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Lot 267
Ca. 8000-6000 BC. A rare artifact of the European Mesolithic era - a horn axe. This stunning piece showcases a flared butt and tapering profile. It is adorned with a single, drilled hole that allowed for attachment to a handle, making it a versatile tool for the early inhabitants of Europe. During the Mesolithic era, these horn axes were vital tools for hunting, woodworking, and other daily tasks. They were used for chopping, splitting, and shaping wood, as well as for skinning and butchering game. The flared butt of the horn axe provided a secure grip for the user, while the tapering profile allowed for precise cuts and maneuvers. The hole in the axe head allowed for the attachment of a handle, which provided additional leverage and control.Size: L:185mm / W:100mm ; 240gProvenance: Property of a European collector, ex. Marcus Prill, 2007; formerly in private German collection.
Lot 208
Ca. 600-700 AD. A cut glass bowl of a hemispherical shape, complemented by a concave base, creates a well-balanced and elegant form. The exterior of the bowl is meticulously adorned with four rows of roundels, arranged in a honeycomb pattern, which is both beautiful and intricate. The technique used to create this stunning piece of cut glass was likely a combination of wheel-cutting and polishing. The glass would have been blown into a mold to create the basic shape and then refined using a variety of cutting and polishing tools. The result is a flawless piece of glassware that reflects the skill and precision of the glassmaker. Glassmaking was a highly valued art form in early Islamic times, with glass objects being used for both practical and decorative purposes. Glassmakers were highly respected, and their work was prized for its beauty and durability. For a similar example, see The Victoria and Albert Museum, Accession number C.58-1963.Size: L:75mm / W:90mm ; 180gProvenance: Private collection of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Lot 517
Ca. 1200-900 BC. A cast bronze double axe head characterized by a short cylindrical shaft hole, a flattened top, and a vertical blade with a curved cutting edge. At the back, a smaller horizontal adze blade completes this beautiful design. An adze is designed for tasks that require more precision and finesse, such as carving or shaping wood, and is suitable for a wide range of tasks. In Bronze Age, axes like this one were used not only as tools but also as weapons. The region's abundant resources of copper and tin made it a prime location for the production of bronze weapons, and these axes would have been in high demand for hunting, warfare, and clearing land for agriculture.Size: L:70mm / W:245mm ; 1.5kgProvenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 137
Ca. 1100-1200 AD. A brass ladle with a deep, round bowl featuring high sides that ensure a generous capacity, ideal for serving stews, soups, and other delectable delicacies. The bowl is seamlessly joined to a long, flat-section handle, with a circular finial and circle and a dot decoration along the upper face. Ladles held a position of great importance, serving as essential tools in the preparation and presentation of food. Size: L:400mm / W:95mm ; 400gProvenance: Property of a London Islamic art specialist collector; previously in a collection formed since the 1980s.
Lot 549
Western Asiatic/Aegan, ca. 1200-700 BC. A cast bronze spearhead featuring a triangular-shaped blade with a pronounced midrib that runs down the center, lending both strength and rigidity to the weapon. The blade tapers to a sharp point, designed to penetrate armor and flesh with equal ease. The shoulders of the spearhead extend downwards to form wings, enhancing its aerodynamic properties and ensuring swift and accurate strikes. The pronounced shaft provides a sturdy grip, while the long tapering tang allows for secure insertion onto a wooden pole, creating a formidable weapon that was instrumental in Bronze Age warfare. In the Bronze Age, the spear was the most common and effective weapon, used for hunting, fishing, and warfare. These small spears were utilitarian tools, invaluable in a wide range of everyday tasks, from hunting to defending one's community. Cf. Muscarella, O. W. (1988). Bronze and Iron: Ancient Near Eastern Artifacts in the Metropolitan Museum of Art. Metropolitan Museum of Art, New York, p.291.Size: L:115mm / W:22mm ; 20gProvenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 720
Ca. 1500-1600 AD. A group of measuring instruments, including a compass/divider and an assortment of other tools to aid in the calibration of precise measurements. These elegant tools, crafted with meticulous attention to detail, represent a profound legacy of human ingenuity and scientific advancement. At the heart of this collection lies the compass/divider, a versatile instrument essential to the scientific and artistic endeavors of the time. With its ability to accurately measure and mark circles and angles, it was invaluable in fields ranging from astronomy and engineering to cartography and art. These measuring instruments served a wide range of purposes in medieval society, from the construction of buildings and bridges to the creation of works of art and the advancement of scientific knowledge. They were essential in the pursuit of precision, enabling the craftsmen and artisans of the time to produce works of unparalleled beauty and complexity.Size: L:35-70mm / W:15-30mm ; 45gProvenance: Property of a European collector; ex. German collection formed between 1990-2010.
Lot 248
Ca. 19th century AD. A brass pen case with an attached inkwell. The slender, elegant form of the pen case features rounded finials and a hinged mechanism that enables it to be opened for the insertion of writing tools. The lid of the case is adorned with a pointed finial, while the inkwell, attached to the side of the case, features a cushion-shaped body with a hinged cover decorated with a shell. The entire body of the case is covered with dense chiseled and chased decorations of scrolls and tendrils, creating a visually stunning effect that is both intricate and breathtaking. Pencases such as this one were an essential part of the Ottoman Empire's writing culture. They served as both a practical and decorative tool, providing a convenient and stylish way to store and transport writing materials. This particular example, with its attached inkwell, would have been especially useful for those who needed to write while on the move.Size: L:255mm / W:50mm ; 375gProvenance: From the collection of a London gentleman; formerly in a collection of A. Kotlar, since the 1970s.
Lot 3002
2015 Japanese Caparison Dellinger Prominence hand made boutique rock guitar in spectrum blue with clock inlays and Scaller tremolo; serial no.3200018; L100cm; in fitted case with certificate, registration card, tools etcCondition Report:Looks to be in virtually mint condition with very minor signs of little use.
Lot 113
A North African leather covered curved short sword with leather tooled scabbard, with engraved blade, (L: 56cm including scabbard) a deer's foot steel bladed paper knife complete with leather scabbard, (L; 26cm) a John Smith and Son of Glasgow set of dentist's style tools including scissors, scalpel, tweezers etc in treen case, an ophthalmoscope complete with original fitted case
Lot 319
A Quantity of Assorted Ceramics, Glass and Metalware, including a Victorian oil lamp, Doulton Lambeth jardiniere, fire tools, horse brasses, Art Nouveau copper tray, pocket watches etc (four boxes)Oil lamp no damage caused during conversion, the fitting mounts to the reservoir where the cork in the burner hole, with the cable entering with the side of the fitting.
Lot 1390
Box of Assorted Miscellaneous Collectibles & Ephemera, comprising an AA yellow badge No. 4C00656, two vintage stamp holders, and a card holder, an Egyptian embroidered throw with fringing, a Beatles plate, two old booklets, one recipes and one Barclays, an envelope full of stamps, a small painted picture of crocuses, a vintage Burman Hair Clipper, a Rolls Razor, some old tools, and two EPNS dishes.
Lot 55
KOKUTA SUDA (1906-1990)Sans titre 1960 signé ; signé, daté 1960. 8.87 et porte des inscriptions en japonais sur le châssistechnique mixte sur toilesigned ; signed, dated 1960. 8.87 and bears incriptions in Japanese on the stretchermixed media on canvas 72.5 x 53 cm.28 9/16 x 20 7/8 in.Footnotes:ProvenanceCollection de l'artiste, JaponCollection particulière, JaponGregg Baker Asian Art, LondonAcquis auprès de celle-ci par le propriétaire actuelSuda Kokuta (1906-1990) est présenté comme l'un des artistes les plus innovants du Japon d'après-guerre. Son œuvre est surtout reconnue pour ses peintures à l'huile et ses gouaches, bien qu'il soit également et incontestablement un maître de la calligraphie, de la céramique et de l'illustration. Né à Saitama, il débute d'abord sa carrière comme peintre autodidacte. C'est à partir d'une rencontre avec le pionnier de la peinture abstraite japonaise Hasegawa Saburō (1906-1957) en 1949, que son art emprunte un chemin différent. Suda se consacre à l'art abstrait tout au long des années 1950 et 1960, avant qu'il ne revienne à l'art figuratif à partir des années 1970. Les trois œuvres présentées dans cette vente ont été peintes au cours des années 1960, figurant la démarche expérimentale employée par Suda dans son œuvre abstraite, qui dura pendant près de vingt années. La composition de ses œuvres conserve un aspect tactile et très texturé. La peinture à l'huile est souvent mélangée avec des matériaux et utilisée avec des techniques expérimentales – il faut à cet égard observer les empâtements épais du gesso appliqué sur la toile, le relief tactile des pierres et du sable broyés, et le verni transparent ; parfois, d'épaisses couches de peinture sont creusées à l'aide de peignes et d'outils faits à la main. L'artiste emploie les mêmes efforts pour ses œuvres sur papier - le papier japonais épais est gaufré pour ajouter un effet tridimensionnel, tandis que d'autres matériaux comme des pigments, ajoutent une touche intéressante de texture et de couleur à la couche picturale sur la toile. Pour Suda, l'art abstrait appelle à la créativité profonde de l'artiste, mais permet aussi d'exprimer l'intangible et des idées métaphysiques. D'abord encouragé par Hasegawa Saburō qui était familier de la philosophie et de la culture d'Asie du Sud-Est, Suda étudie avec passion la philosophie médiévale Zen à partir de laquelle il s'inspira pour créer. L'abstraction de Suda est donc profondément imprégnée de cette dimension spirituelle. La philosophie zen traditionnelle n'est pas en contradiction avec le langage moderne et universel de l'abstraction ; elle est au contraire devenue essentielle pour amener son art vers la transcendance. A cette période, ces idées étaient partagées par de nombreux artistes de l'avant-garde japonaise, comme Yoshihara Jirō (1905-1972), chef de file du groupe Gutai, comme les membres de l'avant-garde du groupe Bokujinkai conduit par Morita Shiryū (1912-1999) et Inoue Yūichi (1916- 1985). Suda et les principaux membres des groupes Gutai et Bokujinkai ont beaucoup échangé autour des modes d'expression artistique d'avant-garde en parallèle avec la culture et les idées traditionnelles japonaises. Dans la région du Kansai, où Suda s'est installé dans les années 1940, ces artistes ont activement participé à des groupes d'étude et se sont inspirés les uns avec les autres, partageant la même vision d'aspirer à de nouvelles formes d'expression artistique. Yoshihara a invité Suda à rejoindre Gutai au moment de sa fondation, mais ce dernier a choisi de rester indépendant et a continué à produire des œuvres puissantes et métaphysiques caractérisées par une esthétique très singulière.Suda Kokuta (1906-1990) one of the most innovative artists of post-war Japan, best known for his distinctive oil and gouache paintings, was also a master calligrapher, ceramicist and illustrator. Born in Saitama, he initially started his career as a self-taught figurative painter. However, following a watershed meeting with a pioneer of Japanese abstract painting Hasegawa Saburō (1906-1957) in 1949, Suda fully devoted his artistic career of the 1950s and 1960s to abstraction, before returning to figurative paintings in the 1970s onwards. Three works in this sale were executed circa 1960, in the middle of his abstract period which lasted over twenty years, with each representing Suda's diverse, experimental abstraction. His works are distinctively tactile and diversely textured, the oil often combined with unconventional materials and techniques – one would notice thick impasto of applied gesso, tactile materiality of crushed stones and sands, and a glaze like finish of a transparent medium; sometimes thick layers of paint are variously marked with combs and handmade tools. An equal effort is put into his works on paper – thick Japanese paper is diversely embossed to add a three-dimensional effect while various media, notably traditional mineral pigments, add an interesting twist of texture and palette to the painting surface. To Suda, abstraction was the field of creative endeavour but also the best mode to express intangible, metaphysical ideas. Initially motivated by Hasegawa Saburō who was also well acquainted with traditional East Asian philosophy and culture, Suda intensely studied medieval Zen philosophy from which he constantly drew inspiration. As such, Suda's abstraction is deeply imbued with spiritual dimensions. For Suda, the traditional Zen philosophy was not something that contradicts the modern, universal language of abstraction – rather, it became essential to bring his art to the next level. Such ideas were shared by many ground-breaking Japanese artists at the time, including Yoshihara Jirō (1905–1972), leader of the Gutai group, as well as members of the avant-garde calligraphy circle Bokujinkai, led by Morita Shiryū (1912-1999) and Inoue Yūichi (1916- 1985). Suda and the key members of both the Gutai and Bokujinkai groups often discussed avant-garde modes of artistic expression in parallel with Japanese traditional culture and ideas. In the Kansai region where Suda was based from the 1940s, these artists actively interacted in study groups and inspired each other, sharing a vision to aspire to new artistic forms of expression. Yoshihara invited Suda to join the Gutai at the time of its foundation, however, Suda chose to remain independent and continued to produce powerful, metaphysical work with his unique aesthetic.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
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