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Bronze Age, a terracotta Shallow Dish, 10.2cm diameter by 2.5cm high, light brown with minute glassy inclusions. Intact with an undamaged rim £60-£80 --- Provenance: Acquired from a UK collection in the 1990s

British Iron Age, Catuvellauni, Dias?, bronze Unit, stylised head right, rev. figure seated left on ornate chair, standard behind, 1.95g (ABC 2751; BMC 1739; S 251). Reverse struck off-centre, otherwise very fine, attractive green patina £80-£100

A Chinese bronze censer of squat form with twin rope twist style handles, the base impressed with a dragon motif and on three legs, a six-character mark panel to the rim, diameter 11cm, height excluding handles 7cm. CONDITION REPORT Scratches, bumps and signs of wear. some age related wear to the interior, some wear to the base of three supports, no misshaping, cracks etc, no obvious repair or restoration

3rd-5th century AD. A bronze mount formed as a standing male and a female, each with one hand extended across the body touching the other's genitals; hollow to the reverse. Cf. Oldtidens A., Det kongelige Nordiske Oldskiftselska og Jysk Arkaeologist Selskab, 1990, p.134 and 138, for the gesture and design. 10 grams, 45mm (1 3/4"). From a central London collection; previously in a European collection formed 1979-1989. A parallel to the style and pose of this 'couple' can be seen on several small bronzes inspired by Roman statuettes representing gods. However, similar bronze statues were already known in Scandinavia since the Bronze Age and were most likely of ritual significance. The specific crossed hand on a chest is a puzzling symbol, possibly symbolising a gesture of a specific god, ritual act or blessing. Another similarity can be observed on rock art in Scandinavia, especially the image of a 'divine couple', a strong motif known from the late Iron Age depicted on many golden sheets called guldgubbers. Several scholars argue that this image represents the marriage of god Freyr and giantess Gerd; however, it may also represent a union of Freyr with his sister Freya. From later sources, it is known that the Vanir, an ancient race of gods, had a custom to marry or have intercourse with their siblings. Njord, the father of Freyr and Freya, was from this tribe, and sources suggest that they were conceived with his sister-wife. She might have been the mysterious Suebi goddess Nerthus, which the Roman historian Tacitus wrote about in Germania. Her statue was kept in a sacred grove on an unknown island, drawn in a holy cart and only priests could touch her. Everywhere the goddess came she was met with celebrations of peace and hospitality. After she returned to the temple, everything was washed by slaves, who were drowned shortly after. Her connection with fertility, peace, and water, definitely points to the Vanir race; and she shares several similarities with the later worshipping of Freyr. This mount probably represents either Njord and Nerthus, or Freyr and Freya, and may have been used as a votive offering or worn as an amulet to invoke the fertile powers of those gods. [No Reserve] Fine condition.

Tang Dynasty, 618-907 AD. A ceramic horse modelled in the round prancing on a rectangular base, right leg raised, moulded saddle, cropped and dressed mane and tail, naturalistic detailing to the head; remains of painted pigmentation. Cf. The British Museum, museum number 1924,1112.1, for similar. 4.3 kg, 40cm (13 3/4"). Ex West Country collection, Bath, Somerset, UK, 1970-2000s; accompanied by a positive thermoluminescence analysis report, sample no. C118g96, from Oxford Authentication; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10943-181604. For centuries in China, geopolitical realities made horses 'the foundation of military might, the great resource of the state.' The Chinese used horses to pull war chariots from the Shang dynasty (c.1600 BC) onwards, and deployed mounted riders against their enemies from the 4th century BC onwards. Placing representations of horses in tombs was a practice in China from the Bronze Age, with ceramic figures being the most frequently discovered burial artefacts between the Han and Tang periods, with carvings and paintings appearing on the spirit roads leading to imperial tombs and in tomb murals, with some even capturing the likeness of specific animals when they were alive, creating a symbolic equality between rulers and their horses. Tang representations of horses symbolised the military prowess of the dynasty and the power and status of the owner of the equine figure. Riding itself was a privilege- an imperial edict issued in 667 AD, prohibited artisans and tradesmen from riding horses, whilst the aristocracy rode to hunt, for sport and for pleasure. [A video of this lot is available to view on Timeline Auctions Website] Finely modelled.

2nd-3rd century AD. A bronze statuette of Ceres (Greek Demeter), the goddess of agriculture and fertility, depicted standing and wearing a long sleeveless Ionic chiton with himation around the head, fastened on the left side of the body; wearing a tutulus on her head, the right arm raised to hold a staff, the left arm covered by a mantle, the left hand probably originally held a sheaf of wheat, sandalled feet partially visible; finely modelled face; mounted on a custom-made display stand. See Daremberg & Saglio, Dictionnaire des Antiquités Grecques et Romaines, Paris, 1873-1917, sub voce Ceres; see for a similar Roman statuette Reinach, S., Repertoire de la statuarie grecque et romaine, Paris, 1930, p.242, no.7, 243 no.1; for discussion on the use of such statues as Lares see Sharpe, H.F., ‘Bronze Statuettes from the Athenian Agora: Evidence for Domestic Cults in Roman Greece,’ in Hesperia: The Journal of the American School of Classical Studies at Athens, Vol. 83, no.1, January-March 2014, pp.143-187. 535 grams total, 20cm including stand (8"). From the collection of a Kensington gentleman; previously in the Weber collection, 1980s; accompanied by an academic report by Dr Raffaele D’Amato and a positive metal test from an Oxford specialist; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10743-177409. The Roman household shrine, or lararium, receives its name from the lares, the guardian spirits of the house and household, who were frequently displayed in the shrine as paintings or sculptures, in every part of the Empire. Studies of bronze statuettes found in Roman provinces have shown how regional variations of lararia figures reflected the mixed religious beliefs of the inhabitants. Domestic shrines with cult imagery comprising similar small statuettes have been found on the island of Kos, inside Roman-era age houses, where groups of statuettes included Aphrodite, Eros, Athena, Asklepios, Tyche, and Cybele. [A video of this lot is available to view on Timeline Auctions Website] Fine condition.

Mid 16th-mid 13th century BC. A bronze axehead comprising a tubular socket with external facets, a slender, curved blade with rounded cutting edge, spike to the rear with broad disc; mounted on a custom-made stand. See Cleveland Museum of Art, Bronze Age Battle Axe from Hungary, Purchase from the J. H. Wade Fund 1988.3, for a comparable example. 519 grams total, 27cm including stand (10 1/2"). Property of a private New York collection, acquired from a Swiss gallery; ex Swiss private collection, acquired on the Swiss art market, 1990; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10658-174368. [A video of this lot is available to view on Timeline Auctions Website] Very fine condition.

11th century AD. A gilt-bronze Ringerike style 'Great Beast' finial for a Viking long-ship weather vane or other similar nautical piece of equipment, formed in the round as a standing quadruped with scrolls to the hips and shoulders, raised head with eye; rivetted at the feet for attachment to a rectangular plate now detached, the plate with eight rivet spikes for attachment to the underside. For ship-vanes of Ringerike style see Graham-Campbell, J., Viking Art, London, 2013, items 138-140; for a discussion of Viking-period weather vanes and their re-use as badges of nobility in Normandy, see Engström, J. & Nykänen, P., New Interpretations of Viking Age Weathervanes, in Fornvännen, vol.91, 1996; Lindgrén, S., Viking Weather-Vane Practices in Medieval France in Fornvännen, vol.91, 1996 and Lindgrén, S., Viking Weather-Vane Practices in Medieval France in Fornvännen, vol.78, 1983. 138 grams total, 93mm (3 3/4"). From a central London, Westminster, collection; previously in a private collection formed in Europe in the 1980s; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10983-181153. The navigation techniques in use in Iron Age Northern Europe were very sophisticated, as would be expected from people bordering the Baltic, North Sea and North Atlantic where boat- and ship-building traditions have been perfected over more than a thousand years. A carved wooden panel from Bergen, Norway, shows a number of Viking longships at sea, some with weathervanes mounted on the stempost. They are mounted vertically with the beast on the outer end. Gilded bronze weathervanes appear on the roofs of medieval churches in Sweden, Norway and Finland where they are often regarded as ornamental: symbols of access to resources and craftsmanship for the important families who endowed such buildings. These weathervanes in many cases originally adorned ships and were used as part of the navigational equipment. They may have inspired the medieval Norman custom of attaching a gilded weathervane or cock to church roofs, which eventually spread to secular buildings such as castles in France and Italy where their use was restricted to certain ranks of nobility (Lindgrén, 1983"). Weathervanes were used for determining the strength and direction of the wind, in conjunction with the sólarsteinn (sunstone) Icelandic feldspar which polarises sunlight and allows the sun's position to be determined in overcast conditions. A wooden bearing-dial fragment was found in Greenland - a destination colonised by Icelanders in the 11th century - with the 'horizon' divided into 32 sectors. This would give an accuracy of about 11 degrees per sector, which would make landfall using latitude sailing a straightforward matter. Engström & Nykänen (1996) suggested that the vanes were decorated with holes or markers on the outer edge which enabled the helmsman to make an assessment of the sun's height from the position and length of the shadow, and thus to work out his position by rule of thumb. These holes may have been used to attach streamers as a visual aid. The ships equipped with these weathervanes may have been the 'flagships' of their fleets, taking the lead in navigation and in manoeuvring. The dragon on the weathervane may thus have signified the position of the fleet's leader, and may even have given rise to the name drakka (dragon) for the largest type of Viking period ship. Fine condition.

A large Art Deco style centrepiece female figure with Borzois, onyx base signed Uriano. Height 57 cm, length 83 cm, depth 16 cm. CONDITION REPORT: The material for the figure is cast and patinated metal with the appearance of bronze, our instinct is to say bronzed however there is a possibility it could be patinated brass. The figures head and hands appear to be ivorine, moulded ivorine, and have some age staining and some cracking. The head has been re-attached with glue, the central figure has some wear and tarnishing to the finish, the dogs have some wear and scratching and oxidation but generally are in good condition. The onyx base has some minor cracking, edge knocks and small losses but overall in good condition. The onyx base again is signed Uriano to the rear right hand corner.

An antique bronze figure of a middle eastern tradesman cold painted stamped for Franz Bergman in good condition,  some age related paint loss, no damage or repiar, slight bend to base of staff, around early 20th century.

After A Mercie, a bronze Classical sculpture of David with sword standing on the head of Goliath, from the F Barbedienne foundry, height 29insCondition report - age not specified, bears a Curiosa Antiques label to the base, has seam marks to each bicep also to the top of the scabbard - may have been in construction or repair, depth of colour quite thin.

A large and impressive Warwick style bronze vase/jardiniere, of oval form with removable brass liner, the gadrooned rim over a high-relief patinated bronze frieze depicting Classical figures, the twin handles formed as pipe-playing children, on a stepped oval base, 39 cm high x 43 cm wide.Condition report: Good overal condition with no apparent damage or repair. Some signs of use, with surface marks commensurate with age.

A Chinese bronze censer, Qing, 19th century, with loop handles above a slightly compressed body on three short feet, poorly cast Xuande mark, 635g, internal diameter 10.5cm, 6.5cm high excluding handles,Condition report: Some dents to outer side, as shown in images. No major damage or repairs. General surface wear throughout commensurate with age and use.

A LEAD PLAQUETTE OF CHRIST BEFORE PILATE, VALERIO BELLI (C.1468-1546), 16TH CENTURY trapezoidal, Christ surrounded by soldiers and disciples brought before Pilate sitting on a dais and washing his hands, signed to the side of the platform "VALERIVS BELLV VICETINVS FA", a classical colonnade in the background, pierced 6.5 x 9.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. *See lot 309 for Introduction to the Bernard Kelly Collection and Selected Bibliography* This scene is one of a series of similarly shaped Belli plaquettes of The Passion of Christ. Bange 766; Kress 14; Belli 56 LOTS 309 - 490: THE BERNARD KELLY COLLECTION OF PLAQUETTES TO BE SOLD WITHOUT RESERVE, PART PROCEEDS TO BENEFIT WESTMINSTER ABBEY Every so often, if increasingly rarely these days, a collection emerges onto the market that takes you back to another age. The interesting and varied collection of Renaissance and later plaquettes being offered here is therefore a major event. Although some have a more recent provenance, notably from Sylvia Phyllis Adams, whose collection was sold at Bonham"s in 1995, the nucleus of the collection on offer represents the private collection formed by the dealer Alfred Spero, mainly between 1911 and 1936. Spero began trading in London around the beginning of the twentieth century and his career, which lasted into the 1960s, bridged the late Victorian art world and the modern post-War market. Although today a largely forgotten figure, a glance at almost any marked-up catalogue of European sculpture and decorative arts sales in London from the 1920s to the 1960s will reveal Alfred Spero as one of the most active and consistent presences at the auction. Spero was able to benefit from the abundance of Renaissance small bronze sculptures, maiolica, glass and, of course, plaquettes and medals, that were then available on the market during what, for collectors and museums, must have been a golden age of opportunity. Alfred Spero"s own collection of plaquettes contained works stated to have come from some of the great collections of the nineteenth and early twentieth century, Adalbert von Lanna, whose vast collections were sold in Prague in 1911, J.E. Taylor, sold at Christie"s in 1912 and the banker Henry Oppenheimer, a series of sales in 1936, again at Christie"s. There are also plaquettes formerly belonging to two supporters of great museums, Thomas Whitcombe Greene, who gave many of his plaquettes to the British Museum in 1915, and Dr W.L. Hildburgh (1876-1955), one of the Victoria & Albert Museum"s greatest benefactors. Alfred Spero also had a close relationship with the V&A, which as a museum must have been close to his heart. He made a number of gifts to the museum and also sold it various bronzes and other works of art. Purchases and gifts from Spero helped the V&A build its preeminent collection of European Baroque ivories, whilst in 1964 the museum bought from him a masterpiece of Renaissance bronze sculpture, the exquisite figure of Venus removing a thorn from her foot of c. 1560-70 by the French sculptor Ponce Jacquiot. Small-scale, usually single-sided cast metal reliefs, plaquettes began to be made from the mid-fifteenth century and flourished in their purest form only for a limited period of around one hundred years, although they continued to be made into the seventeenth century and beyond. Their subject matter is varied, from designs after the antique to mythological and religious scenes, whilst some plaquettes are important records of designs originally made in precious metal, which have otherwise disappeared. When Alfred Spero began his professional career, plaquettes were eagerly collected and studied, but they have since become a somewhat unjustly neglected art form. At their best, plaquettes are extraordinarily inventive and beautiful works of art, which in their choice and treatment of subject matter are truly emblematic of the Renaissance rebirth of the arts. Dr Jeremy Warren, FSA Honorary Curator of Sculpture, Ashmolean Museum, Oxford Selected Bibliography * Attwood - Philip Attwood, "Italian Medals c. 1530-1600 in British Public Collections", 2 vols., London 2003 * Bange - E.F. Bange, "Staatliche Museen zu Berlin. Die italienischen Bronzen der Renaissance und des Barock. II: Reliefs und Plaketten", Berlin 1922 * Belli - Howard Burns, Marco Collareta and Davide Gasparotto, eds., "Valerio Belli Vicentino 1468c.-1546", Vicenza 2000 * Bernardi 1989 - Valentino Donati, "Pietre Dure e Medaglie del Rinascimento. Giovanni da Castel Bolognese", Ferrara 1989 * Bernardi 2011 - Valentino Donato, "L"Opera del Giovanni Bernardi da Castel Bolognese nel Rinascimento", Faenza 2011 * Bowdoin - Andrea S. Norris and Ingrid Weber, "Medals and Plaquettes from the Molinari Collection at Bowdoin College", Brunswick, Maine 1976 *Jones - Mark Jones, "A Catalogue of the French Medals in the British Museum. II. 1600-1672", London 1988 *Kress - John Pope-Hennessy, "Renaissance Bronzes from the Samuel H. Kress Collection: Reliefs, Plaquettes, Statuettes, Utensils and Mortars", London 1965 *Molinier - Émile Molinier, "Les Bronzes de la Renaissance. Les Plaquettes. Catalogue Raisonné", 2 vols., Paris 1886 *Norris/Weber - A.S. Norris and I. Weber, "Medals and Plaquettes from the Molinari Collection at Bowdoin College", Brunswick, ME 1976 *Planiscig - Leo Planiscig, "Kunsthistorisches Museum Wien: Die Estensische Kunstsammlung, I: Skulpturen und Plastiken des Mittelalters und der Reanaissance", Vienna 1919 *Scaglia - Francesco Rossi, "La Collezione Mario Scaglia. Placchette", 3 vols., Bergamo 2011 *Toderi Vannel - Giuseppe Toderi and Fiorenza Vannel, "Le Medaglie Italiane del XVI secolo", 3 vols., Florence 20004 *Warren

Side handled bronze vesselChinese, Han dynastyof plain reeded form, with hinged lid and spout and on three short feet, 26cm long x 12cm highCondition report: Old repair to spout and marks to the surface consistent with the age.

Seto ware sake bottleJapanese, 16th Centurywith ribbed decoration and bronze top, 14.5cm highCondition report: Wear and scratches with age

Scholar's brass and copper ink box and a bronze brush holderChinesethe ink box with engraved archaic inscription, the translation includes '' The precious sacrificial vessel was made by Po-i '' and further text (see old typed note inside), 6.5cm x 4cm, and a plain 17th/18th Century small bronze brush holder, 7cm diameter x 6.5cm high Condition report: Both with slight wear , scratches ad marks consistent with age.

Bronze censerChinese, 18th/19th Centurywith engraved and black line inlaid dragon, cloud and other symbols, and with dragon handles and finial, on three feet, 19cm x 24cm Condition report: General wear and marks due to the age.

Pair of bronze Ming style temple candlesticksChinese, 19th Centurymodelled as a ribbed and bulbous stem mounted with two circular bowls and supported upon a domed foot all decorated with archaic scrollage on a key pattern ground, 49cm highCondition report: Both with wear consistent with age, two very small holes to the base of one and a missing pricket on one

Bronze censerChinese, Ming periodin the form of a Luduan, the head tilting for use as a storage vessel, 12cm highCondition report: Wear with age, green patina visible in the bronze

AUGUSTE RODIN (1840-1917)Age d'Airain, petit modèle dit aussi '2ème réduction' signed 'Rodin' (on the base), inscribed with the foundry mark 'Alexis Rudier Fondeur Paris' (to the verso) and stamped with the raised signature 'A. Rodin' (on the inside of the base)bronze with brown-black patina64.4 cm (25 3/8in). highConceived between 1875-1877, this reduction from November 1904, this bronze version cast by the Alexis Rudier Foundry in November 1943.Footnotes:This work will be included in the forthcoming Auguste Rodin catalogue critique de l'oeuvre sculpté currently being prepared by the Comité Auguste Rodin at Galerie Brame & Lorenceau under the direction of Jérôme Le Blay.ProvenanceMusée Rodin, Paris.Eugène Rudier Collection, Le Vésinet (acquired from the above in 1943).Galerie Beyeler, Basel.Arthur Stoll Collection, Arlesheim (acquired from the above in 1954); his sale, Kornfeld und Klipstein, Bern, 18 November 1972, lot 169.Private collection, Switzerland (acquired at the above sale).Acquired from the above by the present owner.ExhibitedBasel, Galerie Beyeler, Le petit format dans l'art moderne, 1 December 1954 – 10 January 1955, no. 42/b.LiteratureG. Grappe, Catalogue du Musée Rodin, Paris, 1927 (plaster version illustrated p. 28).M. Aubert, Rodin Sculptures, Paris, 1952 (another cast illustrated pl. 11).M. Fischer, Sammlung Arthur Stoll, Skulpturen und Gemälde des 19. und 20. Jahrhunderts, Zurich, 1961, no. 7 (the present work illustrated).C. Goldscheider, Rodin, Paris, 1962 (another cast illustrated pp. 54-55).R. Descharnes & J-F. Chabrun, Auguste Rodin, London, 1967 (plaster version illustrated p. 54).J.L. Tancock, The Sculpture of Auguste Rodin, The Collection of the Rodin Museum Philadelphia, Philadelphia, 1976, p. 356.C. Goldscheider, Auguste Rodin, catalogue raisonné de l'oeuvre sculpté, Vol. I, 1840-1886, Paris, 1989, no. 95d, p. 116.I. Ross & A. Snow (eds.), Rodin, A Magnificent Obsession, London, 2001, no. 17 (another cast illustrated p. 28).A. Le Normand-Romain, The Bronzes of Rodin, Catalogue of works in the Musée Rodin, Vol. 1, Paris, 2007 (plaster version illustrated p. 128).'Beauty is everywhere. It is not beauty that our eyes lack, it is our eyes that are deficient in perceiving it. Beauty is character and expression. And there is nothing in Nature that has more character than the human body. Through its force it evokes the widest variety of images. At times it is like a flower: the way the torso bends is like the stem...At times it is like a supple creeper..At other times still it is an urn...The human body is first and foremost the mirror of the soul and its greatest beauty comes from that' – A. RodinAge d'Airain is a work of unprecedented importance within the oeuvre of Auguste Rodin. It not only transformed European sculpture but truly set the artist on his path as the father of modern sculpture. Initially causing huge controversy through its unfathomable perfection, critics soon realised the importance of both the sculpture and indeed its author. With versions of the figure in major public collections such as the Victoria & Albert Museum, London, the Metropolitan Museum of Art, New York and of course the Musée Rodin in Paris, it is undeniable how key this work is to our appreciation of sculpture as a medium.Rodin began his work on Age d'Airain in Brussels after an inspirational trip to Italy in 1876, where his exposure to the Florentine masters Donatello and Michelangelo had a profound effect on him, particularly Michelangelo's Dying Slave with which we can draw a clear comparison with Age d'airain. His chosen muse was Auguste Neyt, a Belgian soldier, and not a professional model. It was through his form that Rodin sought a raw naturality in place of an exaggerated pose. This is an early example of Rodin's desire to strip away the narrative of myth and allegory from academic sculpture and to explore the natural elements of the human form. He dismissed the gods and muses of Neo-Classical tradition and focused on the distinctly human characteristics of psychology and physicality, making his surfaces rougher and more unfinished in contrast to the polished idealised figures of his predecessors like Jean-Baptiste Carpeaux and Albert-Ernest Carrier-Belluese. As a naturalist, Rodin was more concerned with character, emotion and movement: it is this appreciation for the subtlety of movement that perhaps stems from the influence of his teacher Antoine-Louis Barye, who paid great attention to the details of animals in motion. Auguste Neyt provided a figure that offered Rodin the chance to depict both an outer physicality as well as the inner emotional conflict of the modern man.Age d'Airain recalled an early era in the history of humankind, a suspended moment of self-awareness and human awakening. It possesses a mastery of light, form and shadow, with rugged textured surfaces, all of which add to the work's startlingly realistic presence. After its unveiling at the Salon in Paris in 1877, the perfect realism of Age d'Airain caused many critics to believe it was in fact a surmoulage, cast directly from the body of the model. Whilst fighting to deny these allegations, Rodin's notoriety was in fact boosted by the affair and it eventually led to the French government purchasing a version of the work, in addition to commissioning La porte de l'enfer in 1880 - one of Rodin's most celebrated works. We can see the true precision of the Age d'Airain from the photograph of Neyt, taken by Gaudenzio Marconi, a prolific photographer of nudes. Through studying this image, Rodin's masterful execution of the sculpture is only emphasized and his brilliance in capturing the human profile reinforced.Auguste Rodin's combination of a boldly modern approach to form and finish, whilst maintaining a respect for sculptural tradition through his focus on the human form, is as remarkable today as it was during his lifetime. His sculptures are still revered for their beauty, emotional power and technical brilliance, with Age d'Airain considered amongst his finest work. As one of Rodin's earlier works and the catalyst for his international renown, there is no denying its pivotal importance.This smaller reduction of Age d'Airain, as documented in the Musée Rodin Archive's notes from René Cheruy, Rodin's secretary, would have been created at Rodin's request by Henri Le Bossé, reducer/enlarger, after November 1904 with the aim of donating a bronze copy to Léon Bourgeois, the first French delegate to the Peace Conference in The Hague. The first version, cast in 1907 by the Alexis Rudier Foundry, is now in the Musée Municipal de Chalons-sur-Marne, France.As outlined in the present work's certificate, we know from the production records of the Alexis Rudier Foundry that foundry workers Alliot and Nadiras worked on this cast for thirty-three hours and a further five hours for the mounting. This invaluable archival note is the perfect anecdotal reference that outlines the importance and craftsmanship of these casts of Rodin's work.This particular cast of Age d'Airain has belonged to a number of important collectors and was once housed in the collections of Eugène Rudier (son of Alexis Rudier), Galerie Beyeler and Arthur Stoll. Arthur Stoll (1887-1971) was a prominent Swiss biochemist, who, alongside his interest in science, built a prestigious collection of art. Part of this collection was sold at Kornfeld und Klipstein (today Galerie Kornfeld) in 1972, the year after his death – the auction included over 250 works, in... This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A RARE AND MASSIVE JAPANESE SILVER BRONZE OKIMONO BY GENRYUSAI SEIYA MEIJI PERIOD, 19TH CENTURY Depicting an impressive cockerel, the bird naturalistically modelled with gilt bronze legs and pupils, the claws and long tail feathers rendered in shakudo, the comb and wattle in red patinated bronze, the details of the plumage rendered in kebori, signed in a rectangular cartouche beneath the long tail Dai Nihon Genryusai Seiya zo (Great Japan, made by Genryusai Seiya), raised on a wood base carved as a rocky outcrop, the bronze 75cm, 89cm overall. (2) Provenance: an English private collection, the property of a gentleman; purchased in the 1990s from PAN Amsterdam art fair. See Zacke, Vienna, Asian Art Discoveries Days 1 - Japanese Art, 21st January 2021, lot 13, for another model of a chicken by Seiya measuring 23cm. Also, see Bonhams, London, Meiji Modern Design, 11th June 2003, lot 476 for another tall cockerel signed Masatsune. Cf. Meiji no Takara, The Nasser D. Khalili Collection of Japanese Art, Metalwork, Part II nos.104-5 for two other cockerels by Masatsune. Also, see L Bordignon, The Golden Age of Japanese Okimono, pp.252-3, for another example signed Hanehiroya sei.

A pair of bronzed spelter statuettes after George Maxim - La Gloire and La Musique, ebonised bases, 62cm h; together with another bronzed spelter figure of a warrior holding an axe, ebonised base, 63cm h (3) Some degradation of bronze finish to Maxim pair. One arm with old glue repair, other faults consistent with age. Warrior figure with hole to back and similar degradation to finish

PROG/ PSYCH/ CLASSIC ROCK - LPs. A smashing collection of around 55 LPs. Artists/ titles include Nektar - Remember The Future (PPS-98002, record VG+, sleeve VG+), Robert Wyatt - Rock Bottom (VGD 3505, records Ex/ sleeve Ex). Gong - Shamal (V2046), The New Spirit Of Capitol (SNP-6), Medicine Head - One And One Is One. Mother Gong - Fairy Tales. Gentlemen Without Weapons - Transmission, Gryphon - Raindance, Roger Waters - The Pros And Cons Of Hitch Hiking. Wizzard - Wizzard Brew. Peter Frampton inc Frampton's Camel, Where I Should Be, Something's Happening, I'm In You, WInd Of Change. Peter Green - In The Skies, Yes inc Yes Shows, Big Generator, Special Limited Edition. Various inc Switched On Rock, EMI Introduce The New Bronze Age. Robin Thrower, Phil Manzanera, Man inc Be Good To Yourself, Back Into The Future. Mahavishnu Orchestra, Jean Michel Jarre, Blue Oyster Cult, Genesis, Family, Focus. Condition is generally VG to Ex.

Tibor. China, early 20th century.Nephrite jade.Wooden base.Measurements: 13 x 14 x 9,5 cm; 17 cm (height with stand).Chinese Tibor raised on legs of zoomorphic format, with a smooth central body flanked by large openwork rings ornamented with heads of mythical animals. The upper body is surmounted by the figure of a Foo dog. In general terms, the piece is inspired by ancient Bronze Age ritual vessels, one of the oldest artistic manifestations in China. Jade is the type of hard stone most used and appreciated in China since the Neolithic period for the creation of sculptures. It is a material extraordinarily appreciated for its hardness, its resistance, its delicate shades ranging from green to pure white and its translucent quality. During the Han dynasty, for example, members of the high aristocracy and royalty were buried in jade receptacles, which, it was believed, would preserve body and soul for eternity. Jade also had various uses in medicine and alchemy.

A Victorian mahogany brass bound dressing box, 36.5cm wide x 25.5cm deep x 14cm high with mirror fitted within the lid and lift out tray with fitted compartments together with a 19th century hardwood jewellery box, a penwork correspondence box; a small bronze of a duck and her ducklings after Mene, 15cm long and a cast resin erotic sculpture, 11cm longCondition report: The dressing box with minor marks, dents and scratches overall due to age and use, some minor deterioration to the fittings within with some slight losses to leather and scud marks where lift out top has rubbed; the penwork correspondence box with deterioration to the surface; the jewellery box with possible later fittings within; the bronze of the duck with bent wingtip and further minor marks; other sculpture in reasonable condition

Ca. 1200–700 BC. Western Asiatic. Cast axe head comprising of a tubular socket with ribbed borders, a scroll to the upper edge and bulb below, a collar can be seen above the lower rim. The asymmetrical swept blade has a convex edge. 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. Cast butted axes are hallmarks of Western-Asiatic bronze weaponry during the First Iron Age Period, between 1200 and 1000 BC. Most of Western-Asiatic bronze items have been recovered in funerary contexts. Custom made stand included. Provenance: Private UK collection; From an old London collection formed in the 1990s. Size: L:82mm / W:84mm ; 135g

Ca. 1200–700 BC. Western Asiatic/Aegean. A stunning bronze sword with an elongated leaf-shaped blade, raised midrib, rounded guard and tubular grip with crescent-shaped decoration. The hilt finishes in a D-shaped pommel. Good condition; beautiful patina; custom-made stand included. Bronze weaponry production flourished in western Asia, the Aegean, and mainland Greece from the 2nd millennium BC to about 700 BC, when it was gradually replaced by iron. Swords, spears, and arrows were important symbols of war in Greek Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it. Provenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s. Size: L:580mm / W:93mm ; 930g

Ca. 1200–700 BC. Western Asiatic/Aegean. A large and well-formed bronze blade with a central raised ridge that bifurcates at the base of the blade and a sturdy tang ending cast in one piece with the blade. Beautiful patina, good condition; on a custom stand. Bronze weaponry production flourished in Western Asia, the Aegean, and mainland Greece from the 2nd millennium BC to about 700 BC, when it was gradually replaced by iron. Swords, spears, and arrows were important symbols of war in Greek Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it. To find out more about Archaic Greek swords, see Warry, J. (1995). Warfare in the classical world: An illustrated encyclopedia of weapons, warriors, and warfare in the ancient civilisations of Greece and Rome. Norman: University of Oklahoma Press. Provenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s. Size: L:510mm / W:78mm ; 565g

Ca. 1200–700 BC. Western Asiatic. A finely modelled Western-Asiatic cast bronze double axe head, composed of a long, tubular socket with four ribbed borders, a convex axe blade and an adze blade to the rear. The socket is decorated with an anthropomorphic face, rendered in an extremely stylised manner with big, wide-open eyes. 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. Cast spike-butted axes are hallmarks of Western-Asiatic bronze weaponry during the First Iron Age Period, between 1200 and 1000 BC. Most of the Western-Asiatic bronze items have been recovered in funerary contexts. Custom made stand included. Provenance: Private UK collection; Formerly acquired on the European art market from pre-2000 collections. Size: L:120mm / W:47mm ; 335g

Ca. 1200–700 BC. Western Asiatic/Aegean. A bronze sword with an elongated leaf-shaped blade, raised midrib, and short tang for insertion into a hilt. Good condition, beautiful patina; custom-made stand included. Bronze weaponry production flourished in western Asia, the Aegean, and mainland Greece from the 2nd millennium BC to about 700 BC, when it was gradually replaced by iron. Swords, spears, and arrows were important symbols of war in Greek Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it. For more information, see Moorey P. R. S. (1971). Catalogue of the Ancient Persian Bronzes in the Ashmolean Museum. Oxford University Press, Oxford, 88–89 & Muscarella, O. W. (1988). Bronze and Iron: Ancient Near Eastern Artifacts in the Metropolitan Museum of Art. Metropolitan Museum of Art, New York, 103-104. Provenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s. Size: L:470mm / W:45mm ; 305g

Ca. 1200–700 BC. Greek Archaic Period, Bronze Age. A bronze spearhead with a lanceolate-shaped blade with flaring shoulders, a raised midrib, and a short flared neck that transitions into a tang. Bronze weaponry production flourished in Western Asia, the Aegean, and Mainland Greece from the 2nd millennium BC to about 700 BC, when it was gradually replaced by iron. Swords, spears, and arrows were important symbols of war in Greek Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it. Good condition, on a custom-made stand. Provenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s. Size: L:113mm / W:23mm ; 30g

Ca. 1000–600 BC. Bronze Age. A beautiful, heavy cast bronze bracelet features a wide band with a D-shaped section. The bracelet's band is decorated with engraved line decorations, while the terminals each bear two deeply incised dot-in-circle motifs. In Bronze Age societies bracelets were used not only as jewellery but also as ritual objects of high value, which allowed their owners to store wealth before the invention of coinage. Such bracelets are discovered in burials as grave gifts or found in large hoards, and an important part of the Bronze Age cultures in both Europe and Asia. Provenance: Private UK collection; From an old London collection formed in the 1990s. Size: L:75mm / W:80mm ; 190g

Ca. 1200–700 BC. Western Asiatic/Aegean. A bronze spear with an elongated leaf-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. Good condition, beautiful patina; custom-made stand included. Bronze weaponry production flourished in Western Asia, the Aegean, and mainland Greece from the 2nd millennium BC to about 700 BC, when it was gradually replaced by iron. Swords, spears, and arrows were important symbols of war in Greek Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it. For more information, see Moorey, P. R. S. (1971). Catalogue of the Ancient Persian Bronzes in the Ashmolean Museum. Oxford University Press, Oxford, 88-89 & Muscarella, O. W. (1988). Bronze and Iron: Ancient Near Eastern Artifacts in the Metropolitan Museum of Art. Metropolitan Museum of Art, New York, 103-104. Provenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s. Size: L:113mm / W:25mm ; 25g

Ca. 3000–2000 BC. Indus Valley Civilisation. Beautiful set of three terracotta jars. The smallest one is standing on a ring foot. The interior is decorated with black painted running ibexes, surrounded by geometric motifs and concentric black lines. The one on the left is decorated with stylised felines, a tree, geometric motifs and concentric black lines. The largest one is also decorated with stylised felines, trees, geometric motifs and concentric black lines. The Indus civilization, also called the Harappan civilization, is the earliest known urban culture of the Indian subcontinent and was an important Bronze Age culture that arose around ca. 3300 BC and lasted until ca. 1300 BC. It extended from modern-day northeast Afghanistan to Pakistan and northwest India. The nuclear dates of the civilization appear to be about 2500–1700 BC, though the southern sites may have lasted later into the 2nd millennium BC. Large numbers of ceramic vessels decorated with black slip have been found among the sophisticated urban settlements of South Asia's protohistoric Indus Valley civilization. The walls of this jar are so thin that it must have been created on a potter's wheel. Perhaps the best-known artefacts of the Indus civilization are a number of small seals, generally made of steatite depicting a wide variety of animals, both real—such as elephants, tigers, rhinoceros, and antelopes—and fantastic creatures. Sometimes human forms are included. A few examples of Indus stone sculpture have also been found, usually small and representing humans or gods. There is a fair number of small terra-cotta bowls decorated with figures of animals like the present item. To find out more about the Indus civilisation and its material culture, see Possehl, Gregory L., 2002. The Indus Civilization: a Contemporary Perspective. Walnut Creek, CA: AltaMira Press. Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s. Size: L:Set of 3; 70-95mm / W:65-120mm ; 665g

Ca. 100 AD. Roman. A bronze situla with gently curved concave sides, two riveted attachment plates with a loop at the rim to take the slender parabolic handle which is threaded through them and twisted back on itself. Good condition, beautiful patina. Situlae were bucket-shaped libation vessels with a handle of the late Bronze Age and Iron Age in Europe, whose function was most probably as containers of wine for ceremonial or festive occasions. These sacral vases are found in a large geographical area, i.e. in the Egyptian, Cretan, Etruscan and Roman civilizations. Of particular note are an outstanding series of bronze buckets from northern Italy and around the head of the Adriatic, dating from the late 7th to the early 4th-century BC, ornamented with elaborate human and animal scenes in a style known as situla art. To find out more about situale, see Kastelic, J., Gr?evi?, M., Kromer, K., & Mansuelli, G. (1965). Situla art: Ceremonial bronzes of ancient Europe/ with contributions by Karl Kromer and Guido Mansuelli. London: Thames & Hudson. Provenance: Private UK collection; From an old British collection formed in the 1980s. Size: L:190mm / W:200mm ; 1.1kg

Ca. 3000–2000 BC. Indus Valley civilisation. An interesting terracotta storage jar, amber coloured. The exterior is decorated with black painted running ibexes, surrounded by geometric motifs and concentric black lines. The Indus civilization, also called the Harappan civilization, is the earliest known urban culture of the Indian subcontinent and was an important Bronze Age culture which arose around ca. 3300 BC and lasted until ca. 1300 BC. It extended from modern-day northeast Afghanistan to Pakistan and northwest India. The nuclear dates of the civilization appear to be about 2500–1700 BC, though the southern sites may have lasted later into the 2nd millennium BC. Large numbers of ceramic vessels decorated with black slip have been found among the sophisticated urban settlements of South Asia's protohistoric Indus Valley civilization. The walls of this jar are so thin that it must have been created on a potter's wheel. Perhaps the best-known artefacts of the Indus civilization are a number of small seals, generally made of steatite depicting a wide variety of animals, both real—such as elephants, tigers, rhinoceros, and antelopes—and fantastic creatures. Sometimes human forms are included. A few examples of Indus stone sculpture have also been found, usually small and representing humans or gods. There is a fair number of small terra-cotta bowls decorated with figures of animals like the present item. To find out more about the Indus civilisation and its material culture, see Possehl, Gregory L., 2002. The Indus Civilization: a Contemporary Perspective. Walnut Creek, CA: AltaMira Press. Provenance: Private collection of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s. Size: L:80mm / W:110mm ; 285g

Ca. 1200–700 BC. Western Asiatic/Aegean. A bronze spearhead with an elongated leaf-shaped blade and barbs, wide raised midrib, and a short socket with linear decoration that transitions into a small tang for insertion into a haft; a custom-made stand is included. Bronze weaponry production flourished in Western Asia, the Aegean, and mainland Greece from the 2nd millennium BC to about 700 BC, when it was gradually replaced by iron. Swords, spears, and arrows were important symbols of war in Greek Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it. For more information, see Moorey, P. R. S. (1971). Catalogue of the Ancient Persian Bronzes in the Ashmolean Museum. Oxford: Oxford University Press, 88- 89 & Muscarella, O. W. (1988). Bronze and Iron: Ancient Near Eastern Artifacts in the Metropolitan Museum of Art. Metropolitan Museum of Art, New York, 103-104. Provenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1970s Size: L:159mm / W:28mm ; 40g

Ca. 1200–700 BC. Western Asiatic. A bronze dagger with a long, bevelled blade, folded-in guard, concave handle that would have been inset with stone, bone or ivory, and a crescent moon-shaped pommel; custom-made stand included. Bronze weaponry production flourished in Western Asia, the Aegean, and mainland Greece from the 2nd millennium BC to about 700 BC, when it was gradually replaced by iron. Swords, spears, and arrows were important symbols of war in Greek Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it. For more information, see Moorey, P. R. S. (1971). Catalogue of the Ancient Persian Bronzes in the Ashmolean Museum. Oxford: Oxford University Press. Provenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s. Size: L:316mm / W:33mm ; 270g

Ca. 1200–700 BC. Western Asiatic. A fine dagger with a leaf-shaped flat-section iron blade and a bronze hilt with ribbed socket and lozengiform grip, crescentic pommel. Good condition; custom-made stand included. Bronze weaponry production flourished in Western Asia, the Aegean, and mainland Greece from the 2nd millennium BC to about 700 BC, when it was gradually replaced by iron. Swords, spears, and arrows were important symbols of war in Greek Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it. For more information, see Moorey, P. R. S. (1971). Catalogue of the Ancient Persian Bronzes in the Ashmolean Museum. Oxford: Oxford University Press. Provenance: Private UK collection; Formerly acquired on the European art market from pre-2000 collections. Size: L:230mm / W:27mm ; 90g

Ca. 1200–700 BC. Western Asiatic/Aegean. A bronze spear with an elongated leaf-shaped blade, raised midrib, sharpened edges that taper gradually to a pointed tip, short socket, and a short tang for insertion into a haft. Good condition, beautiful patina; custom-made stand included. Bronze weaponry production flourished in Western Asia, the Aegean, and mainland Greece from the 2nd millennium BC to about 700 BC, when it was gradually replaced by iron. Swords, spears, and arrows were important symbols of war in Greek Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it. For more information, see Moorey, P. R. S. (1971). Catalogue of the Ancient Persian Bronzes in the Ashmolean Museum. Oxford: Oxford University Press, 88-89 & Muscarella, O. W. (1988). Bronze and Iron: Ancient Near Eastern Artifacts in the Metropolitan Museum of Art. Metropolitan Museum of Art, New York, 103-104. Provenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1970s Size: L:118mm / W:20mm ; 25g

Ca. 800–600 BC. Celtic Bronze Age. A heavy, cast bronze bracelet with a curved section and sheer terminals exhibiting a stunning turquoise green patina. Excellent condition; wearable. In the Bronze Age, bracelets such as this one were used not only as jewellery but also allowed their owners to store wealth before the invention of coinage. For more information on Bronze Age bracelets, see Stead, I. M. (1997). Celtic Art. Harvard University Press, 42-44. Provenance: Private UK collection; From an old Oxford collection formed in the 1990s. Size: L:60mm / W:70mm ; 80.5g

Ca. 800–600 BC. Bronze Age. A stunning necklace comprising annular bronze, glass, and carnelian beads. The central pendant is shaped like a moon crescent. Good condition. Beautiful patina. Such necklaces may originally have belonged to precursors of the Druids, the members of the learned class among the ancient Celts who acted as priests, teachers, and judges. Provenance: Private UK collection; From an old Oxford collection formed in the 1990s. Size: L:245mm / W:mm ; 50g

Ca. 900–1100 AD. Viking Age. A bronze ring with median hoop extending to two round-section bars coiled to the edges of the flat-section flanges; incised linear motifs to the flanges. For more information on Viking jewellery, see Arbman, H. (1940). Birka I Die Gräber. Uppsala & Hubbard, B. (2016) The Viking Warrior. Amber Books Ltd, London, 61-65. Provenance: Private UK collection; From an old British collection formed in the 1980s. Size: D: 17.97mm / US: 7 3/4 / UK: P 1/2; 7.8g

Ca. 900–1100 AD. Viking Age. A beautiful semi-circular ribbed bronze bracelet. The central rectangular section is decorated with a wavy and linear incised geometric motif (possibly a cross). 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. For more information on Viking jewellery, see Arbman, H. (1940). Birka I Die Graeber. Uppsala. Provenance: Private UK collection; From an old British collection formed in the 1980s. Size: L:45mm / W:65mm ; 30g

Ca. 1200–800 BC. Greek Archaic Period. A bronze spearhead with a triangular, lentoid sectioned blade, raised midrib and a long tang. This item is mounted on a stand. Bronze weaponry production flourished in western Asia, the Aegean, and Mainland Greece from the 2nd millennium BC to about 700 BC, when it was gradually replaced by iron. Swords, spears, and arrows were important symbols of war in Greek Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it. Provenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s. Size: L:124mm / W:25mm ; 25g

Ca. 1200–700 BC. Western Asiatic/Aegean. This beautiful cast bronze sword has a tapering, bevelled blade with a raised midrib, triangular guard with incised dotted decoration, and an elaborate handle with a band of horizontal stripes imitating wire wrapping which terminates in a crescentic pommel. The recessed spaces would have been inset with stone, bone or ivory inlay. Good condition, beautiful patina; custom-made stand included. Bronze weaponry production flourished in western Asia, the Aegean, and mainland Greece from the 2nd millennium BC to about 700 BC, when it was gradually replaced by iron. Swords, spears, and arrows were important symbols of war in Greek Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it. For more information, see Moorey P. R. S. (1971). Catalogue of the Ancient Persian Bronzes in the Ashmolean Museum. Oxford University Press, Oxford, 88–89 & Muscarella, O. W. (1988). Bronze and Iron: Ancient Near Eastern Artifacts in the Metropolitan Museum of Art. Metropolitan Museum of Art, New York, 103-104. Provenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s. Size: L:455mm / W:103mm ; 880g

Ca. 3100–2500 BC. Bactrian. A fine Bactrian alabaster vessel, featuring a flat foot, a bulbous body and a rounded rim. It has a beautiful cream colour, with reddish veins running through its body. Alabaster was a precious material, widely traded in the region from the 4th millennium BC onward. The purpose of such a vessel is not known. Pieces like this one often came from burials and votive offerings. Along with others that make up the typology of stone vessels, such as column or circular idols, these objects are all characteristic of the Bactrian material culture. This piece relates to an ancient culture referred to both as the Bactria-Margiana Archaeological Complex (BCAM) or as the Oxus Civilisation. The Bactria-Margiana culture spread across an area encompassing the modern nations of Turkmenistan, Tajikistan, Uzbekistan and Northern Afghanistan. Flourishing between about 2100 and 1700 BC, it was contemporary with the European Bronze Age and was characterised by monumental architecture, social complexity and extremely distinctive cultural artefacts that vanish from the record a few centuries after they first appear. Pictographs on seals have been argued to indicate an independently-developed writing system. It was one of many economic and social entities in the vicinity and was a powerful country due to the exceptional fertility and wealth of its agricultural lands. This in turn gave rise to a complex and multifaceted set of societies with specialist craftsmen who produced luxury materials such as this for the ruling and aristocratic elites. Trade appears to have been important, as Bactrian artefacts appear all over the Persian Gulf as well as in the Iranian Plateau and the Indus Valley. For this reason, the area was fought over from deep prehistory until the Mediaeval period, by the armies of Asia Minor, Greece (Macedonia), India, and the Arab States, amongst others. Many stone carvers inhabited the regions of Margiana and Bactria and there was no shortage in raw material soft steatite or dark soapstone, but also various kinds of marble and white-veined alabaster. The main source for these stones, including semi-precious lapis-lazuli, was in Bactria, at Badakhshan (now north-western Afghanistan), which provided material not only for the Bactrian and Margian carvers but also, further to the west into Mesopotamia, for the Assyrian kings. For more information on Bactria, see Mairs, R. (ed.) (2020). The Graeco-Bactrian and Indo-Greek World. London: Taylor & Francis. Provenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets. Size: L:75mm / W:95mm ; 250g

Ca. 2000–800 BC. Western Asiatic/ Amlash culture. A beautiful, heavy cast bronze bracelet features a wide band with a D-shaped section. The bracelet's band is decorated with elaborate, engraved line decorations, while the terminals each end in snake heads. Excellent condition; wearable. In the Bronze Age, bracelets such as this one were used not only as jewellery but also allowed their owners to store wealth before the invention of coinage. For more information on Amlash culture, see R. Ghirshman (1967). The Arts of Ancient Iran, New York, 31–38. Provenance: Private UK collection; From an old Oxford collection formed in the 1990s. Size: L:65mm / W:70mm ; 156.3g

Ca. 202 BC–220 AD. Han dynasty. A beautiful and rare Chinese Han dynasty pottery duck with bronze legs. The duck is standing on its detailed bronze legs which support a globular, squat body and a short neck terminating in a red coloured head with a light-coloured beak and open, attentive eyes. The body is decorated with brownish and green glaze, imitating the animal'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. To find out more about the Han Dynasty and its art production, see Milleker, Elizabeth J. (ed.) (2000). The Year One: Art of the Ancient World East and West. Exhibition catalogue. New York: Metropolitan Museum of Art. 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. Provenance: UK private collection; formerly acquired in the early 1990s in Hong Kong. Size: L:130mm / W:135mm ; 430g

Ca. 1200–700 BC. Western Asiatic. A beautiful two-bladed axe head of the labrys type. 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. Cast spike-butted axes are hallmarks of Western-Asiatic bronze weaponry during the First Iron Age Period, between 1200 and 1000 BC. Most of the Western-Asiatic bronze items have been recovered in funerary contexts. Custom made stand included. Provenance: Private UK collection; From an old London collection formed in the 1990s. Size: L:81mm / W:73mm ; 175g

Ca. 300–100 BC. Celtic Iron Age. A beautiful silver ring with a thick circular band and pointed tapering terminals whose extremities rest on each other. The ancient Celts were various tribal groups living in parts of Western and Central Europe in the Late Bronze Age and through the Iron Age (c. 700 BCE to c. 400 CE). Celtic art was influenced by that of the earlier indigenous Iron Age cultures and by neighbouring cultures or trading partners like the Thracians, Scythians, Greeks, Etruscans, and Romans, and through these peoples, ideas from the Near East. Metal objects like this exquisite ring were cast, engraved, punched, traced, inlaid, and worked on using repoussé (grooving the material from behind to create a relief on the other side). Aside from jewellery, other typical Celtic art objects include ornate cauldrons, sandstone or wooden human figures, bronze shields, and animal figurines to be used as votive offerings. To find out more about the Celts and their material culture, see Aldhouse-Green, M. J. (1995). The Celtic world. London; New York: Routledge. Provenance: Private UK collection; From an old London collection formed in the 1990s. Size: D: 16.5mm / US: 6 / UK: M; 4.5g

Ca. 800–600 BC. Celtic Bronze Age. A heavy, coiled bronze bracelet with terminals decorated with geometric designs. Excellent condition; wearable. In the Bronze Age, bracelets such as this one were used not only as jewellery but also allowed their owners to store wealth before the invention of coinage. For more information on Bronze Age bracelets, see Stead, I. M. (1997). Celtic Art. Harvard University Press, 42–44. Provenance: Private UK collection; From an old Oxford collection formed in the 1990s. Size: L:30mm / W:50mm ; 80g

Ca. 1000–600 BC. Bronze Age. A beautiful, heavy cast bronze bracelet features a wide band with a D-shaped section. The bracelet's band is decorated with engraved line decorations, while each of the terminals bears two deeply incised dot-in-circle motifs. In Bronze Age societies bracelets were used not only as jewellery but also as ritual objects of high value, which allowed their owners to store wealth before the invention of coinage. Such bracelets are discovered in burials as grave gifts or found in large hoards, and an important part of the Bronze Age cultures in both Europe and Asia. Provenance: Private UK collection; From an old London collection formed in the 1990s. Size: L:75mm / W:85mm ; 344g

Ca. 900–1100 AD. Viking Age. A bronze semi-circular bracelet whose decoration is divided into rectangular sections with a simple, linear horizontal design and an incised motif in the centre. In Viking society, arm rings and bracelets were not merely decorative but served also to mark bonds of loyalty between a lord 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 and bracelets of precious metals were also used as currency in a time before the widespread availability of coinage. Good condition. For more information on Viking jewellery, see Arbman, H. (1940). Birka I Die Gräber. Uppsala & Hubbard, B. (2016) The Viking Warrior. Amber Books Ltd, London, 61-65. Provenance: Private UK collection; From an old Oxford collection formed in the 1990s. Size: L:43mm / W:60mm ; 21.4g

Ca. 1200–700 BC. Western Asiatic/Aegean. A bronze sword with an elongated leaf-shaped blade, raised midrib, and short tang for insertion into a hilt. Good condition, beautiful patina; custom-made stand included. Bronze weaponry production flourished in western Asia, the Aegean, and mainland Greece from the 2nd millennium BC to about 700 BC, when it was gradually replaced by iron. Swords, spears, and arrows were important symbols of war in Greek Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it. For more information, see Moorey P. R. S. (1971). Catalogue of the Ancient Persian Bronzes in the Ashmolean Museum. Oxford University Press, Oxford, 88-89 & Muscarella, O. W. (1988). Bronze and Iron: Ancient Near Eastern Artifacts in the Metropolitan Museum of Art. Metropolitan Museum of Art, New York, 103-104. Provenance: Private UK collection; From an old London collection formed in the 1990s. Size: L:404mm / W:40mm ; 245g

Ca. 1200–700 BC. Western Asiatic. A bronze dagger with a long, leaf-shaped bevelled blade, horizontal guard, concave handle that would have been inset with stone, bone or ivory, and a crescent moon-shaped pommel; custom-made stand included. Bronze weaponry production flourished in Western Asia, the Aegean, and mainland Greece from the 2nd millennium BC to about 700 BC, when it was gradually replaced by iron. Swords, spears, and arrows were important symbols of war in Greek Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it. For more information, see Moorey, P. R. S. (1971). Catalogue of the Ancient Persian Bronzes in the Ashmolean Museum. Oxford: Oxford University Press. Provenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s. Size: L:423mm / W:48mm ; 280g

Ca. 3000–2000 BC. Indus Valley Civilisation. A shallow terracotta bowl in a deep amber colour standing on a ring foot. The interior is decorated with concentric panels featuring linear decoration and moon-shaped motifs near the rim; two stylised fish encircle the central panel decorated with concentric squares, circles, and further linear motifs. The exterior is decorated with two concentric black lines near the ring foot and vertical lines of dots. The Indus civilization, also called the Harappan civilization, is the earliest known urban culture of the Indian subcontinent and was an important Bronze Age culture that arose around ca. 3300 BC and lasted until ca. 1300 BC. It extended from modern-day northeast Afghanistan to Pakistan and northwest India. The nuclear dates of the civilization appear to be about 2500–1700 BC, though the southern sites may have lasted later into the 2nd millennium BC. Large numbers of ceramic vessels decorated with black slip have been found among the sophisticated urban settlements of South Asia's protohistoric Indus Valley civilization. The walls of this jar are so thin that it must have been created on a potter's wheel. Perhaps the best-known artefacts of the Indus civilization are a number of small seals, generally made of steatite depicting a wide variety of animals, both real—such as elephants, tigers, rhinoceros, and antelopes—and fantastic creatures. Sometimes human forms are included. A few examples of Indus stone sculpture have also been found, usually small and representing humans or gods. There is a fair number of small terra-cotta bowls decorated with figures of animals like the present item. To find out more about the Indus civilisation and its material culture, see Possehl, Gregory L., 2002. The Indus Civilization: a Contemporary Perspective. Walnut Creek, CA: AltaMira Press. Provenance: Private collection of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s. Size: L:100mm / W:290mm ; 1.2kg

Ca. 2000–800 BC. Western Asiatic. A beautiful, heavy cast bronze bracelet features a wide band with a D-shaped section. The bracelet's band is decorated with elaborate, engraved line decorations, terminating in flat finials. In the Bronze Age, bracelets such as this one were used not only as jewellery but also allowed their owners to store wealth before the invention of coinage. For more information on Amlash culture, see R. Ghirshman (1967). The Arts of Ancient Iran, New York, 31-38 Provenance: Private UK collection; From an old London collection formed in the 1990s. Size: L:100mm / W:100mm ; 455g

Ca. 3100–2500 BC. Bactrian. A fine Bactrian alabaster vessel, featuring a rounded flared base and a tall conical body. It has a beautiful cream colour, with brownish sprinkles running through its body. Alabaster was a precious material, widely traded in the region from the 4th millennium BC onward. The purpose of such a vessel is not known. Pieces like this one often came from burials and votive offerings. Along with others that make up the typology of stone vessels, such as column or circular idols, these objects are all characteristic of the Bactrian material culture. This piece relates to an ancient culture referred to both as the Bactria-Margiana Archaeological Complex (BCAM) or as the Oxus Civilisation. The Bactria-Margiana culture spread across an area encompassing the modern nations of Turkmenistan, Tajikistan, Uzbekistan and Northern Afghanistan. Flourishing between about 2100 and 1700 BC, it was contemporary with the European Bronze Age and was characterised by monumental architecture, social complexity and extremely distinctive cultural artefacts that vanish from the record a few centuries after they first appear. Pictographs on seals have been argued to indicate an independently-developed writing system. It was one of many economic and social entities in the vicinity and was a powerful country due to the exceptional fertility and wealth of its agricultural lands. This in turn gave rise to a complex and multifaceted set of societies with specialist craftsmen who produced luxury materials such as this for the ruling and aristocratic elites. Trade appears to have been important, as Bactrian artefacts appear all over the Persian Gulf as well as in the Iranian Plateau and the Indus Valley. For this reason, the area was fought over from deep prehistory until the Mediaeval period, by the armies of Asia Minor, Greece (Macedonia), India, and the Arab States, amongst others. Many stone carvers inhabited the regions of Margiana and Bactria and there was no shortage in raw material of soft steatite or dark soapstone, but also various kinds of marble and white-veined alabaster. The main source for these stones, including semi-precious lapis-lazuli, was in Bactria, at Badakhshan (now north-western Afghanistan), which provided material not only for the Bactrian and Margian carvers but also, further to the west into Mesopotamia, for the Assyrian kings. For more information on Bactria, see Mairs, R. (ed.) (2020). The Graeco-Bactrian and Indo-Greek World. London: Taylor & Francis. Provenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets. Size: L:190mm / W:95mm ; 1.4kg