We found 12576 price guide item(s) matching your search

Renée Sintenis (1888 Glatz/Schlesien - 1965 Berlin) (F)'Liegendes Fohlen', 1919, Bronze, braun patiniert, 6 cm x 12 cm, RS monogrammiert, Expertise von Frau Dr. Berger anbei, Literatur: WVZ. Buhlmann 129, mit Abb. S. 210.Renée Sintenis gehört zu den wichtigsten deutschen Bildhauerinnen und Graphikerinnen der klassischen Moderne. Sie wirkte vor allem in Berlin und ist für ihre Tierplastiken, Sportlerskulpturen, Portraits und Akte bekannt. 1905 zog die Familie nach Berlin, wo sie bereits in der Schulzeit Zeichenunterricht erhielt, der später von Studien in Dekorativer Plastik an der Kunstgewerbeschule Berlin weitergeführt werden sollte. Als die Künstlerin wenige Jahre später Georg Kolbe kennenlernte, wurde sie sein Modell. Durch diese Tätigkeit angeregt, begann sie selbst weibliche Akte, ausdrucksstarke Köpfe, Sportler und Selbstportraits in Zeichnungen, in Radierungen und in bildhauerischer Form zu erschaffen. "Nach 1915 entstanden die prägnanten Tierfiguren, die zu ihrem künstlerischen Lebensthema wurden. Da sie die Monumentalität in der Bildhauerkunst ablehnte, kreierte sie vornehmlich kleinformatige Skulpturen. Diese schmalen Kunstwerke wie Pferde, Rehe, Esel und Hunde erfreuten sich beim Publikum großer Beliebtheit." Diese sollten ab 1913 über Jahrzehnte in der Bildgießerei Hermann Noack in ihre Form gegossen werden. 1931 wird Renée Sintenis als zweite Frau - nach der berühmten Käthe Kollwitz - in die Preußische Akademie der Künste aufgenommen. Doch wie für viele Berliner Künstlerinnen und Künstler bedeutet die Machtübernahme durch Adolf Hitler auch für sie einen tiefgreifenden Einschnitt. Sie wurde aus der Akademie ausgeschlossen, die Ausübung und Ausstellung ihrer Werke wurden verboten. Hinzukommt, dass durch den Zweiten Weltkrieg um 1941 der Bronzeguss verboten wurde, denn das Metall war für die Rüstungsindustrie unentbehrlich. Die künstlerische Arbeit wird für Renée Sintenis spätestens zu diesem Zeitpunkt nahezu unmöglich. Im Oktober 1942 stirbt unerwartet ihr Ehemann, und 1945 zerstören alliierte Bombenangriffe ihr Atelier, wobei zahlreiche persönliche Besitztümer und viele künstlerische Arbeiten verlorengehen. Doch das Kriegsende markiert für die Künstlerin einen Neubeginn. Im Berlin der Nachkriegszeit gelingt es ihr, an ihre Erfolge aus den zwanziger und frühen dreißiger Jahren anzuknüpfen. Auch zu akademischen Ehren kommt Renée Sintenis, denn 1955 wird sie als Professorin an die Hochschule für Bildende Künste sowie an die West-Berliner Akademie der Künste berufen. Zum Markenzeichen wird ihr Berliner Bär, der als verkleinerte Nachbildung einer 1932 entstandenen Bronzeskulptur in Silber und Gold zur begehrten Trophäe der alljährlichen Filmfestspiele "Berlinale". Das kleine Fohlen kann auf das Jahr 1919 datiert werden und ist somit ein Zeichen des großartigen Erfolgs der künstlerischen Ausübung der Berliner Künstlerin. Nicht ohne Grund wurde sie ab 1920 vom Galeristen Alfred Flechtheim ausgestellt, vertrat sie bis dahin Wolfgang Gurlitt, der ihre Werke neben derer von Max Beckmann, Max Liebermann und Karl Schmidt-Rottluff ausgestellt hat. Zudem wurde sie mit Ausstellungen in der Berliner Nationalgalerie, der Tate Gallery London und dem Museum of Modern Art in New York, in Paris, Glasgow und Rotterdam zu einer international anerkannten Künstlerin, dessen Werke bis heute in bedeutenden Sammlungen weltweit vertreten sind. Renée Sintenis (1888 Glatz/Silesia - 1965 Berlin) (F)'Liegendes Fohlen', 1919, bronze, brown patinated, 6 cm x 12 cm, RS monogrammed, expertise of Dr. Berger attached, literature: WVZ. Buhlmann 129, with Fig. p. 210.Renée Sintenis belongs to the most important German sculptresses and graphic artists of the classical modern age. She worked mainly in Berlin and is known for her animal sculptures, sports sculptures, portraits and nudes. In 1905 the family moved to Berlin, where she took drawing lessons while still at school, which would later be followed by studies in decorative sculpture at the Kunstgewerbeschule Berlin. When the artist met Georg Kolbe a few years later, she became his model. Inspired by this activity, she herself began to create female nudes, expressive heads, athletes and self-portraits in drawings, in etchings and in sculptural form. "After 1915, she created the striking animal figures that became her artistic life's theme. Since she rejected monumentality in sculpture, she created mainly small-format sculptures. These slender works of art, such as horses, deer, donkeys and dogs, enjoyed great popularity with the public." These were to be cast into her mould at the Hermann Noack picture foundry for decades from 1913. In 1931 Renée Sintenis became the second woman - after the famous Käthe Kollwitz - to be admitted to the Prussian Academy of Arts. However, as for many Berlin artists, the seizure of power by Adolf Hitler also meant a profound break for her. She was expelled from the Academy, and the practice and exhibition of her works were banned. In addition, the Second World War banned bronze casting around 1941, as the metal was indispensable for the armaments industry. Artistic work became almost impossible for Renée Sintenis at this point at the latest. In October 1942, her husband died unexpectedly, and in 1945, Allied bombing raids destroyed her studio, causing the loss of numerous personal possessions and many artistic works. But the end of the war marked a new beginning for the artist. In post-war Berlin, she succeeded in building on her successes of the 1920s and early 1930s. Renée Sintenis also achieved academic honours: in 1955 she was appointed professor at the Hochschule für Bildende Künste and at the West Berlin Akademie der Künste. Her Berlin Bear, a scaled-down replica of a bronze sculpture she created in 1932 in silver and gold, became a coveted trophy at the annual Berlinale film festival. The little foal can be dated to 1919 and is thus a sign of the great success of the Berlin artist's artistic practice. It was not without reason that she was exhibited by the gallery owner Alfred Flechtheim from 1920 onwards. Until then, she had represented Wolfgang Gurlitt, who exhibited her works alongside those of Max Beckmann, Max Liebermann and Karl Schmidt-Rottluff. She also became an internationally recognised artist with exhibitions at the National Gallery in Berlin, the Tate Gallery London and the Museum of Modern Art in New York, in Paris, Glasgow and Rotterdam, whose works are still represented in important collections worldwide.

Fundgrube von der Antike bis in die Moderne - Bronze-und Silbermünzen mit Fokus auf Griechenland, Türkei, römische und griechische Antike, Byzanz. Kein Obligo für die Authentizität aller Stücke. Erhalt stets unterschiedlich, oft jedoch nur s. Im Münzalbum. Am besten besichtigen.| Treasure trove from antiquity to the modern age - Bronze and silver coins with focus on Greece, Turkey, Roman and Greek antiquity, Byzantium. No commitment for the authenticity of all pieces. Condition always different, but often only F. In coin album. Best to view.

Deutsches Reich 1933-1945 - Konvolut mit 2 x EK 2. Klasse 1939 am Band (davon 1 Neusilber), Treuedienst-Ehrenzeichen 1. Stufe für 40 Jahre im originalen Etui d. Fa. Deschler & Sohn München, Dienstauszeichnung 4. Klasse an 1-er Schnalle mit Bandauflage, Schutzwall-Ehrenzeichen mit Band, 2 x Kriegsverdienstkreuz 2. Klasse mit Schwertern (davon 1 x mit Band), 2 emaillierte Abzeichen in groß und klein der Nat. Soz. Frauenschaft, Ehrenkreuz der Deutschen Mutter bronzefarben, loses Band der Ostmedaille. Dazu 3 x EK 2. Klasse 1914 (davon 1 mit Band) sowie Württemberg Militärverdienstmedaille Wilhelm II. mit Stempelschneidersignatur und beschädigtem Bandabschnitt. Erhaltungen altersgemäß verschieden.| Third Reich 1933-1945 - mixed lot with 2 x Iron Cross 2nd class 1939 on a ribbon (1 of which is German silver), loyalty service badge of honor 1st level for 40 years in the original case by Deschler & Son Munich, service award 4th class on a 1st buckle with ribbon overlay, protection wall medal with ribbon, 2 x war merit cross 2nd class with swords (1 x with ribbon), 2 enameled badges in large and small of the Nat . social Frauenschaft, Cross of Honor of the German Mother bronze-colored, loose ribbon of the East Medal. In addition 3 x Iron Cross 2nd class 1914 (1 with ribbon) as well as Württemberg military merit medal Wilhelm II with die cutter signature and damaged ribbon section. Condition varies according to age.

Hedwig Ley, 1888 Soest - um 1956, 1910 Studium an der Staatsschule für angewandte Kunst München u. an der Holzschnitzschule in Oberammergau, ab 1932 in Düsseldorf ansässig, hier: Bronzebüste Hedwig Roser, geb. Nagel, so bez., monogrammiert u. datiert EY 1928, auf sekundärem Gestell, Alterssp., H. gesamt 150 cm, H. Büste 40 cmHedwig Ley, 1888 Soest - around 1956, 1910 studied at the Munich State School for Applied Arts and at the wood carving school in Oberammergau, resident in Düsseldorf from 1932, here: bronze bust of Hedwig Roser, née Nagel, so inscribed, monogrammed and dated EY 1928, on a secondary stand, traces of age, H. total 150 cm, H. bust 40 cm

Adolphe Jean Lavergne, um 1863-1928, Bronzeskulptur, patiniert, Knabe mit Angel, bez. 'Pecheur' (Angler)., auf Plinthe signiert, Gießerstempel, naturalistische Auffassung, Alterssp., H. 31 cmAdolphe Jean Lavergne, around 1863-1928, bronze sculpture, patinated, boy with fishing rod, labeled 'Pecheur' (fisher), Signed on theplinth, foundry mark, naturalistic conception,age, H. 31 cm

BILDHAUER/-GIESSER 19./20. Jh., 6 Antikenrepliken, 1x "Reiterstandbild des Marc Aurel", Bronze, dunkel patiniert, Marmorsockel (beschädigt), H: gesamt ca. 37 cm; 1x "Apollon vom Belvedere", Metallguss, auf der Plinthe bezeichnet 'Musee du Vatican', H: ca. 51; 1x "Venus", Metallguss, grüntonig patiniert, Steinsockel, H: gesamt ca. 31 cm; 1x "Adelige in Gewand", Bronze, grüntonig patiniert, Steinsockel, H: gesamt ca. 19,5 cm; 1x "Hirtenknabe, ein Schaf auf den Schultern tragend", Metallguss, Steinsockel, H: gesamt ca. 18,5 cm; 1x Schenkkanne in Löwenform, Kupfer, H: ca. 30 cm. Je Altersspuren, teilw. Witterungs- oder Beriebspuren.| SCULPTOR/FOUNDER 19./20. Century, 6 Antique replicas, 1x "equestrian statue of Marc Aurel", bronze, dark patina, marble base (damaged), H: total approx. 37 cm; 1x "Apollon vom Belvedere", cast metal, inscribed 'Musee du Vatican' on the plinth, H: ca. 51; 1x "Venus", cast metal, patinated in green tones, stone base, H: total approx. 31 cm; 1x "Aristocrat in robe", bronze, patinated in green tones, stone base, H: total approx. 19.5 cm; 1x "shepherd boy, carrying a sheep on his shoulders", cast metal, stone base, H: total approx. 18.5 cm; 1x lion-shaped jug, copper, H: approx. 30 cm. Depending on signs of age, partly. Weather or signs of wear.

NUSS, KARL ULRICH (geb. 1943, Prof.), "Liegender Bacchus", Bronze, dunkelgrün patiniert, vollplastische Figur eines auf dem Rücken liegenden trunkenen Silen mit Weintrauben, auf dem Rücken im Guss signiert 'U NUSS', HxL: ca. 5,5x19 cm. Leichte Altersspuren.| NUSS, KARL ULRICH (born 1943, Prof.), "Lying Bacchus", bronze, dark green patina, fully plastic figure of a drunken Silenus lying on his back with grapes, signed in the cast 'U NUSS' on the back, HxL: approx. 5.5x19cm. Slight signs of age.

PALASTARTIGE KAMINUHR IN BOULLE-TECHNIK Frankreich, Ende 19. Jh., Gehäuse mit Bronzeapplikationen aus der Thematik der grichischen Mythologie, Bekrönt von der Sitzenden Athene, Uhrwerk vom Hersteller AD. Mougun, Schlag zur vollen und halben Stunde, Federaufhängung. HxBxT: 104/62/26 cm. Alters- und Gebrauchsspuren, Vergoldung berieben, Athenes Schild nicht vorhanden, Werk überholungsbedürftig. | A PALACE-LIKE CLOCK IN BOULLE TECHNIQUE, France, late 19th century, case with bronze applications from the theme of Greek mythology, crowned by the seated Athena, clockwork from the manufacturer AD. Mougun, striking on the hour and half, spring suspension. HxWxD: 104/62/26 cm. Signs of age and wear, worn gilding, missing Athena's shield, movement in need of an overhaul.

AN UNUSUAL BRONZE AND ROOTWOOD OKIMONO OF A CRAB ROCKJapan, late Meiji (1868-1912) to Taisho period (1912-1926)The unusual okimono formed as four naturalistically crafted copper bronze models of crabs with readied pincers climbing a large root wood rock, the bronze patinated to a reddish-brown finish. Each crab marked to the underside.Rootwood stand SIZE 22.5 x 11.8 cm, crabs LENGTH 6.1 cmWEIGHT 748 g (total) 22.4 - 25.7 g (crab)Condition: Very good condition, the rootwood with natural age cracks. The crabs with minor surface wear.Provenance: French private collection.

A Cycladic Marble TorsoEarly Bronze Age II, Keros-Syros Culture, Circa 2500-2100 B.C.Height 6 inches (15.24 cm).Provenance:Arte Primitivo, New York, Classical Antiquities, Fine Pre-Columbian and Tribal Art, 2 March 2020, Lot 402.Width 4 1/2 inches (11.4 cm).

A Hallstatt Bronze SitulaLate Bronze Age, Circa 11th-10th Century B.C.Height 11 inches (27.9 cm).Property from a New Jersey Private CollectionProvenance: Art Market, New York, prior to 1990. Artemis Gallery, Louisville, Colorado, Ancient Ethnographic-Holiday Edition, 5 December 2019, Lot 46.Note: This bronze situla is of the Hajdú BoszormEny type, which is named after the city in Hungry where two of these bucket-shaped vessels were first found in 1862. It is made from three sheets of hammered bronze held together by rivets. For a similar vessel found in Jutland, Denmark, see a bronze vessel (National Museum of Denmark, Copenhagen, Inv. no. 20419).Diameter 10.6 inches (27 cm); Diameter with handle 12.5 inches (32 cm).

An Egyptian Tell el-Yahudiya-Ware JugletMiddle Bronze Age, Circa 1500 B.C.Height 5 5/16 inches (14 cm).Collection from an Important Midwestern ScholarProvenance:Roger Khawam (1922-2016), Paris, France.Acquired by the present owner from the above in 1999.

An Indian cast bronze bust of the goddess Gauri, 19th century, 11cmSome surface marks and wear commensurate with age, but no major faults

A bronze effect cast metal desk stand with tiger and glass inkwells.Condition:- General wear through age and use, no sign of any damage or repair.

A pair of French bronze cherub candlesticks, 20th century, each modelled as a winged putti with one arm aloft supporting a sconce, on foliate trefoil bases, 30.5cm high (2) CONDITION REPORT:Both pieces appear to be complete and structurally sound.  Both show fine surface wear and wear to the patinated finish commensurate with age and use.  Both show wax residue and dirt build up in various crevices.  Both show poor de-flashing and pinholes to the base casting. 

JOSEP MARIA SUBIRACHS SITJAR (Barcelona, 1927 - 2014)."Diàleg. 1994.Sculpture-painting: bronze and mixed media on wood.Unique piece.Signed.Size: 22,5 x 27 x 12,5 cm.After entering the workshop of a gilder who was fond of sculpture at the age of fourteen, where he modelled his first works in clay, in 1942 he entered the workshop of the sculptor Enrique Monjó as an apprentice. Five years later he began to work as an assistant to Enrique Casanovas. In 1948 he showed his work for the first time at the Casa del Libro in Barcelona, and in 1950 he founded, together with other artists, the group Postectura. In 1951 he travelled to Paris to complete his training, with a grant from the Institut Français in Barcelona. He returned to Barcelona in 1953 and was awarded the Sculpture Prize at the Salon del Jazz. After two years working and exhibiting in Belgium he returned to Spain, and in 1958 he was awarded the Gran Premio San Jorge by the Diputación de Barcelona and the "Julio González" by the Cámara Barcelonesa de Arte. Since then he has been commissioned for a succession of public works, among which his important sculptural work on the façade of the Passion of the Sagrada Família stands out. He has held numerous solo and group exhibitions in various Spanish cities, as well as in Lisbon, Geneva, Antwerp, Brussels, Taipei, Chicago, Paris, New York, Zurich, Stockholm and Copenhagen, among others. His awards include the Ynglada-Guillot Drawing Prize (1966), the San Martín Prize (1971) and the Medal of Merit in the Fine Arts (1988). In 1980 he was elected member of the Royal Academy of Fine Arts of San Jorge. He has participated in the main international biennials, such as São Paulo, Venice, Havana, Antwerp, Cairo, Alexandria, Lausanne and Budapest. He is represented at the Centro Reina Sofía, the MACBA Museums in Barcelona, Ibiza, Seville and New York, the Fine Arts Museums of Bilbao, Birmingham, the Vatican, Taipei and Nebraska, the Museo al Aire Libre del Paseo de la Castellana in Madrid, the Petit Palais Museum in Geneva and the Millesgärden in Stockholm, among others.

3000-2700 B.C. A large Bronze Age terracotta bowl with four small ledge handles. 3.5 kg, 34 cm (13 1/4 in). UK gallery, acquired in the 2000s. Property of an English gentleman. [No Reserve] Fine condition.

11th-10th century B.C. A ceramic tripod with the main body decorated with four images of warrior-hunters dressed in long chitons and armed with spears, axes and swords; divided from each other by four sections of double pilasters ornamented with lozenge pattern; the legs, terminating with a stylised lion paw, also decorated with lozenge motifs, the upper part divided in six sections with stylised plants and suns; everted rim fitted with two small handles, each with painted net decoration. Cf. Myres, J., Handbook of the Cesnola collection of Antiquities from Cyprus, New York, 1914, no.513, p.67. 500 grams, 14.5 cm high (5 3/4 in). Acquired on the London art market, 1993. Property of a North London gentle6man. Clay tripods, though not very common in Cyprus, are characteristic of the geometrical art of Greek lands during the early Iron Age, imitating bronze tripods. The lozenge and checker motifs evoke the openwork of bronze furnishings. This tripod, painted with plants, animals, and human figures, illustrates the rude vigour, but also the naïve style of pictorial art in Cyprus during this period. This decoration combines indigenous and Aegean iconography. [A video of this lot is available to view on Timeline Auctions Website] Fine condition.

8th-7th century B.C. A broad conical bronze helmet, hammered from a single metal sheet, the front with a raised abstract linear motif, four circumferential ribs above the brim, the arched ribs on the front with round terminals, flanking a central rib running down from the apex of the helmet with a stylised animal head(?); pierced holes to the sides for fastening a leather lining and cheek-pieces; mounted on a custom-made display stand. Cf. Barnett, R.D., Watson, W., ‘Russian Excavations in Armenia’ in Iraq, vol.14, no.2, Autumn, 1952, pp.132-147, pl.32, no.2; Borchardt, J.,Homerische Helme: Helmenformen der Ág?is in ihren Beziehungen zu orientalischen und europäischen Helmen in der Bronze-und frühen Eisenzeit, Mainz, 1972, pp.103ff.; Born H., Seidl, U., Schutzwaffen aus Assyrien und Urartu, Sammlung Axel Guttmann IV, Mainz, 1995, pp.90, 94, 107ff., pp.174-175, pls.I and IX, X-XI (AG 168, 385); Christie’s, The art of the warfare, the Axel Guttmann collection, Part I, Wednesday 6 November 2002, London, 2002, no.11 p.18; Christie’s, The art of the warfare, the Axel Guttmann collection, Part II, Wednesday 28 April 2004, London, 2004, pp.32-33; Dezs?, T., Near Eastern Helmets of the Iron Age, (British Archaeological Reports,S992), Oxford, 2001; Gorelik, M., Weapons of Ancient East, IV millennium BC-IV century BC, Saint Petersburg (2003) in Russian, pl.LXI, nn.88-89-90; see Christie's, 5 June 2014, lot 54; see also Christie's, 14 April 2011, lot 330. 735 grams, 33.7 cm high (2.6 kg, 54 cm including stand) (21 1/4 in). Acquired before 1972. Formerly with a central London gallery. Property of a London gentleman. Accompanied by an archaeological report by Dr Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11189-186652. Our helmet presents strong similarity with a specimen from Kurdistan, North of Kirmanshah and South of Saqqiz (Borchard, 1972, fig.9, p.107), and could be collocated in the type III of the Urartian helmets according the classification of Borchard. This category is oriented towards the shape of the various Assyrian spiked helmets, and in fact Barrett and Watson classified these helmets as of Assyrian type (Barnett & Watson, 1952, p.143). In the 8th and especially in the 7th century B.C., spheroconical helmets of Assyrian type spread to Urartu and are archaeologically represented by a large quantity of specimens (Gorelik, 2003, Pl. LXI, 77, 85-92). Sometimes they differ from the Assyrian ones having an exaggeratedly long top. [A video of this lot is available to view on Timeline Auctions Website] Fine condition.

10th-8th century B.C. A bronze dirk with broad triangular blade, flanged hilt for the insert of a wood or bone inlay, hilt with expanded guard and crescent-shaped pommel. Cf. Mac Gregor, A., Antiquities from Europe and the Near East in the collection of the Lord MacAlpine of West Green, Ashmolean Museum, 1987, no.17.30; see also Khorasani, M.M., Arms and Armour from Iran. The Bronze Age to the End of the Qajar Period, Tübingen, 2006, item 7. 270 grams, 30.2 cm (11 7/8 in). Earlier 20th century collection. London Mayfair gallery, UK. Dr D.G. collection, 1990s-2019. Accompanied by an old typed catalogue slip. This type of dirk belongs to the type I of Medvedskaya classification (Khorasani, 2002, p.378) and is very common among daggers and dirks attributed to Luristan. According to Moorey, this type was widely used in Western Iran since the 13th century B.C. and remained in use at least until the 9th century B.C. Fine condition.

14th-9th century B.C. A bronze dagger with double-edged blade and pronounced central rib, the hilt ending in a wide crescent-shaped pommel with four grooves on the handle, oval-shaped guard embracing the blade and the central rib. Cf. Khorasani, M.M., Arms and Armour from Iran. The Bronze Age to the End of the Qajar Period, Tübingen, 2006, items 39-43. 496 grams, 40.5 cm (16 in). Earlier 20th century Cologne collection, Germany. London Mayfair gallery, UK. Dr D.G. collection, 1990s-2019. Accompanied by an old typed catalogue slip with provenance. Similar swords were excavated in the royal cemetery of Marlik, and are preserved in the National Museum of Iran, Tehran. They are usually characterised by the separate sets of encircling ribs on the grip. Moorey stated that these dirks were produced in Marlik and exported to Mesopotamia; he dated them back to the second millennium B.C. Fine condition.

3rd millennium B.C. A bronze dagger with leaf-shaped blade, marked narrow central midrib with a separate cast-hilt, gently curved guard and ovoid pommel decorated in relief with bosses and ridged lines. Cf. Khorasani, M.M., Arms and Armour from Iran. The Bronze Age to the End of the Qajar Period, Tübingen, 2006, item 2. 195 grams, 26.7 cm (10 1/2 in). Earlier 20th century collection. London Mayfair gallery, UK. Dr D.G. collection, 1990s-2019. According to Moorey, the technical analysis of one of these daggers revealed arsenic copper-alloy, indication of an earlier date. This is why many scholars date them to 3rd millennium B.C., attributing them to the Elamite or Luristan culture. The cast was made separately from the blade, the two parts were then rivetted together. Fine condition.

Early 2nd millennium B.C. A bronze mace head comprising a long cylindrical shaft with narrow flanged base, the upper section with three vertical relief panels decorated by herringbone pattern, divided and bordered by three parallel ridges, similar band with ridged horizontal grooves around the base. See Godard, A., Les Bronzes du Luristan, Paris, 1931, pl.XIX, no.58, for a similar mace; see also Christie's, The Axel Guttmann Collection of Ancient Arms and Armour, part 1, London, 2002, p.24, nos.18-19; Khorasani, M. M., 'Bronze and iron weapons from Luristan' in Antiguo Oriente: Cuadernos del Centro de Estudios de Historia del Antiguo Oriente, 7, 2009, fig.8. 452 grams, 24 cm (9 1/2 in). Earlier 20th century collection. London Mayfair gallery, UK. Dr D.G. collection, 1990s-2019. This gorz mace belongs to the category of truncheon-shaped mace-heads, a type of mace developed on the Iranian plateau during the Bronze Age, used by Elamite and Luristan warriors since the 3rd millennium B.C. Fine condition.

24th-21st century B.C. and later. A mixed group of Bronze Age artefacts previously on loan to the Museum of Central Lancashire, Preston, UK, displayed to the public until 2021; most accompanied by PAS reports, comprising: a Chalcolithic flat-section tanged copper dagger with roughly triangular-shaped head, bevelled edges and rectangular tang with rounded end; a Chalcolithic oval-shaped riveting tool with plano-convex cross-section, c.2450-2150 B.C.; a possible fish hook composed of a curled, round-section body, one end tapering to a point, the other with a flared and flattened terminal, c.2400-450 B.C.; a Chalcolithic oval-shaped riveting tool with plano-convex cross-section, c.2450-2150 B.C.; a Chalcolithic or early Bronze Age copper 'cake' with an irregular circumference and roughly lentoid cross-section with reddish-brown inclusions; c.2450-2150 B.C.; a wrought copper 'cake' with an irregular circumference and roughly plano-convex cross-section; reddish-brown inclusions, c.2450-2150 B.C.; a group comprising: a bracelet or torc fragment with square-section body; a toggle or clothing fastener with bar and two domed terminals; a possible terret ring; three rings of various sizes and cross-sections; a lozengiform belt fitting composed of four conjoined roundels with central domes, two openwork triangles, attachment lug to reverse, all dated c.1150-300 B.C.; an 'early' Middle Bronze Age looped and socketted spearhead of Group 1 type, composed of a leaf-shaped head with raised mid rib to both faces extending from the round-section socket, with slender loop to either side; clear re-sharpening marks to the edges of the wings, c.1600-1400 B.C. 4.2-275 grams, 40 mm-11.1 cm (1 1/2-4 3/8 in). Found by John Harrison whilst searching with a metal detector on 15 February 2009 in Morecambe Bay, Lancashire, UK. Recorded with the Portable Antiquities Scheme (PAS) and accompanied by PAS report numbers: LANCUM-3BEC10; LANCUM-FD2034; LANCUM-8D57C1; LANCUM-1F3187; LANCUM-0BADC6; LANCUM-93AB32; LANCUM-1E7BE6; LANCUM-8CCE11; LANCUM-8D1241. Accompanied by copies of email correspondence with various experts assessing the attribution of the item. Accompanied by a copy of the museum loan agreement and signed return of loan document (insured for £2,000). Accompanied by a press cutting in which the dagger is reported and photographed, in The Westmorland Gazette, Historian unearths rare 4,500-year-old dagger, 24 September 2009, p.5. Of the tanged dagger, the accompanying PAS report states that this is 'An extremely rare and important' find. 'Most examples occur in early Beaker 'Classic' grave assemblages associated with low-carinated Beakers, wrist guards, etc.The hilt plate would have been of organic material, probably wood, horn or antler.' Other PAS reports delve into greater depth about each individual item. [No Reserve] Fine condition. Extremely rare and important (dagger).

2nd millennium B.C. A bronze dagger with a slender leaf-shaped blade pierced with eight attachment holes for the organic bone or wooden handle. Cf. Sandars, N.K., Bronze Age Cultures in France, the later phases from the thirteenth to the seventh century B.C., Cambridge, 1957, fig.20, p.87. 178 grams, 29 cm (11 1/2 in). Acquired late 19th century. Private collection, Liverpool, UK. Ex Helios Gallery Antiquities, Wiltshire, UK. Accompanied by a Helios Gallery certificate of authenticity. The dagger is typical Northern European type from the 2nd millennium to the 1st millennium B.C. The typology seems possibly related to the French Variant type 3 of the Rixheim bronze age swords, considering the absence of tang and the presence of more than the usual two holes for the fastening of the organic hilt. [No Reserve] Fine condition.

14th-mid 12th century B.C. A substantial bronze palstave axehead from the Manston hoard pit deposit, triangular flanges rise from the butt to the stop bar; a hollow to both faces below the septum; narrow body expanding to a wide triangular blade with slight flare at the tips. See Evans, J., The Ancient Bronze Implements, Weapons and Ornaments of Great Britain and Ireland, London, 1881, pp.76-84 and figs.56-68, for similar types. See Portable Antiquities Scheme, reference PAS KENT-495597, for this find. 447 grams, 17 cm (6 3/4 in). Found near Manston, Kent, UK, 2016. Accompanied by copies of the British Museum PAS report number KENT-495597. Accompanied by Treasure Act documentation under Treasure Reference 2016 T618. A rare opportunity to acquire a scarce type of British Bronze Age axe from a recorded treasure hoard, this specimen being one of the best examples in this Middle Bronze Age hoard from England. At Manston was found a hoard of 10 copper alloy palstave axeheads, in one spot, described as 'one hole' and therefore possibly a pit deposit. A similar hoard of palstaves was also found in the immediate vicinity by the same finder at a later date, see PAS KENT-593613. Fine condition.

14th-12th century B.C. A bronze axehead with raised sides on both faces to receive a handle, D-shaped cutting edge and rectangular butt. Cf. similar specimens in Kostrzewski, J., The Prehistory of Polish Pomerania, Torun, 1936, fig. 13, p.37; Novotna, M., Die Äxte und Beile in der Slowakei, Prähistorische Bronzefunde, Abteilung IX, Bd.3, Munich, 1970, pl.47. 491 grams, 17 cm (6 3/4 in). Private collection, 1950s. Ex Gorny and Mosch, Munich, Germany, 18 December 2009, lot 463 (Part). The Lusatian Culture (1300–500 BC) is a Late Bronze Age culture, located in the geographic areas of Eastern Germany (Saxony and Brandenburg), Slovakia and Poland and the Baltic countries, and characterised by cremation burials. The dead were buried with their personal equipment. Men were provided with weapons (comprising sword, dagger, axe and spearhead) and ornaments (usually a pin or bracelet). Very fine condition.

14th-12th century B.C. A bronze axehead with raised sides on both faces to receive a handle, D-shaped cutting edge and rectangular butt. Cf. similar specimens in Kostrzewski, J., The Prehistory of Polish Pomerania, Torun, 1936, fig. 13, p.37; Novotna, M., Die Äxte und Beile in der Slowakei, Prähistorische Bronzefunde, Abteilung IX, Bd.3, Munich, 1970, pl.47. 487 grams, 16.7 cm (6 1/2 in). Private collection, 1950s. Ex Gorny and Mosch, Munich, Germany, 18 December 2009, lot 463 (Part). The Lusatian Culture (1300–500 BC) is a Late Bronze Age culture, located in the geographic areas of Eastern Germany (Saxony and Brandenburg), Slovakia and Poland and the Baltic countries, and characterised by cremation burials. The dead were buried with their personal equipment. Men were provided with weapons (comprising sword, dagger, axe and spearhead) and ornaments (usually a pin or bracelet). Very fine condition.

14th-12th century B.C. A bronze axehead with raised sides on both faces to receive a handle, D-shaped cutting edge and rectangular butt with rectangular indentation. Cf. similar specimens in Kostrzewski, J., The Prehistory of Polish Pomerania, Torun, 1936, fig.13, p.37; Novotna, M., Die Äxte und Beile in der Slowakei, Prähistorische Bronzefunde, Abteilung IX, Bd.3, Munich, 1970, pl.47. 517 grams, 16.8 cm (6 5/8 in). Private collection, 1950s. Ex Gorny and Mosch, Munich, Germany, 18 December 2009, lot 463 (Part). The Lusatian Culture (1300–500 B.C.) is a Late Bronze Age culture, located in the geographic areas of Eastern Germany (Saxony and Brandenburg), Slovakia and Poland and the Baltic countries, and characterised by cremation burials. The dead were buried with their personal equipment. Men were provided with weapons (comprising sword, dagger, axe and spearhead) and ornaments (usually a pin or bracelet). Very fine condition.

7th-6th century B.C. A cross-shaped bronze quiver cover with schematic bird heads at the ends; three figures of contorted beasts worked in relief and another one within a circle at the centre, a band of triangles at the base. Cf. Artamanov, M.I., Treasures from the Scythian Tombs, London, 1969, fig.34, from Olbia; Polidovych, Yu. B., ‘Scythian cross-shaped pendants’ in Russian, in ??????????, 1, 2000, pp.35-48; Hellmuth, A., ‘Zur Datierung der kreuzförmigen Goryt und Bogen-taschenbeschläge’, in Prähistorische Zeitschrift, 82, 2007, pp.66-84; Patay, R., Scholtz, R., Scard, A., ‘Scythian Age quiver mount from the outskirts of Gyömr? (Hungary)’ in Studia Historica Nitriensia, Supplementum, Nitra, 2017, pp.469-480, pl.II. 114 grams, 11.3 cm high (4 1/2 in). German art market, 1990s. Mr A.H., a North American collector living in the UK. Accompanied by an archaeological report by Dr Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11231-189037. The Scythians typically employed representations of eagles or lions as decorative motifs on their military items. In the Eurasian Steppes, stories of bird wives have been recorded, and many shamans identified themselves strongly with birds. Their relations with bird spirits were often conceived as a love affair of sorts. These cruciform plaques, used most probably for quiver attachments, could be regarded as typical objects of the Olbian manufacture. However, this kind of quiver attachments were found in various Scythian barrows, in Hungary, Romania, and other Caucasian and East-European regions. In particular the most comparable specimen with our plaque is a plate from Arma?oaia (Romania). [A video of this lot is available to view on Timeline Auctions Website] Very fine condition.

Great Britain team blazer worn by the ice hockey captain Blaine Nathaniel Sexton at the first Winter Olympic Games at Chamonix in 1924,navy single breast blazer with embroidered Great Britain flag and C.O.F. VII OLYMPIADE CHAMONIX 1924 on the breast pocket, blazer bears wear throughoutBlaine Nathaniel Sexton was born in 1892 and raised in Windsor Nova Scotia. He attended King's College school where the sport of ice hockey originated. He played for the college team and later for Windsor's noted senior team the Swastikas. Then came the Great War. He joined the Canadian Army and was posted to England in 1916 as an infantry officer. Twice wounded on active service in France , he transferred to the cavalry and went on to become the army sabre champion. He returned to England after 2 years living in Canada and founded a canned food brokerage business in London. Being qualified by British residence , he was selected to play defence for the Great Britain team that competed in 1924 Winter Olympics winning a bronze medal. Amongst his personal highlights was a hat trickscored in a 19-3 demolition of Belgium. In the Autumn of 1924 he founded the London Lions and took the team on many tours of Europe. They contested the final of 1924/25 Coupe de Davos and the quarter finals of the Spengler Cup. The Lions won the 1st ever play offs for the British League title.in May 1930 with Sexton scoring in a 2-1 win over Glasgow and winning the Patton Cup. He was subsequently selected to represent Great Britain in the inaugural World Championships in 1930. His last international appearance was in January 1932 and he retired from playing at the age of 40 at the end of the 1932-33 season. He became a member of the British Ice Hockey Hall of Fame in 1950 and died on 29th April 1966. He was made a member of the Birthplace of Hockey Hall of Fame in Windsor Nova Scotia in 1993.

British Iron Age, CANTIACI, Early Uninscribed series, bronze Unit, Boar and Lion type, chubby boar left, ringed pellets below, rev. lion right, 2.35g/7h (ABC 267; S 176). Very fine, green patina £90-£120

METALLGIESSER 19./20. Jh., Replik des "Bamberger Reiters", Metallguss, in Bronzeart patiniert, H: ca. 32 cm. Altersspuren, Zügel beschädigt, ein Bein restauriert. | METAL FOUNDERS 19./20. Century, replica of the "Bamberger Reiter", cast metal, patinated in bronze, H: approx. 32 cm. Signs of age, reins damaged, one leg restored.

METALLGIESSER 19./20. Jh., "Eva" nach Renaissance-Vorbild, Metallguss, in Bronzeart brüniert, vollplastische Figur der stehenden Eva, in beiden Händen je einen Apfel haltend, auf Landschaftsplinthe, auf dunkel marmoriertem Steinsockel verschraubt (erwas locker), H: Figur ca. 34 cm, gesamt 35,5 cm. Alters- und Beriebspuren.| METAL FOUNDERS 19./20. Century, "Eva" based on a Renaissance model, cast metal, burnished in bronze, fully plastic figure of standing Eva, holding an apple in both hands, on a landscape plinth, screwed to a dark marbled stone base (somewhat loose), H: figure approx. 34 cm, total 35.5 cm. Signs of age and rubbing.

A miscellany comprising; a green marble gilt ormolu cherub urn 32cm h, a black marble inkstand, a pair of 20thC bronze cherubs on marble bases, 4 x cut glass decanters and 3 x cut glass jugs.Condition ReportCut glass in good condition. One marble base a/f. Others in good condition commensurate with age.

Chinese Qing dynasty bronze elephant censer, of tripod form, the lobed body cast as the heads of three elephants with floral trappings, upon three legs modelled as elephant feet, H12cm rim D9.5cmCondition Report:General wear commensurate with age and use, including scratches, nicks, small knocks and wear to patina.

A 19th Italian Grand Tour bronze and marble figurine depicting the Venus De Milo. The bronze figure modelled on a black and red marble multi section pedestal base united by old screw thread. Some wear and minor chips to the marble commensurate with age - overall good condition. Measures approx; 19cm tall.

Pendule "au matelot"Feuervergoldete und brünierte Bronze, Draht, farbiges Glas (Augen), weißes Emailzifferblatt. Das Uhrwerk mit 14 Tage Laufzeit, Federaufhängung des Pendels und Halbstundenschlag auf Glocke. Vollplastische Matrose mit Pfeife und Tau in den Händen, auf einen großen Warenballen gestützt stehend, auf der anderen Seite daneben Fass, Ruder und Anker. Chips am Email der Aufzugslöcher. H 37, B 30,3, T 11,2 cm.Paris, Anfang 19. Jh., das Modell Claude Galle, zugeschrieben (1758 - 1815).ProvenienzBelgische Privatsammlung.LiteraturEin bis auf die Zeiger identisches Exemplar bei Vgl. Ottomeyer/Pröschel, Vergoldete Bronzen, Bd. I, München 1986, Abb. 5.15.26.S.a. Kjellberg, Encyclopédie de la pendule française du Moyen Age au XXe siècle, Paris 1997, S. 343.

Pendule "à la bacchante allongée"Feuervergoldete und brünierte Bronze, schwarzer, weiß geäderter Marmor, weißes Emailzifferblatt. Unten abgeflachtes Pendulenwerk mit 14 Tage Laufzeit, Federaufhängung des Pendels und Halbstundenschlag auf Glocke. Auf einer Recamière ausgestreckt liegende Frauenfigur, in beiden Händen eine große Traubendolde haltend, um den Kopf ein Kranz aus Weinlaub, zu ihren Füßen ein Tamburin und zwei Schenkkannen. Das Möbel auf doppelten Bocksbeinen unter Maskarons, dreiseitig belegt mit Applikationen: Tuchdraperien, Pantern, Ziegenbock, Musikinstrumente und eine Tänzerin Zifferblatt signiert "Le Sieur à Paris". Chips an den Marmorkanten, die Bronze etwas fleckig. H 52,5, B 48,3, T 17,4 cm.Paris, Anfang 19. Jh., das Modell Pierre-Philippe Thomire (1751 - 1843), zugeschrieben.LiteraturDas Original in der Sammlung des Louvre bei Ottomeyer/Pröschel, Vergoldete Bronzen, Bd. I, München 1986, Abb. 5.11.19, die Autoren verweisen auf eine Thomire signierte Ausführung. Ein identisches Exemplar, allerdings mit Uhrwerk von Vaillant bei Kjellberg, Encyclopédie de la pendule française du Moyen Age au XXe siècle, Paris 1997, S. 402.Der Uhrmacher bei Tardy, Dictionnaire des horlogers français, Paris 3/1972, S. 411, mit Adresse Vieille rue du Temple, ab 1812 Rue de la Verrerie.

Große Empire-Pendule "Genius inspiriert von Minerva"Feuervergoldete und brünierte Bronze, weißes Email, gebläute Stahlzeiger, gewölbtes Glas, Rouge de Roi-Marmor. Das Uhrwerk mit 14 Tage Laufzeit, Federaufhängung des Pendels und Halbstundenschlag auf Glocke. Vollplastischer geflügelter Mann neben einem Postament mit der behelmten Büste der Minerva. Auf den oberen Ecken des Postaments Löwenkopfmaskarons, unter dem Zifferblatt eine Eule auf einem Zweig, auf beiden Seiten applizierte geflügelte Lanzen. Auf dem Zifferblatt signiert "à Paris". H 74,5, B 56, T 22 cm.Paris, um 1810, die Bronze Claude François Rabiat, zugeschrieben.Man kann nur vermuten, dass die gewaltige allegorische Pendule für einen königlichen oder fürstlichen Auftrag angefertigt wurde. Sie steht den skulpturalen Uhren von Pierre-Philippe Thomire nahe, die aufgrund der signierten Vorzeichnungen zuzuschreiben sind. Auch seine späten Empire-Entwürfe kennzeichnen sich häufig durch die vollplastischen, separat gegossenen Großfiguren, die in antikischer Statik neben den Uhrkasten platziert sind. Das Bildprogramm spricht schon für die Spätphase des Klassizismus, der bereits von einem romantischen Aspekt durchdrungen ist: Aus dem Kopf des Genius, dargestellt als geflügelter junger Mann, erwächst durch das Abzeichnen des Minervakopfes die Flamme der Inspiration.Claude François Rabiat (1756 - 1815) war ab 1769 Schüler von Etienne Vignerelle. Er erwarb im März 1778 seinen Meistertitel als "Vergolder auf Metallen". Er betrieb in der Adresse 41, rue Beaubourg, eine große Werkstatt, die ausschließlich Händler wie André Coquille und Thémet belieferte, Uhrmacher wie Bailly, Mallet, Lépine und Lesieur und eben auch Bronziers wie Thomire, Feuchère und Claude Galle. Er arbeitete auch für das kaiserliche Möbeldepot. Nach seinem Tod behielten seine drei Söhne die Familienwerkstatt unter dem Firmennamen "Rabiat frères" bis sie nach 1819 ihre Tätigkeit selbständig fortsetzten.ProvenienzPariser Sammlung.Potsdamer Privatsammlung.LiteraturVgl. Ottomeyer/Pröschel, Vergoldete Bronzen, Bd. I, München 1986, Abb. 5.5.7. ff.S.a. Kjellberg, Encyclopédie de la pendule française du Moyen Age au XXe siècle, Paris 1997, S. 410.

A collection of 19th Century Indian Hindu bronze female musician figures. The band playing an assortment of instruments all standing atop lotus pedestals. Each lady with their hair in a bun, bindi to forehead, traditional jewellery & typical robes. Condition; all with wear & tarnishing commensurate with age. Measure approx; 10cm x 4cm.

 A 19th Century Indian Hindu Krishna & winged Hanuman bronze double figure. The Deity & God stood back to back as one both wearing traditional headdress & robes with hands held together at their waists. Stood a top a canted edged raised stand in white metal. Condition; wear commensurate with age. No signs of damage. Measures approx; 17cm x 9cm.

A Pre Columbian bronze figure on slate square base. The figure depicted nude with horns / animal like ears & one hand to their chest stands upright on short fawn like legs. Condition; general age related tarnishing & glue to base. Measures approx; 10cm x 10cm (with base). 8cm x 3cm (without base).

A 19th Century Japanese / Oriental bronze depicting a bird & turtle. The crane standing atop the turtle's shell is associated with longevity and prosperity. Condition; age related wear to be expected with signs of repair to the cranes legs. Measures approx; 23cm x 11cm.

An 18th Century Chinese / Oriental bronze Lohan Buddhist figure. The emaciated disciple of Buddha depicted standing with shaven head in typical robes carrying various commodities with the aid of a cobra walking stick. Raised on a cylindrical lotus type base. Condition; age related wear & tarnishing to be expected but no signs of major damage or repair. Measures approx; 19cm x 6cm.

An early 20th Century Indian Hindu bronze Kali figure. The Goddess of time, change, creation, destruction & power is depicted in her typical form. Her four arms carrying various objects such as a sword & bowl, around her waist a garland of severed hands is worn whilst standing atop her victim. Raised on a rectangular bronze base. Condition; age related wear & tarnishing to be expected but no signs of major damage or repair. Measures approx; 12cm x 11cm.

A couple of early 20th Century Thai / Oriental thepphanom bronze standing figures. The pair, one male & one female in traditional ornate costume with mythical tails & legs depicted in the Anjali Mudra / prayer pose atop cylindrical lotus bases. Condition; age related wear & tarnishing to be expected but no signs of major damage or repair. Measure approx; 37cm x 9cm.

A 19th Century bronze Thai / Oriental three headed figure. The man dressed in typical thai headdress, jewellery & robes is stood with hands in the vitarka mudra position & possessed three heads & raised on a rectangular plinth. The first front facing head of human form with the two either side having animalistic features. Condition; age related wear & tarnishing to be expected but no signs of major damage or repair. Measures approx; 25cm x 10cm.

A 19th Century bronze Tibetan / Oriental dipankara Buddha head. Depicted with a peaceful expression & adorned with an elaborate headdress / crown inlaid with stones (possibly turquoise & coral). Condition; age related wear & tarnishing to be expected but no signs repair however a few stones missing from original settings. Measures approx; 23cm x 18cm.

An early 20th Century large bronze stone look Khmer / Oriental figure. The male figure arm & footless is depicted with traditional headdress & robes with a neutral expression. Standing straight on raised on a rectangular ebonised base. Condition; age related wear & tarnishing to be expected but no signs of major damage or repair. Measures approx; 46cm x 15cm.

An early 19th Century bronze figure depicting Nataraja, Hindu god Shiva, performing the tandava natyam dance, trampling Apasmara (the dwarf of ignorance).The figure standing on one leg with four arms holding sacred objects in the abhaya mudra pose raised on stepped lotus base. Condition; age related wear & tarnishing to be expected but no signs of major damage or repair. Measures approx; 18cm x 6cm.

An early 20th Century bronze Oriental figure. The musician atop a lotus pedestal is depicted standing with legs crossed leant to one side with hands positioned to play a flute type instrument. Wearing ornate traditional headdress, jewellery & attire with a floral halo behind their head. Condition; age related wear & tarnishing to be expected. no signs of major repair however missing their instrument. Measures approx; 16cm x 5cm.

An early 19th Century bronze figure depicting Nataraja, Hindu god Shiva, performing the tandava natyam dance, trampling Apasmara (the dwarf of ignorance).The figure standing on one leg with four arms holding sacred objects in a ring of fire raised on stepped lotus base. Condition; age related wear & tarnishing to be expected but no signs of major damage or repair. Measures approx; 21cm x 20cm.

A 19th Century Chinese / Oriental hollow bronze bust of Guan Yin / elder. Depicted from the shoulders up with her hair in a top bun and side tresses, her face in a peaceful resting position & eyes lowered. Condition; no major signs of damage / repair. Some age related ware & tarnishing to be expected. Measures approx; 22cm x 10cm.

A inlaid stone ritual stick, 17.2cm long; a small silver snuff bottle, 6.2cm high; a circular guangxu gilt metal container in the design of a pocket watch, 5.5cm diameter; a small bronze lion pin, 3.2cm long; a small boxwood mythical beast, 2cm high; and a small embroidered dragon patch, 9.5cm square and an Indian bronze figure, 15.5cm high (7)银鼻烟壶等一组七件Condition Report: the silver snuff bottle with bent neck and general wearthe gilt metal container with small soldered repair to topother items with some overall wear commensurate with age Condition Report Disclaimer

Three South Indian bronze figures of Hindu deities, Tamil Nadu, 18th-19th centuries, two depicting Sri Devi, the third Vishnu, each standing on lotus base on square platform, with tall cylindrical headdress surmounted by bud finial, 11.5cm, 9.5cm and 6.5cm high (3)  Provenance: Private collection formed largely in the 1980's and 1990's.   Condition Report: Some wear and knocks commensurate with age Condition Report Disclaimer

A Japanese Cast Iron Tetsubin, of tapering cylindrical form with short spout and overhead handle, decorated in high relief to one side with a figure pulling down a pine tree, the reverse with a calligraphic inscription, the handle with floral sprigs in gold and silver nunome, with typical mottled bronze cover signed Ryubundo, height 23.4cms, 19th Century; A Sentoku Tsuba in the form of a rain dragon; and an Obidome (3)Condition Report: Wear commensurate with age. Typical rusting to interiorTsuba with verdigrisCondition Report Disclaimer

AN EARLY TO MIDDLE BRONZE AGE FLANGED AXE. An Early to Middle Bronze Age Copper-Alloy Flanged Axe, c.2000-1500 B.C. The cast and worked axe formed flat, trapezoidal in shape and with a tapered and rounded butt and flared crescent blade, lateral flanges running from the butt to the under-curve of the blade. Green patina, some small chips and wear to the blade. PAS Record ID: DOR-28154A. 131g, 96mm long, blade 44mm wide. Provenance: Clive Smith Collection. Found Rampisham, West Dorset.

A MIDDLE BRONZE AGE PALSTAVE AXE. Middle Bronze Age Copper-Alloy Palstave Axe, c.1500-1300 B.C. The cast axe with a tapered butt and a slightly crescent blade, lateral flanges running from the concave middle section to the butt. Green patina, some small chips and wear, overall sound and of good discernible shape, preserved in the past with raised surface residue and mottled colourings. 139g, 105mm long, blade 33mm wide.

Omega- a 9ct gold ladies wristwatch, comprising a round bronze tone dial with applied baton markers, case approx 22mm, tigers eye quartz crown, quartz movement, to a leather strap with logo to clasp, total gross weight approx 15gms in original case Further details: dial patchy discoloured, movement untested, wear and tear commensurate with age