Ruth Amarian, Pottery of the Holy Lands. Size: L:140mm / W:240mm ; 1.17KgProvenance: Property of a London gallery; formerly in High Wycombe Estate collection; formerly acquired on the UK Art market.
Lot 258
Ca. 100 AD.An attractive hollow-cast bronze naturalistically modelled protome of a forepart of a bull with upward-curving horns, erect ears, and finely detailed facial features including nostrils, mouth, and heavy-lidded eyes. The forelegs are bent and hung down. This item may have been used as a chariot or furniture ornament decoration.Size: L:70mm / W:60mm ; 92gProvenance: Private London collector, acquired on the Austrian Art market; formerly in an old USA collection, formed since the 1970s.
Lot 258A
Ca. 100-300 AD.A round-section bronze stylus with a balustered shank, one pointed end, and a rectangular scraper on the other side. A rare example in this condition.Size: L:35mm / W:10mm ; 15gProvenance: From the private collection of a Cambridgeshire gentleman; previously in an old British collection, formed in the 1990s on the UK /European art markets.
Lot 260
Ca. 100-300 AD.A set of bronze belt fittings in different shapes and forms, such as buckles and decorative plates held to the leather strap with rivets or nails. Belt sets were important parts of Roman military uniform under the Roman Empire, where they often had strong connotations of rank. These intricate items probably belonged to Roman officers or other important officials. Size: L:45-25mm / W:45-15mm ; 86gProvenance: Private London collector, acquired on the Austrian Art market; formerly in an old USA collection, formed since the 1970s.
Lot 262
Ca. 100-200 AD.A bronze pair of naked deities with simplified features, both depicted standing with their legs and arms outstretched. Figurines depicting deities such as this were usually used as votive offerings brought to temples or kept at more intimate home shrines for private worship. Size: L:80-70mm / W:40-35mm ; 65gProvenance: Private London collector, acquired on the Austrian Art market; formerly in an old USA collection, formed since the 1970s.
Lot 263
Ca. 1-100 AD.A cast bronze statuette demonstrating the multicultural tendencies of Roman religious symbolism. The goddess Fortuna, identified by her characteristic attributes: a ship's rudder in her right hand and cornucopia in her left, is standing robed, but she wears the Egyptian crown with horns and feathers, associated with goddess Isis. Fortuna was an important goddess in Roman religion because she was considered to be the provider of material blessing and the arbiter of human destiny. For a similar example, see The Walters Art Museum, Accession Number 54.747.Size: L:70mm / W:40mm ; 51gProvenance: Private London collector, acquired on the Austrian Art market; formerly in an old USA collection, formed since the 1970s.
Lot 265
Ca. 100-200 AD.A bronze disk brooch with openwork decoration forming abstract geometric patterns and a well-preserved catch-plate on the reverse. Brooches were an important element of Roman dress, used to fasten clothing but they also served as dress accessories in their own right. Thousands of different types and subtypes of Roman brooches are attested, and they seem to have played an important role in Roman people’s self-expression. For further information on Roman brooches, see Richard Hattatt. 2000. A Visual Catalogue of Richard Hattatt's Ancient Brooches. Oxbow Books. Size: L:32mm / W:36mm ; 10gProvenance: Private London collector, acquired on the Austrian Art market; formerly in an old USA collection, formed since the 1970s.
Lot 267
Ca. 1-300 AD.A massive bronze key ring with a wide carinated hoop and a sub-rectangular projecting bezel with teeth of varying shape and size. Keys rings were used to open chests, boxes, and caskets, although they sometimes served ceremonial or decorative purposes, such as matron keys, and votive offerings. Key rings were also a subtle status symbol implying that the wearer had valuable assets to protect.Size: D: 19.1mm / US: 9 1/8 / UK: S; 39gProvenance: Private London collector, acquired on the Austrian Art market; formerly in an old USA collection, formed since the 1970s.
Lot 268
Ca. 100-300 AD.A bronze ring with a circular band and an applied bezel decorated with a cross at the centre filled with smaller circles that evoke the sun.Size: D: 16.71mm / US: 6 1/4 / UK: M 1/2; 5.7gProvenance: Private London collector, acquired on the Austrian Art market; formerly in an old USA collection, formed since the 1970s.
Lot 269
Ca. 100-300 AD.A bronze finger ring of a circular, flat-section hoop expanding to a circular-shaped bezel engraved with a pair of palm branches. Further incised decoration covers the shoulders of the ring. In Roman mythology, the palm branch was attributed to Victoria, the Roman goddess of victory, and was a symbol of triumph and peace. Size: D: 16.71mm / US: 6 1/4 / UK: M 1/2; 7gProvenance: Private London collector, acquired on the Austrian Art market; formerly in an old USA collection, formed since the 1970s.
Lot 311
1904 AD.A handsome white marble side table (mensae vasariae) supported by three trapezohedron legs in the form of a fierce griffin's head on a paw with claws. In ancient Rome, tables of this type were a sign of wealth and refined taste. Mostly they were used to display vases and other examples of outstanding craftsmanship. Cf. Christie's, Live Auction 15492, The Collector: Silver & 19th Century Furniture, Sculpture & Works of Art, 14 November 2018, Lot 739. Signed and dated by Moses Jacob Ezekiel (1844-1917) an American sculptor of Jewish origin. He attended military college at the Virginia Military Institute and later served as a Confederate officer in the American Civil War. After the war, he decided to become a sculptor. In 1869 he went to Europe and became a student at the Prussian Academy of Art in Berlin. He then left for Italy where he spent the rest of his life working in Rome where he obtained great success and numerous decorations from Kings Humbert I and Victor-Emmanuel III. Among his well-known works is the bronze statue Virginia Mourning the Dead, erected in 1903 at the Virginia Military Institute. He also designed the Confederate monument at Arlington National Cemetery. Louisville's Thomas Jefferson statue and Johnson's Island Confederate Prison and Cemetery soldier figure are also his creations.Size: L:760mm / W:420mm ; 86.45kgProvenance: Ex French Collection, Paris Gallery, previously with Oliver Lasseron Auction House, Paris.
Lot 317
Ca. 202BC - 220AD.A lovely pottery bird standing on its stylised, well-defined bronze legs which support a globular body and elegantly slender neck terminating in a dark brown-coloured head with a cream beak and open attentive eyes. The body is decorated with blue and red plumage and a cream tail. This piece has been precisely dated having undergone Thermo Luminescence analysis by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. Its TL certificate with full report will also accompany this lot. Size: L:120mm / W:190mm ; 340gProvenance: East Anglian private collection; formerly acquired in the early 1990s in Hong Kong.
Lot 320
Ca. 618-907 AD.A circular bronze mirror with lobed recess to one face with intricate relief depicting a three-clawed dragon between four vaporous clouds. From the central part of the body, a perforated raised knob protrudes. The dragons' eyes, mouths, and scales are carefully depicted, indicating the many hours of workmanship that must have been spent on making this piece. Dragons are a symbol of power, strength, and good fortune in Chinese art. The Tang dynasty ruled most of China between AD 618 and 907, and this period is widely viewed as an era of progress and stability, during which many scientific and artistic advances were made. This beautiful mirror may have belonged to a noble lady who lived under the Tang. Cf. Christie's, Live Auction 2658, Luminous Perfection: Fine Chinese Mirrors from the Robert H. Ellsworth Collection, 22 March 2012, Lot 1452.Size: L:125mm / W:125mm ; 415gProvenance: UK private collection of Asian Art; formerly acquired in the early 1990s in Hong Kong.
Lot 322
Ca. 500BC - 300 AD.A cast bronze fish crafted with careful attention to detail, boasting all fins intricately incised to depict their texture. Further diligence has been devoted to the face of the fish, and both sides are decorated in the same manner. ?ông S?n was a prehistoric culture of the Indochinese peninsula from the Bronze Age. The name comes from the archaeological site in the village of ?ông S?n on the Mã River in the Thanh Hóa Province of North Vietnam. The most characteristic objects of the ?ông S?n culture are richly decorated bronze drums found throughout Southeast Asia, as well as in southern China. Size: L:200mm / W:100mm ; 508gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Lot 324
Ca. 618-907 AD.A rosette-shaped bronze mirror with an intricate relief depicting repeating flying birds and intertwined floral motifs on the reverse, as well as a small loop for suspension. The birds' feathers are picked out individually indicating the many hours of workmanship that must have been spent on making this piece. The Tang dynasty ruled most of China between AD 618 and 907, and this period is widely viewed as an era of progress and stability, during which many scientific and artistic advances were made. This beautiful mirror may have belonged to a noble lady who lived under the Tang. Size: L:125mm / W:125mm ; 410gProvenance: UK private collection of Asian Art; formerly acquired in the early 1990s in Hong Kong.
Lot 325
Ca. 202BC - 220AD.An earthenware bird figure standing on its bronze legs and its body is decorated with vivid polychromy. This bird is a mingqi, 'spirit goods' belonging to the burial rituals in the Chinese Han Dynasty. High-ranking persons were buried with various everyday objects; it was believed that life after death was a continuation of the present life, and therefore the deceased was provided with all the objects necessary to continue living after death. H.C. Clydesdale, "The Vibrant Role of Mingqi in Early Chinese Burials", Heilbrunn Timeline of Art History, The Metropolitan Museum of Art, New York 2000. 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:120mm / W:180mm ; 310gProvenance: East Anglian private collection; formerly acquired in the early 1990s in Hong Kong.
Lot 329
Ca. 202BC - 220AD.An ornate pottery goose standing on its stylised, well-defined bronze legs, which support a globular body and elegantly slender neck terminating in a red-coloured head with a beak and open, attentive eyes. The body is decorated with pigments, imitating the bird's natural plumage. Geese were a significant motif in Han dynasty-era poetry. They were typically distinguished between two types of geese, the domestic goose and the wild goose. The Han Dynasty, which ruled between 202 BC-220 AD, brought great prosperity and stability to China, reigning over a golden age of classical Chinese civilisation during which China saw major advances including the widespread development of a monetary economy and the invention of paper, as well as much progress in the decorative arts. 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:225mm / W:200mm ; 940gProvenance: East Anglian private collection; formerly acquired in the early 1990s in Hong Kong.
Lot 331
Ca. 202BC - 220AD.A beautiful pottery duck standing on its detailed bronze legs, which support a globular, squat body and a short neck terminating in a dark brown coloured head with a red beak and open, attentive eyes. The body is decorated with colourful pigments, imitating the bird's plumage. The Han Dynasty, which ruled between 202 BC-220 AD, brought great prosperity and stability to China, reigning over a golden age of classical Chinese civilisation during which China saw major advances, including the widespread development of a monetary economy and the invention of paper, as well as much progress in the decorative arts. 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:150mm / W:140mm ; 485gProvenance: East Anglian private collection; formerly acquired in the early 1990s in Hong Kong.
Lot 336
Ca. 500BC - 300 AD.A cast bronze fish crafted with careful attention to detail, boasting all fins intricately incised to depict their texture. Further diligence has been devoted to the face of the fish, and both sides are decorated in the same manner. ?ông S?n was a prehistoric culture of the Indochinese peninsula from the Bronze Age. The name comes from the archaeological site in the village of ?ông S?n on the Mã River in the Thanh Hóa Province of North Vietnam. The most characteristic objects of the ?ông S?n culture are richly decorated bronze drums found throughout Southeast Asia, as well as in southern China. Size: L:200mm / W:100mm ; 982gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Lot 346
Ca. 400-500AD or later.A bronze statuette of the Bodhisattva Avalokiteshvara standing against a backplate with a band of five-petaled flowers, surrounded by a border of radiating spikes with Triratna finials. The Bodhisattva wears a simple monastic robe covering his lower body, leaving him bare-chested. His right hand is raised in Abhaya mudra, and his left hand holds a flask. He is heavily adorned with jewellery and his head with neatly pulled hair is topped with a tall crown. Avalokiteshvara - 'the god who's looking down at the world' is one of the most important Bodhisattvas in Buddhism, personifying compassion. This deity vowed to liberate all creatures from pain and suffering. This item comes with a custom-made stand.Size: L:160mm / W:120mm ; 585gProvenance: Private UK collection; From an old British collection formed in the 1990s.
Lot 367
Ca. 2500-1800 BC.A square-shaped seal in white steatite; Indus valley signs in a formal script slightly slanting left, unicorn standing left facing an altar, with double loop handle. For a similar see The Metropolitan Museum of Art, 49.40.1. Cf. Pittman, Holly. 1984. Art of the Bronze Age: Southeastern Iran, Western Central Asia, and the Indus Valley. New York: The Metropolitan Museum of Art, pp. 83-84, fig. 38a.Size: L:27mm / W:27mm ; 11gProvenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection.
Lot 382
Ca. 2500-1800 BC.A square-shaped seal in white steatite; Indus valley signs in a formal script slightly slanting left, unicorn standing left facing an altar, with double loop handle. For a similar see The Metropolitan Museum of Art, 49.40.1. Cf. Pittman, Holly. 1984. Art of the Bronze Age: Southeastern Iran, Western Central Asia, and the Indus Valley. New York: The Metropolitan Museum of Art, pp. 83-84, fig. 38a.Size: L:30mm / W:30mm ; 11gProvenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection.
Lot 399
Ca. 3000-2500 BC.Cylinder seal of bronze. Frieze of three horned animals with items under and above their bodies. Condition very good for ancient bronze. Accompanied by a signed scholarly note by Professor Wilfrid George Lambert.Size: L:19mm / W:15mm ; 14.75gProvenance: Property of a London gallery; formerly with a Mayfair Art dealer S.A.; ex. 1990s London collections, studied and catalogued by professor Lambert in the early 90s (with original note, signed by him). Previously in an old British collection formed since the 1960s.
Lot 405
Ca. 1100-1200 AD.A cast bronze pendant in the shape of a right hand with a slightly clenched fist. The wrist with ribbed features and a suspension loop. This item comes with a modern necklace cord.Size: L:53mm / W:28mm ; 45gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Lot 406
Ca. 3rd millennium BC.A cast bronze mace head / cudgel of a tubular shape. The upper part is decorated with 14 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:243mm / W:35mm ; 455gProvenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection.
Lot 408
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 11 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:215mm / W:40mm ; 520gProvenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection.
Lot 409
Ca. 1200-700 BC.A tapered bronze pin with a stylized ibex protome with a cylindrical mouth, and high-raised antlers. Another small animal protrudes from the shaft. The use of pins like this is uncertain. They were probably both used as votive offerings, but also worn as decoration or for fastening clothes. Good condition, with a beautiful patina. Size: L:305mm / W:70mm ; 215gProvenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection.
Lot 410
Ca. 1800-1000 BC.A Luristan double axe-head cast in bronze. The weapon features a short cylindrical shaft hole with a collar, 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:75mm / W:225mm ; 945gProvenance: Private UK collection; From an old British collection formed in the 1990s.
Lot 415
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:20-19mm / W:35-10mm ; 234gProvenance: From the private collection of D. Ruskin, Oxfordshire; formerly in a British collection formed in the 1970s on the UK / International art markets.
Lot 421
Ca. 1st - 2nd Millennium BC.A small bronze stylised votive statue of a deity with raised hands. The figure is wearing a headdress and has a flattened face with a beak-like nose and wide eyes. It is discernible that the deity is wearing a collar and long robes. A large variation of these small bronzes would have served as votive offerings for cult worship, though they did not represent the cult images themselves. They would have been placed prominently amongst other statues, pottery, jewellery and weapons in order to gain the favour of relevant supernatural forces. If not displayed publicly, these bronze statuettes might have served as idols in private homes.Size: L:125mm / W:36mm; 75g.Provenance: Private London collection ( B.A); formerly acquired in the 1970s from John Lees collection.
Lot 422
Ca. 1200-1000 BC.A ceremonial bronze cast mace head featuring a globular body flanked with two short necks to either side with a circular shaft hole. The body is decorated with a dual-side face, with stylised eyes, nose and mouth. Beautiful green patination covers the surface.Size: L:67mm / W:44mm; 160g.Provenance: Private London collection ( B.A); formerly acquired in the 1970s from John Lees collection.
Lot 423
Ca. 1000 BC.A stylised bronze horse appliqué, also referred to as a protome, decorated in the form of horse, with long standing ears, fiercesome eyes and mouth in a closed position.Size: L:72mm / W:22mm; 61g.Provenance: Private London collection ( B.A); formerly acquired in the 1970s from John Lees collection.
Lot 424
Ca. 2000-700 BC.A bronze Master of Animals Sceptre comprised of a central openwork design terminating into a head. Flanked by animals on either side, with wide open mouths. It was probably used during religious rituals. The Master of Animals or Lord of Animals is a motif in ancient art showing a human between and grasping two confronted animals. It is very widespread in the art of the Ancient Near East.Size: L:110mm / W:60mm ; 102g.Provenance: From the private collection of an Oxford gentleman; previously in an old British collection, formed in the 1990s on the UK / International art markets.
Lot 431
Ca. 3rd millennium BC.A cast bronze mace head/cudgel of a tubular shape. The upper part is decorated with 10 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:230mm / W:40mm ; 430gProvenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection.
Lot 432
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 twelve 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:220mm / W:35mm ; 480gProvenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection.
Lot 434
Ca. 3rd millennium BC.A cast bronze mace head/cudgel of a tubular shape. The upper part is decorated with panels of 12 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:200mm / W:30mm ; 330gProvenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection.
Lot 435
Ca. 1200-700 BC.A two-edged bronze blade, leaf-shaped with rectangular tang, corrugated midrib extending almost to the tip and flared at the shoulder, decorated with vertical grooves. Cf. Christie's, The Axel Guttmann Collection of Ancient Arms and Armour, part 2, London, 2004, item 36.Size: L:495mm / W:80mm ; 610g.Provenance: Property of a London gentleman, formerly with the Parthenon gallery, previously in an old English collection formed in the 1980s.
Lot 442
Ca. 900-1100 AD.A beautiful semi-circular bronze bracelet; the decoration is divided into rectangular sections with the same geometric, wavy, and linear incised motifs. Good condition; beautiful patina. In Viking society, bangles and bracelets were not only decorative but also served to mark loyalty between a ruler 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. Bracelets made of precious metals were also used as a means of payment in a time before the widespread availability of coinage.Size: L:58mm / W:46mm ; 18.67g.Provenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 443
Ca. 1200 BC.A finely modelled cast bronze double axe head, composed of a tubular socket, a convex axe blade and an adze blade to the rear. Bronze weaponry production flourished in Europe from 3000 BC to 1200 BC, when it was gradually replaced by iron over the following 500 years. Swords, axes, spears, and arrows were important symbols of war in Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it.Size: L:250mm / W:100mm ; 1.39KgProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Lot 45
Ca. 1st millennium BC.A carved stone foot and lower leg with simplified features. This type of object belongs to a group called anatomical votives - miniature fragments of the human body created from various materials (bronze, pottery, stone) and offered to gods in a plea for healing.Size: L:138mm / W:138mm ; 1.15KgProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Lot 455
Ca. 2000-700 BC.A cast bronze axe head comprising a fan-shaped blade, and a decorated cheek with a moulded open-mouth beast’s head motif. Bronze weaponry production flourished from the 2nd millennium BC to about 700BC when it was gradually replaced by iron. Swords, axes, maces, 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 axe-head were common votive offerings in shrines across Western Asia. Superb condition, on a custom-made stand.Size: L:70mm / W:110mm ; 274gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Lot 457
Ca. 1200-700 BC.A collared bronze mace head comprising a tubular socket featuring protruding pyramidal spikes around its exterior forming an 'X'. Excellent condition. Cavalry shaft-mounted weapons like battle hammers, maces, and axes were often very small and mounted on long handles. The speed and momentum in swinging such a weapon were made effective by the long shaft length and whipping action of the weapon rather than by the brute weight of the weapon itself as those used by ground infantry.Size: L:90mm / W:110mm ; 468gProvenance: Private UK collection; Formerly acquired on the European art market from pre-2000 collections.
Lot 458
Ca. 1200-700 BC.A bronze axe head with a curved blade, arching cheek and finished with circular socket. 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:70mm / W:120mm ; 332gProvenance: Private UK collection; Formerly acquired on the European art market from pre-2000 collections.
Lot 459
Ca. 2nd-1st millennium BC.A bronze axe head with a short, flared blade with a triangular cheek, and a reinforced pole with a wedge-shaped extension and decorative, horizontally oriented ribs. This item comes with a custom-made stand.Size: L:30mm / W:120mm ; 418gProvenance: Private UK collection; Formerly acquired on the European art market from pre-2000 collections.
Lot 460
Ca. 1200-700 BC.A cast bronze axe head comprising of a flared blade and a tubular socket with raised borders and a bulb to the cheek. 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:70mm / W:110mm ; 404gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Lot 465
Western Asiatic / Aegean, Ca. 1200-700 BC.A fine group of three bronze spearheads, each with a nicely shaped blade with a raised midrib, sharpened edges that taper gradually to a pointed tip, short socket, and a tang for insertion into a haft. See similar spearheads in Muscarella, O.W., Bronze and Iron Ancient Near Eastern Artifacts in the Metropolitan Museum of Art, New York, 1988, pp.289-292.Size: L:160-100mm / W:25-20mm ; 80gProvenance: Private UK collection; From an old British collection formed in the 1990s.
Lot 466
Western Asiatic / Aegean, Ca. 1200-700 BC.A fine group of four bronze spearheads, each with a nicely shaped blade with a raised midrib, sharpened edges that taper gradually to a pointed tip, short socket, and a tang for insertion into a haft. See similar spearheads in Muscarella, O.W., Bronze and Iron Ancient Near Eastern Artifacts in the Metropolitan Museum of Art, New York, 1988, pp.289-292.Size: L:140-100mm / W:45-20mm ; 90gProvenance: Private UK collection; From an old British collection formed in the 1990s.
Lot 478
Ca. 600-800 AD.A lovely gold finger ring composed of a hollow round hoop with hunched shoulders and a trumpet-shaped protruding bezel cell with garnet gem inset. Byzantium was justly famous for the elegance of its jewellery, whether in precious metals for the aristocracy or bronze for people further down the social ladder.Size: D: 14.65mm / US: 3 3/4 / UK: H; 4.25gProvenance: From the private collection of a Central London gentleman; previously in a collection formed on the UK/European art market before 2000.
Lot 480
Ca. 600-800 AD.A lovely gold finger ring composed of a hollow round hoop with hunched shoulders and a trumpet-shaped bezel cell with garnet gem inset. Byzantium was justly famous for the elegance of its jewellery, whether in precious metals for the aristocracy, or bronze for people further down the social ladder.Size: D: 1.26mm / US: < 1/2 / UK:
Lot 484
Ca. 1200 AD.A wearable bronze ring comprising a round band expanding to form a circular bezel decorated with a stylised cross surrounded by incised and dotted decoration. The cross, the principal symbol of Christianity, recalls the crucifixion of Jesus Christ and the redeeming benefits of his Passion and death. Thus, the cross is a sign of Christ himself and the Christian faith.Size: D: 18.19mm / US: 8 / UK: Q; 4.8gProvenance: Private London collector, acquired on the Austrian Art market; formerly in an old USA collection, formed since the 1970s.
Lot 485
Ca. 1200 AD.A wearable bronze ring comprising a round band expanding to support a circular bezel decorated with a stylised cross surrounded by incised decoration. The cross, the principal symbol of Christianity, recalls the crucifixion of Jesus Christ and the redeeming benefits of his Passion and death. Thus, the cross is a sign of Christ himself and the Christian faith.Size: D: 17.35mm / US: 7 / UK: O; 9gProvenance: Private London collector, acquired on the Austrian Art market; formerly in an old USA collection, formed since the 1970s.
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