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A Greek bronze eagle, possibly early classical (early 5th century B.C.) or late Hellenistic...
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Description
The heavy bronze figure with thick walls, produced by applying the lost-wax casting technique, probably with a clay core inside. The style and method clearly suggest it dates from classical antiquity. Two features of the remarkable bronze sculpture stand out in particular: firstly, the unusual size for a bronze sculpture of a bird from classical antiquity, such as is very rarely found; secondly, the surface is characterised by the exceptionally fine, naturalistic rendering of the plumage. The bird standing in repose, its wings tightly folded and head upright, slightly turned to the left. The tail feathers pointed slightly downwards, protruding from beneath the wings. The tops of the metatarsal bone (tarsometatarsus), covered in scales, still in place below the feathered tarsi. The toes and talons have been lost. The musculature of the bird is clearly delineated. The feathers on the surface of the body are exceptionally finely and precisely chased, representing the shafts of the quill and the vanes extending on either side, whereby previously finished structures on the lost wax model have been further refined. The eyes with clearly contoured lids, the pupils with a pronounced, overhanging bulge. The hooked beak clearly identifying it as a bird of prey. The upper and lower beak precisely executed, along with the openings at the root. While the right-hand side, presumably the original outer side, shows a stern gaze, the left side, turned slightly inwards, reveals a gentler appearance. The eagle was probably part of a group of figures and it may be assumed that a second bird or a life-sized (or almost life-sized) figure was placed on the postulated inner side. Although the bulge over the eyes is not in a straight line and does not represent the typical "eagle gaze", it may be assumed that the statue is meant to be an eagle.
It is not easy to give a precise date for this object as it may be considered unique as regards to its size and the quality of the craftsmanship. A Greek bronze votive offering from the Acropolis Museum (dated to the late 6th century B.C.) shows a bird standing somewhat more erect, without the slight inclination of the head, but exhibiting very similar musculature and posture. Magna Graeciantetradrachms from Akragas (1st quarter of the 5th century B.C.) at the turn of the Archaic to the early classical period feature birds that are unmistakably eagles, the silhouettes of which, combined with the fine markings of the plumage and the specifically rounded head, often appear to be miniatures of the eagle presented here. Generally speaking, in Roman art, eagles are depicted with a coarser plumage in higher relief, their posture is usually more dynamic and the facial expression more aggressive.
By contrast, concepts of art that were invariably supplied by local traditions are conceivable, particularly in the eastern half of the empire. The exceptionally realistic, yet rather undramatic and serene depiction of the eagle might also suggest that it was made during the late Hellenistic period (1st century B.C. – 1st century A.D.)
The surface is covered with an almost flawless, uniform, olive green patina, whose silk-matte lustre perfectly accentuates the finely delineated anatomical details. An antique hairline crack running across the right-hand side. Minor casting defects have been repaired after casting in typical antique fashion and the surfaces re-chased accordingly. A masterpiece of antique bronze casting with meticulously worked details, the unconventional stylisation in keeping with the specific artistic intention and of unusual stature for the subject. Height 32 cm (including pedestal 38.5 cm).
Schwere Bronzefigur mit dicker Wandung, die im
Wachsausschmelzverfahren hergestellt worden ist, vermutlich mit Tonkern im Inneren. Stil und Technik sprechen ganz klar für eine Entstehung in der klassischen Antike. Die ungewöhnliche Bronzeplastik besticht durch zwei Eigenschaften: zum einen die für eine bronzene Vogelplastik der klassischen Antike ungewöhnliche Größe, die so nur extrem selten zu finden ist, zum anderen zeichnet sich die Oberfläche durch eine besonders feine und naturalistische Darstellung des Gefieders aus. Der Vogel steht ruhig mit eng angelegten Flügeln und aufrecht gehaltenem Kopf mit leichter Linksdrehung. Unter den Flügeln ragen die leicht nach unten gerichteten Schwanzfedern hervor. Unter den befiederten Hosen sind noch die Ansätze des mit Hornschuppen bedeckten Mittelfußknochens (Tarsometatarsus) erhalten. Zehen und Krallen sind verloren. Die Muskulatur des Vogels ist klar konturiert und auf der Oberfläche des Körpers sind die Federn mit den Schäften des Kiels und den davon abzweigenden Ästen ausgesprochen fein und präzise durch Ziselierung dargestellt, wobei vorgefertigte Strukturen im verlorenen Wachsmodell weiter ausgearbeitet worden sind. Die Augen mit klar konturierten Lidern und Pupillen sind von einer markanten Wulst überragt. Der Hakenschnabel macht deutlich, dass es sich um einen Greifvogel handelt. Unter- sowie Oberschnabel mit den Öffnungen am Ansatz sind präzise ausgeführt. Während die rechte, ursprünglich wohl äußere Seite durch einen strengen Blick gekennzeichnet ist, hat die leicht einwärts gedrehte, linke Seite eine lieblichere Anmutung. Der Adler war wohl Teil einer Figurengruppe und man darf davon ausgehen, dass auf der postulierten Innenseite ein zweiter Vogel oder eine lebensgroße beziehungsweise fast lebensgroße Figur platziert war. Auch wenn die Wulst über den Augen nicht geradlinig verläuft und den typischen "Adlerblick" repräsentiert, ist davon auszugehen, dass mit der Darstellung ein Adler gemeint ist.
Die exakte Datierung des Objekts ist nicht einfach, da es von der Größe und der Qualität der Ausarbeitung bisher eher als singulär anzusehen ist. Ein griechisches Bronzevotiv aus dem Akropolismuseum (datiert in das späte 6. Jhdt. v. Chr.) zeigt einen noch etwas steifer dargestellten Vogel ohne die leichte Kopfwendung, der jedoch in der Anlage von Muskulatur und Haltung sehr ähnlich ist. GroßgriechischeTetradrachmen aus Akragas (1. Viertel des 5. Jhdts. v. Chr.) an der Wende von der Archaik zur Frühklassik bilden eindeutig als Adler zu verstehende Vögel ab, deren seitliche Silhouette ebenso wie die feine Zeichnung des Federkleids und der eher rundliche Kopf häufig in hohem Maße wie Miniaturen des hier vorgestellten Adlers wirken. Adlerdarstellungen römischer Reichskunst haben in der Regel ein ungleich stärker reliefiertes und gröber dargestelltes Gefieder, die Haltung ist in der Regel dynamischer und der Gesichtsausdruck aggressiver.
Demgegenüber sind vor allem in der östlichen Reichshälfte immer aus lokalen Traditionen gespeiste Kunstauffassungen denkbar. Die ausgesprochen realistische, aber doch wenig dramatisierende und ruhige Darstellung des Adlers könnte auch für eine Herstellung im späten Hellenismus (1. Jhdt. v. Chr. – 1. Jhdt. n. Chr.) sprechen.
Die Oberfläche ist mit einer geradezu perfekten, gleichmäßig olivgrünen Patina überzogen, deren seidenmatter Glanz die fein ausgearbeiteten anatomischen Details vorteilhaft zur Geltung bringt. Auf der rechten Seite verläuft ein bereits in der Antike vorhandener, feiner Riss. Kleinere Gussfehler wurden in typisch antiker Manier nach dem Guss ausgebessert und ihre Oberfläche entsprechend nachziseliert. Ein Meisterwerk des antiken Bronzegusses mit liebevoll ausgeführten Details, eigenwilliger, einem spezifischen Kunstwollen entsprechender Stilisierung und außergewöhnlicher Größe für das dargestellte Sujet. Höhe 32 cm (mit Sockel 38,5 cm).
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The heavy bronze figure with thick walls, produced by applying the lost-wax casting technique, probably with a clay core inside. The style and method clearly suggest it dates from classical antiquity. Two features of the remarkable bronze sculpture stand out in particular: firstly, the unusual size for a bronze sculpture of a bird from classical antiquity, such as is very rarely found; secondly, the surface is characterised by the exceptionally fine, naturalistic rendering of the plumage. The bird standing in repose, its wings tightly folded and head upright, slightly turned to the left. The tail feathers pointed slightly downwards, protruding from beneath the wings. The tops of the metatarsal bone (tarsometatarsus), covered in scales, still in place below the feathered tarsi. The toes and talons have been lost. The musculature of the bird is clearly delineated. The feathers on the surface of the body are exceptionally finely and precisely chased, representing the shafts of the quill and the vanes extending on either side, whereby previously finished structures on the lost wax model have been further refined. The eyes with clearly contoured lids, the pupils with a pronounced, overhanging bulge. The hooked beak clearly identifying it as a bird of prey. The upper and lower beak precisely executed, along with the openings at the root. While the right-hand side, presumably the original outer side, shows a stern gaze, the left side, turned slightly inwards, reveals a gentler appearance. The eagle was probably part of a group of figures and it may be assumed that a second bird or a life-sized (or almost life-sized) figure was placed on the postulated inner side. Although the bulge over the eyes is not in a straight line and does not represent the typical "eagle gaze", it may be assumed that the statue is meant to be an eagle.
It is not easy to give a precise date for this object as it may be considered unique as regards to its size and the quality of the craftsmanship. A Greek bronze votive offering from the Acropolis Museum (dated to the late 6th century B.C.) shows a bird standing somewhat more erect, without the slight inclination of the head, but exhibiting very similar musculature and posture. Magna Graeciantetradrachms from Akragas (1st quarter of the 5th century B.C.) at the turn of the Archaic to the early classical period feature birds that are unmistakably eagles, the silhouettes of which, combined with the fine markings of the plumage and the specifically rounded head, often appear to be miniatures of the eagle presented here. Generally speaking, in Roman art, eagles are depicted with a coarser plumage in higher relief, their posture is usually more dynamic and the facial expression more aggressive.
By contrast, concepts of art that were invariably supplied by local traditions are conceivable, particularly in the eastern half of the empire. The exceptionally realistic, yet rather undramatic and serene depiction of the eagle might also suggest that it was made during the late Hellenistic period (1st century B.C. – 1st century A.D.)
The surface is covered with an almost flawless, uniform, olive green patina, whose silk-matte lustre perfectly accentuates the finely delineated anatomical details. An antique hairline crack running across the right-hand side. Minor casting defects have been repaired after casting in typical antique fashion and the surfaces re-chased accordingly. A masterpiece of antique bronze casting with meticulously worked details, the unconventional stylisation in keeping with the specific artistic intention and of unusual stature for the subject. Height 32 cm (including pedestal 38.5 cm).
Schwere Bronzefigur mit dicker Wandung, die im
Wachsausschmelzverfahren hergestellt worden ist, vermutlich mit Tonkern im Inneren. Stil und Technik sprechen ganz klar für eine Entstehung in der klassischen Antike. Die ungewöhnliche Bronzeplastik besticht durch zwei Eigenschaften: zum einen die für eine bronzene Vogelplastik der klassischen Antike ungewöhnliche Größe, die so nur extrem selten zu finden ist, zum anderen zeichnet sich die Oberfläche durch eine besonders feine und naturalistische Darstellung des Gefieders aus. Der Vogel steht ruhig mit eng angelegten Flügeln und aufrecht gehaltenem Kopf mit leichter Linksdrehung. Unter den Flügeln ragen die leicht nach unten gerichteten Schwanzfedern hervor. Unter den befiederten Hosen sind noch die Ansätze des mit Hornschuppen bedeckten Mittelfußknochens (Tarsometatarsus) erhalten. Zehen und Krallen sind verloren. Die Muskulatur des Vogels ist klar konturiert und auf der Oberfläche des Körpers sind die Federn mit den Schäften des Kiels und den davon abzweigenden Ästen ausgesprochen fein und präzise durch Ziselierung dargestellt, wobei vorgefertigte Strukturen im verlorenen Wachsmodell weiter ausgearbeitet worden sind. Die Augen mit klar konturierten Lidern und Pupillen sind von einer markanten Wulst überragt. Der Hakenschnabel macht deutlich, dass es sich um einen Greifvogel handelt. Unter- sowie Oberschnabel mit den Öffnungen am Ansatz sind präzise ausgeführt. Während die rechte, ursprünglich wohl äußere Seite durch einen strengen Blick gekennzeichnet ist, hat die leicht einwärts gedrehte, linke Seite eine lieblichere Anmutung. Der Adler war wohl Teil einer Figurengruppe und man darf davon ausgehen, dass auf der postulierten Innenseite ein zweiter Vogel oder eine lebensgroße beziehungsweise fast lebensgroße Figur platziert war. Auch wenn die Wulst über den Augen nicht geradlinig verläuft und den typischen "Adlerblick" repräsentiert, ist davon auszugehen, dass mit der Darstellung ein Adler gemeint ist.
Die exakte Datierung des Objekts ist nicht einfach, da es von der Größe und der Qualität der Ausarbeitung bisher eher als singulär anzusehen ist. Ein griechisches Bronzevotiv aus dem Akropolismuseum (datiert in das späte 6. Jhdt. v. Chr.) zeigt einen noch etwas steifer dargestellten Vogel ohne die leichte Kopfwendung, der jedoch in der Anlage von Muskulatur und Haltung sehr ähnlich ist. GroßgriechischeTetradrachmen aus Akragas (1. Viertel des 5. Jhdts. v. Chr.) an der Wende von der Archaik zur Frühklassik bilden eindeutig als Adler zu verstehende Vögel ab, deren seitliche Silhouette ebenso wie die feine Zeichnung des Federkleids und der eher rundliche Kopf häufig in hohem Maße wie Miniaturen des hier vorgestellten Adlers wirken. Adlerdarstellungen römischer Reichskunst haben in der Regel ein ungleich stärker reliefiertes und gröber dargestelltes Gefieder, die Haltung ist in der Regel dynamischer und der Gesichtsausdruck aggressiver.
Demgegenüber sind vor allem in der östlichen Reichshälfte immer aus lokalen Traditionen gespeiste Kunstauffassungen denkbar. Die ausgesprochen realistische, aber doch wenig dramatisierende und ruhige Darstellung des Adlers könnte auch für eine Herstellung im späten Hellenismus (1. Jhdt. v. Chr. – 1. Jhdt. n. Chr.) sprechen.
Die Oberfläche ist mit einer geradezu perfekten, gleichmäßig olivgrünen Patina überzogen, deren seidenmatter Glanz die fein ausgearbeiteten anatomischen Details vorteilhaft zur Geltung bringt. Auf der rechten Seite verläuft ein bereits in der Antike vorhandener, feiner Riss. Kleinere Gussfehler wurden in typisch antiker Manier nach dem Guss ausgebessert und ihre Oberfläche entsprechend nachziseliert. Ein Meisterwerk des antiken Bronzegusses mit liebevoll ausgeführten Details, eigenwilliger, einem spezifischen Kunstwollen entsprechender Stilisierung und außergewöhnlicher Größe für das dargestellte Sujet. Höhe 32 cm (mit Sockel 38,5 cm).
Works of Art, Antiquities, Asian and Eastern European Art
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- The following applies to all objects sold by Hermann Historica that contain materials from protected and endangered species: the export of these goods – including ivory, tortoiseshell, crocodile skin, rhinoceros horn etc. – from the EU and their import into non-EU countries requires a permit from the regulatory authorities of both the exportation and the importation countries. Buyers intending to import any objects made of or incorporating materials from endangered species into a country that is not a member of the European Community must check their relevant customs laws and regulations prior to bidding. On request, Hermann Historica can apply for the export/re-export document from the Bundesamt für Naturschutz (Federal Agency for Nature Conservation) in Bonn for an administration fee of €150/lot, and can organize expert opinions upon request by the authorities at cost (example: a certificate for ivory will usually carry a fee of 100 to 150 Euros). Import permits are the sole responsibility of the buyer. Hermann Historica cannot guarantee the issuance of an export licence, which may take up to six months. As a rule of thumb, here are some examples of recent licence applications: Rhino horn - no German export permits for non-EU countries; processed elephant ivory: German export permits on a case-by-case basis only. US import: no commercial imports! In rare cases non-commercial imports are permitted. The inability to export or import collectibles containing material from endangered or protected animal and plant species shall not be considered sufficient reason for bidders to withdraw from the sale.
- Objects that are classified as cultural goods under Council Regulation (EC) No. 116/2009 of December18, 2008, require a licence to be exported from Germany. This regulation refers to a multitude of items, depending on their age and value, for example archaeological objects over 100 years old and manuscripts, regardless of their value. Firearms, Antique Arms & Armour, historical and military artefacts over 50 years old usually only require an export permit if they are valued at more than €50,000, more recent objects are generally not subject to any export restrictions. On request, Hermann Historica GmbH can apply for any necessary export permits for a fee of €75 per group of objects; the approval process may take up to 6 months.
- Orders and medals of the Federal Republic of Germany and her federal states, as well as their miniatures, ribbons, buttonhole bows and ribbon clasps, may only be sold to authorised persons according to section 14 paragraph 3 of the “Gesetz über Titel, Orden und Ehrenzeichen” (Law of Titles, Orders and Honours). Authorised persons include the recipients of the awards or persons in possession of a collecting licence. The collecting licence is granted by the responsible authority upon request (responsibility is regulated differently in each federal state). According to the commentary of the law, approval of a licence may only be refused by the responsible authority if there are serious grounds for doing so. By purchasing orders and medals of the Federal Republic of Germany and her federal states, the client affirms that he has been granted a collecting licence. Bids will only be accepted under these conditions.
- Firearms requiring a German firearm certificate may only be supplied to German nationals upon presentation of valid photo ID, corresponding possession and acquisition permit, and payment of a fee of €15 per purchase order for notification under the provisions of section 34 WaffG (Weapons Act). Modern firearms will only be shipped to foreign buyers on receipt of the necessary German and foreign permits. Once the buyer presents a valid import permit, the Auctioneer will apply upon request for an export permit against a variable fixed fee:
For exports to EU-Countries: € 60 (1 - 5), € 90 (6 - 15), € 120 (16 - 25), € 200 (>25)
For exports to Non-EU-Countries: € 90 (1 - 5), € 160 (6 - 15), € 220 (16 - 25), € 300 (>25)
If any special conditions are imposed in obtaining a valid export permit, compliance with which involves additional fees and expenses, these shall be invoiced to and paid by the buyer. The sale remains legally binding, irrespective of whether the buyer holds a corresponding possession and acquisition permit. In the absence of a permit, the buyer shall be liable for his bid. Buyers domiciled abroad bear sole responsibility for observing the regulations in force at their place of residence on the acquisition and possession of weapons or war material. The Auctioneer cannot be held responsible in the event of loss. Firearms do not undergo functional testing but are sold as collector’s items in the condition described. Therefore, the Auctioneer cannot assume any liability whatsoever for their fitness for use, functional reliability or accuracy. A warranty is excluded in this respect. The Auctioneer is obligated to submit firearms without a valid proof mark to the responsible authority. For historically significant weapons the Auctioneer endeavours to avoid proofing and to obtain the issuance of a non-proof mark certificate. The consignor shall bear the cost hereof or for proofing. The Auctioneer assumes no liability for damage sustained as a result of the proofing process or on the way to and from the proof house. - If one or more of the above provisions should become invalid, in full or in part, it shall be replaced by a valid provision that most closely approximates the purpose of the invalid provision. The other provisions shall remain unaffected.
Version: 2.5 / April 16, 2021
