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Ca. 2000–800 BC. Western Asiatic/ Amlash culture. A heavy, cast bronze bracelet with a curved section and snakes' heads terminals. 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 British collection formed in the 1980s. Size: L:100mm / W:115mm ; 397g

Ca. 3100–2500 BC. Bactrian. A stunning alabaster chalice with a tall stem and a conical base topped with a bowl with slightly flaring walls. It has a beautiful cream colour, with brownish 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:230mm / W:105mm ; 1.2kg

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 a lion, two stylised birds and linear motifs. The central panel is decorated with concentric squares and further geometric motifs. The exterior is undecorated. 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:95mm / W:220mm ; 710g

Ca. 800–600 BC. Bronze Age. Europe. A beautiful bronze bracelet, made of a single rod of bronze. Bronze Age bracelets, worn by both men and women, were used as a status symbol. 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 London collection formed in the 1990s. Size: L:25mm / W:65mm ; 68.7g

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 stylised birds below the rim (perhaps roosters) interspersed with branches; three concentric lines encircles a floral motif with a hatched pattern. The exterior is undecorated. 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:85mm / W:210mm ; 630g

Ca. 1000–600 BC. Bronze Age. A heavy cast bronze bracelet featuring a wide band flared in the middle and a D-shaped section. 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 Oxford collection formed in the 1990s. Size: L:65mm / W:70mm ; 91g

A 19th Century Japanese hollow bronze figure ornament of a monkey mother protecting her infant. Detailed facial features and fur. Wear commensurate with age. Measures approx; 11cm x 9cm x 7cm.   

A 19th Century gilded bronze ornament / desk weight in the form a French cannon. Wear commensurate with age. Measures approx; 12". 

A 19th Century decorative glass vase / candle holder raised on bronze footed base. Purple / aubergine colour clear squared & tapered glass decorated with floral dotwork forget me nots accompanied by white dot design & gold stars, raised on bronze base featuring griffin busts & clawed feet to each corner. Each corner marked with '385' to base. Measures approx; 18cm x 9cm. Condition; wear commensurate with age & a few minor chips to rim.

A matching pair of mid 19th Century French bronze and red marble candlestick holders having scrolled bronze stem with gilded holder and drip tray atop. Red marble stepped columns below with each raised on gilt foliate and scrolled supports. Wear commensurate with age, overall good example. Each measures approx; 38cm x 15cm x 14cm. 

A matching pair of late 19th Century Victorian bronze Church altar candlestick holders. Each having four foliate and scrolled arms with a central stem supported by a classical column with reeded brass column to the center. Decorative worked base with scroll and shell detailing with all raised on trefoil base. Wear commensurate with age. Measures approx; 63cm x 34cm diameter.     

A BRONZE AGE COPPER FLAT AXEHEAD. 3rd - 2nd Millennium BC, with a tapering rectangular section body and flared cutting edge with slightly convex blade 17.5cm long, 5cm wide.

A BRONZE AGE LOOPED AND SOCKETTED AXEHEAD. 1000 - 500 BC, a substantial looped and socketed axe head with a straight flared cutting edge, the socket with a shaped collar to the square section mouth, slightly ribbed to both faces, 12.5cm x 5cm.

Finely carved after a Western Han Dynasty form jade ‘ear’ cup, ‘Jian Guangzhi’, carved with a three column archaic inscription in bronze script to the base, the translucent horn of rich honey and dark-chocolate brown, emanating around the base Applied paper label dated 20th June 1930 來源 : H.G. Beasley 私人珍藏 1930年6月20日 標籤 Height: 5cm Length: 13cm Width: 8.5cm Weight: 127g The inscriptions reads: ‘in the year of the Ram, stone fire, star fire, copy of Han dynasty Jade Jianguang Zhi’. 篆書刻文：“葵末秋日，石火星火土，倣漢玉建光巵” It is rare to find a dated Rhinoceros horn ear-cup and only six appear to have previously been recorded. The ‘Jian Guangzhi’ cup (fig.1) is recorded in the Gujin Tushu Jicheng’, known as the Imperial Encyclopedia, written during the reign of the Kangxi and Yongzheng Emperors, begun in 1700 and completed in 1725. Three signed examples are known by the famous Yangzhou carver, Bao Tiancheng: two from the Angela Chua Collection, both illustrated by T.Fok, Connoisseurship of Rhinoceros Horn Carving in China, Hong Kong, 1999, p.106. no.58 and the third from the Fowler Museum, Los Angeles, was sold at Christie’s London, 7th November 2006, lot 53 for £120,000. In addition to the three noted above, only two others appear to be published: see T.Fok, ibid., pp.99 and 102, not 51 and 54. The first from the Harvard University Art Museums, dated 16th century, with an inscription which translates as ‘modelled after Han style jades in mid-spring in the cyclical year renshen, with seals Jiyu Gushi; the second dated 17th century, signed You Kan and with a further inscription and another sold at Poly Auction, Beijing, 06/12/2011, lot 520, signed You Kan Gong. The H.G. Beasley cup adds a seventh to this small and interesting group of archaistic cups, (the only one recorded in bronze script) with their wish to emulate the perceived virtues of antiquity, underscored in the inscription. Condition ReportThe ‘Jian Guangzhi’ cup has developed a beautiful patina over the years and sits well in the hand. There are two small ‘dents’ to one side, one to the ear itself, and slightly to the left of it, each approx. 3mm. It would appear that one end of the cup has been slightly reduced, where the patina is a slightly lighter colour, however it was done many years ago and the area is well patinated too. The other ear has a few small ‘dents’ too, but nothing significant. The interior with a few minor dents, and some fine age lines to the base.

Finely carved with three chilong dragons, with a pierced taotie mask handle, reserved against a leiwen scroll band, all beneath a key-fret band, all raised on three leaf-shaped feet, the horn darkly patinatedApplied collectors paper label ‘G.S 1-6-1933’來源：H.G. Beasley私人收藏編號‘G.S 1-6-1933’標籤Height: 13cmLength: 13cmWidth: 7cmWeight: 191gThe present cup is inspired by archaic bronze jue tripod wine vessels from the Shang and Zhou Dynasties. Jue-shaped libations cups from the Qing Court Collection are illustrated in The Complete Collection of Treasures of the Palace Museum, Bamboo, Wood, Ivory and Rhinoceros Horn Carvings, Hong Kong, 2002, p. 154. pl. 136, late Ming Dynasty and p.56, pl.205, middle Qing Dynasty. See also a related jue libation cup, in the Harvard University Art Museums, illustrated by Tom Fok in Connoisseurship of Rhinoceros Horn Carving in China, Hong Kong, 1999, pl.36.倣商周犀角爵杯 見北京故宮博物院清宮舊藏明/清各一例，《故宮博物院珍藏文物珍品全集：竹木牙角雕刻》，北京，2001年，圖136，頁 154，圖 205，頁 56。另一例藏於哈佛大學博物館，出版著錄於 霍滿堂《中國犀角雕刻珍賞》香港，1999年，圖 36。Prospective purchasers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to coral, ivory, rhinoceros horn and tortoiseshell. Accordingly, prospective purchasers should familiarise themselves with relevant customs regulations prior to bidding if they intend to import this lot into another country.Please note that an export licence will only be granted for rhinoceros horn objects providing the hammer price meets or exceeds the value of $100 per gram of the items weight.有意購買者請注意，由於若干國家禁止進口包含瀕危物種材料的物品，包括但不限於珊瑚、象牙、犀牛角和玳瑁的物品。因此，準買家如果打算將這批商品進口到另一個國家，則應在投標前熟悉相關的海關規定。 請注意，犀牛角拍品的出口許可證只有當落槌價格達到或超過每克100美元的價值時，才會頒發。Condition ReportThe Jue finely carved and of rich colour. One leg is a modern replacement, made of resin. The tip of one of the other original feet, slightly worn. There are other natural blemishes around the body in keeping with its age and material.

A BRONZE MODEL CANNON ON FIELD CARRIAGEEarly 20th CenturyThe 55cm barrel stamped 'SSS' and mounted on a wooden carriage, with 16 inch spoked wheels, overall length approx 80cmCondition report: Wear and oxidisation in areas, notably to the iron mounts to the exterior of the wheels.Some shrinkage splitting in areas to the wheels. Light surface wear, dirt and dust to the bronze cannon barrel, with a stamp 999 to the one end. Dirt and dust as to be expected overall, wear, scuffs, scratches and dents commensurate with use and age.

A PAIR OF REGENCY PATINATED AND GILT BRONZE LUSTRE CANDLESTICKS AND A DERBYSHIRE SPECIMEN HARDSTONE THERMOMETER (3)19th CenturyEach of column form and hung with faceted glass drops with detachable nozzles, 16cm high, together with a black marble mounted desk thermometer, with ivory face, signed ‘R.HARTLE MATLOCK’, 22cm highCondition reportThe pair of lustre candlesticks: Dirt and dust overall, with some oxidisation, rubbing and general wear commensurate with use and age. Some dents to the bases. Glass drops are very dirty. The thermometer: Restoration to the bottom right side, extending around the front and back corner. Small nibbled chips to edges and corners, commensurate with use and age. Dirt and dust. 

A REGENCY GILT-BRONZE SCULPTURE GROUP OF A SLEEPING CHERUB AND GUARDING DOGEarly 19th CenturyMounted on a rectangular base, unsigned, 13.5cm highCondition report: Gilding rubbed in areas. Some tarnishing in places commensurate with use and age. 

A Japanese Meiji period bronze twin handled vase, decorated with a pheasant and a bird amongst foliate branches and overlaid in copper, brass and white metal, unsigned to the base, height 31cm.Additional InformationTwo-tone patina throughout, with general tarnishing, scratches and wear consistent with age, somewhat grubby in parts.

A Victorian bonbon dish modelled as a cold painted bronze bird seated upon a mother of pearl shell on a silver plated circular base, height 8.5cm.Additional InformationThe bird is slightly loose where it is fixed to the shell. The silver plate with general age wear, tarnishing, eytc.

LORENZO QUINN (Rome, 1966)."Trust".Bronze sculpture on marble base. Exemplary 753/999.Signed and justified.Measurements: 24 x 30 x 19 cm.Son of the actor Anthony Quinn, this sculptor grew up between the United States and Italy, being in this last country where he learned to appreciate art. At the age of twenty-one, he earned the respect of New York's artistic society by creating a work for the United Nations, a work that gave him the impetus to star in the much-lauded Absolut Vodka advertising campaign, for which the world's most acclaimed artists are selected. Shortly thereafter, he received an important commission from the Vatican, which commissioned him to create a sculpture of the saint on the occasion of the 8th Centenary of the Death of St. Anthony. Quinn has held exhibitions on five continents, and his work is present at major art fairs around the world. He has also created several public works, in cities such as London, Birmingham and Sant Climent de Llobregat (Barcelona). In November 2005, two monuments by his hand were inaugurated in the sports complex that hosted the 2006 Asian Olympic Games in Doha (Qatar).

Ɵ POETRY: 15 Works in 3 volumes, nineteenth-century. [BYRON, G.G.N.] The Giaour, half-title, 1813. - [HEMANS, Felicia] Modern Greece, 1817. - [HODGSON, F.] Childe Harold's Monitor, 1818. - [BYRON, G.G.N.] The Age of Bronze, 1823. - SCOTT, W. The Field of Waterloo, Edinburgh, 1815, these 5 works in one vol., first editions; and 10 others in 2 vol. by Richard Payne Knight, Louisa Poulter, Michael Wodhull and others (full list available), together 3 vol., uniform contemporary half russia, one spine worn (not the Byron vol.), 8vo.SOLD NOT SUBJECT TO RETURN. Condition Report: FULL LIST:[Byron, G.G.N.] The Giaour, 1813 - [Hemans, Felicia] Modern Greece, 1817 - [Hodgson, F.] Childe Harold's Monitor, 1818 - [Byron, G.G.N.] The Age of Bronze, 1823 - Scott, W. The Field of Waterloo, Edinburgh, 1815Knight, H. Gally. Phrosyne, 1817 - Knight, Richard Payne. A Monody on the Death of... Charles James Fox, 1806-7 - Wiffen, J.H. Jerusalem Delivered, 1821[Davenport, E.] The Golden Age, 1823 - [Poulter, Louisa] Imagination, 1820 - Bayly, T. Erin, 1822 - [Bentley, R.] Patriotism, a Mock-Heroic... second edition, 1765 - Wodhull, M. The Equality of Mankind, 1799 - [Ireneo, S.] Tributi per l'istallazione di S.A.R. Duca di Gloucester..., Cambridge, 1811 - An Ode performed in the Senate-House at Cambridge, June 29, 1811..., Cambridge, 1811  Condition Report Disclaimer

A wonderful 1930s gold,silver and bronze sequinned jacket with long sleeves, brilliant condition for age. best fit around a uk size 8

A desirable addition to any collection of special Minis and offered at 'No Reserve'.One of only 3,000 produced in the UK specifically for the Mini’s 30th AnniversaryComplete with a certified John Cooper Conversion – No 019RF100090 offering a power increase from 41bhp to a more healthy 60bhp at 6000 rpmRecently professionally refreshed after a period of storageFinished in black, one of only two colours availableHighlighted by subtle anniversary decals and Minilite-style alloy wheelsThe spirit of the 60s in a car for the 90sA desirable addition to any Mini collection and offered without reserveAt the heart of the conversion offered by John Cooper Garages was a new cylinder head that offered performance straight out of a race engine tuner’s handbook, developed in conjunction with Cooper’s old friend Jan Oder and Janspeed Engineering, boasting larger inlet and exhaust valves for greater fuel flow capability and new aluminium bronze vale seats that offered reliability and durability at a time when greener fuels were emerging.John Cooper Garages claimed, at the time, that torque was increased from 42lb.ft to 64lb.ft and power output up from 41bhp to a healthy 60bhp, decreasing the car's 0-60 time by six seconds to 12.6 secs, not too shabby for a standard Mini over 30 years ago. At the time this was every boys dream which those of us who are of a certain age will surely remember.SpecificationMake: ROVERModel: MINI COOPER THIRTYYear: 1989Chassis Number: SAXXLZS1N20441543Registration Number: G514 NUXTransmission: ManualEngine Number: 99ME200115255Drive Side: Right-hand DriveOdometer Reading: 64925 MilesMake: RHDInterior Colour: BlackClick here for more details and images

A lovely, low ownership, 1955 86" Series 1 fresh from a fastidious restoration. Superbly restored Series 1 from long-term ownershipOriginally supplied new to a farmer in Shropshire Underwent body off - nut & bolt restoration in 2018/20Our vendor believes he is the car's 4th owner and it appears to have been used lightly all its lifeThe indicated mileage when he bought it was 20,192 .(see MOT 2005/06). Current 24,572This is a really lovely Srs 1, properly recommissioned and delightfully presentedAs an engineering marvel, the Land Rover can still outstrip its modern counterparts, and the Series I rightly belongs in the Motoring Hall of Fame. Hugely successful globally, improvements were made throughout its long lifespan. In 1950, the lights were moved from a position behind the grille to protrude through the mesh and in 1952 a larger 2.0-litre petrol engine replaced the original 1.6-litre. The wheelbase was extended to 86 inches in 1955 to give the vehicle more stability and greater load capacity. The stronger, more reliable 2.0-litre petrol engine was standard until 1957.This venerable Series 1 is believed to have been originally supplied new to a farmer in Shropshire before finding a home, some years later, in Bromsgrove where it appears to have been renovated and resprayed in a green (not Bronze Green). It was then sold to a Mr Wyatt in Telford who owned the car for many years before old age meant it had to be moved on. It was purchased by its current owner, our vendor, in 2006 and he used it regularly but lightly, until the decision was made to fully restore the 'Landie' with the process starting in 2018.Our vendor has kindly provided us with a list of the work carried out (below) and invoices and full details are in the cars history file.;Underwent body off - nut & bolt restoration in 2018/20.Chassis stripped, repaired where necessary, powder coated. Bulkhead soundAll body panels retained were stripped, primed, and resprayed in Bronze Green.New outer wing panels – AB panels. New tailgate – Wadsworth panelsNew under-tub cross membersAll parts galvanised where required (except door top edges)Differentials/axles checked, serviced and paintedAll relevant suspension, steering bushes etc. renewedSprings are parabolic fitted approx. 8 years ago, new shock absorbersEngine: head off and de-coked/reconBlock, pistons etc. all OK. New core-plugs fitted. Repainted block in original duck blueGearbox checked, serviced.Radiator reconditioned. Tested/pressure checked. New hoses throughout.Rewired/new wiring harness/dynamo/coil/battery and related partsElectronic ignition fittedNew rear lamps, headlampsNew wiper blades and refurbished motorsFuel gauge as with all Series 1 is not reliableHeater ducting and heater repaired but like all Series 1s, never good at its job.Brakes – totally replaced, brake pipes, master cylinders, brake cylindersSteering wheel refurbished by Charlesworth - 2021New chrome mirrorsNew seats front & rear - Undercover CoversNew sliding window felt railsRecent new canvas tilt cover – 2021 - Undercover CoversNew tyres all round855 UXB is now in simply splendid condition and as nice a Series 1 as you'll find. Our vendor believes he is the car's 4th owner and it appears to have been used lightly all its life. The indicated mileage when he bought it was 20,192 (see MOT 2005/06) and the current mileage is 24,572 meaning that only 4,380 miles have been covered in the last 15 years.Often restored and rebuilt but rarely to this standard, this lovely 86" Series 1 is now ready to be enjoyed once again, be that at a local County Show or scattering the pheasants down a country lane. SpecificationMake: LAND ROVERModel: SERIES 1 86"Year: 1955Chassis Number: 57105335Registration Number: 855 UXBDrive Side: Right-hand DriveOdometer Reading: 24562 MilesMake: RHDClick here for more details and images

An Indian bronze shrine depicting Siva and Parvati, Deccan, Southern India, circa 18th century, the couple seated together under an elaborate arched prabha, diminutive figures of Nandi and Ganesha, along with a sivalingam in front, the arch surmounted by a kalasa finial, 19.5cm high Provenance: Private collection formed largely in the 1980's and 1990's.   Condition Report: Some knocks and wear commensurate with age Condition Report Disclaimer

A Chinese gilt bronze Buddha, Qing Dynasty, Qianlong, the deity seated in dhyanasana on a double lotus base, his loose robes falling from the left shoulder leaving the chest bare, both hands raised in dharmachakra mudra (teaching gesture), the face with gentle smile and framed by long pendulous ears and hair curled into tight 'knots' surmounted by an ushnisha below a gilt cintamani pearl, 22.5cm high, 1,770 gramsProvenance: From a European collection清乾隆 铜鎏金座佛拍品来源：欧洲私人收藏Condition Report: in good condition other than wear to gilding commensurate with age Condition Report Disclaimer

A rare Chinese Cloisonné enamel censer, Ming Dynasty, 16th-17th century, the compressed body raised on three gilt elephant-head gilt-bronze feet with paw terminals, the exterior decorated with fruiting grape vine reserved on a turquoise ground below a band of clouds encircling the shallow neck, with a pair of coiled dragon handles rising from the flat gilded rim, 15cm diameter x 10.5cm high, weight 990 grams Provenance: Purchased from John Sparks, 28th January 1965 for £225.00 by the late owner and prior to this in the Max Robertson Collection, London. 明十六世纪 掐丝珐琅葡萄纹兽足双耳炉（克重990g）拍品来源：英国私人收藏，现藏家于1965年1月28日购自英国著名古董商John Sparks，此前曾为伦敦中国艺术收藏家Max Robertson私人收藏  Condition Report: old waxed repair to side otherwise wear commensurate with age and some wear to gilding sold with a photocopy of the John Sparks sale receipt Condition Report Disclaimer

A Chinese gilt-bronze figure of a lady, Ming Dynasty, adorned in a long dress incised with floral embroidery and cast with two circular buttons, the face with a serene expression below a neatly tied top-knot, raised 'rock' base, 30cm high, 1,733 grams Provenance: Private collection formed largely in the 1980's and 1990's. 明 铜鎏金何仙姑像拍品来源：英国私人收藏Condition Report: most of the gilding lost and wear to surface commensurate with age Condition Report Disclaimer

A large Chinese inlaid bronze vase, hu, 17th or 18th century, the pear-shaped body rising from a splayed foot to a waisted neck and flaring rim, flanked by a pair of archaistic beast handles with notched flanges, the body and neck cast with taotie bands, separated by a band of kui dragons, all reserved on a leiwen ground, highlighted with gold inlays, 47.5cm high, approximately 10,200 gramsProvenance: Formerly in a private French collection17-18世纪 铜错金饕餮纹大瓶拍品来源：法国私人收藏Condition Report: Wear and encrustation to the surface commensurate to age. Fading to the gildingCondition Report Disclaimer

A rare Chinese bronze two-handled tripod censer, 17th/18th century, the compressed globular body raised on three short conical feet, the slightly everted rim set with two upright loop handles, the underside cast with 'song yue lv' seal mark ('Companion of Pine and Moon'), 13.5cm, weight 1,158 gramsProvenance: Purchased by the late J.B. da Silva (1918-2003) at Christies South Kensington on 10th September, 1982 (lot number not recorded) for £84.00 and by family descent. No receipt but itemised in collection notes. 17/18世纪 "松月侣"款桥耳炉（克重1170.4g）拍品来源：前英国外务部官员J.B. da Silva (1918-2003) 私人收藏，其于1984年9月10日以84镑购自伦敦佳士得南肯辛顿Condition Report: general surface wear and encrustation commensurate to age, and minor manufacture faults to the inner rim and interior of the censerCondition Report Disclaimer

A collection of Austrian cold-painted bronze figures of animals including “Mallard Drake”, “Woodcock”, “English Pointer” and “Scottie Dog”, all unmarked but in the style of Franz Bergman CONDITION REPORTS Heights of figures are: Duck 6.5cm, Woodcock 5.3cm, Pointer 5.2cm and Scottie 3.5cm. All have wear to the paintwork especially the dogs. The woodcock has a bent beak and is later attached to a one penny piece. Otherwise general wear and tear conducive with age and use. See images for more detail.

This lot will be auctioned on Thursday, November 11th. The auction will begin at 3:00pm BST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on November 9th or November 10th.A Thomas-and-friends crew gift from the production of the long-running children's television show Thomas the Tank Engine.This sculpted crew gift features Thomas, The Controller and seven of the other main engines. It is made of resin embedded with bronze powder, and sits upon a wooden base. Both the base and the back of the sculpture feature a black, felt lining. A sticker on the base reads "Thomas The Tank Engine And Friends - Series 9000, 2004 - 2005". The sculpture features some wear from age, including scuffing and scratches. Dimensions: 37 cm x 9 cm x 19 cm (14½" x 3½" x 7½") Estimate: £800 - 1,200 †Δ

This lot will be auctioned on Tuesday, November 9th. The auction will begin at 3:00pm BST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on November 10th or November 11th.Maximus' (Russell Crowe) prototype general armour from Ridley Scott's Oscar®-winning historical epic Gladiator. Maximus wore his armour while commanding the Roman legions against the barbarians in the opening battle. The armour is a prototype version made of fibreglass painted to appear bronze and silver. The chestplate and backplate are connected with a pair of leather straps on each side. The armour has been intentionally distressed, with slashes on the chestplate to make it appear battle-worn.The armour is displayed on a custom-built stand and has some scuffs and scratches from use and age, most notably on the interior. Dimensions (displayed): 30 cm x 40 cm x 74 cm (11¾" x 15¾" x 29¼") Estimate: £3,000 - 5,000 M

This lot will be auctioned on Tuesday, November 9th. The auction will begin at 3:00pm BST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on November 10th or November 11th.C-3PO's (Anthony Daniels) hand from Irvin Kershner's Star Wars: The Empire Strikes Back. As the loquacious protocol droid, Daniels wore mechanical-looking gloves throughout the film. The C-3PO costume was heavily revised following the production of Star Wars: A New Hope, with the hands changing from their original vacuum-formed plastic construction to simpler one-piece gloves in cast urethane.This moulded urethane glove is plated in C-3PO's distinctive silver and bronze colouring. Mechanical ridged detailing adorns the knuckles, joints and back of the hand, and yellow, red and white-painted cables run down the fingers towards the black-painted palm. There is an intentional split on the wrist, with a pair of metal snaps affixed, which allowed Daniels to put the hand on comfortably. The glove shows some signs of wear and production use, but remains in good condition considering its age. It exhibits marks, cracking and flaking to the reflective paint finish, and the colour has worn away in places, notably around the knuckles, revealing the urethane beneath. Light corrosion is present on the metal studs, but the urethane remains malleable. Dimensions: 24 cm x 14.5 cm x 7 cm (9½" x 5¾" x 2¾") Estimate: £15,000 - 20,000 M

This lot will be auctioned on Wednesday, November 10th. The auction will begin at 3:00pm BST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on November 9th or November 11th.General Virilus' (Dominic West) costume from Neil Marshall's historical action thriller Centurion. Virilus wore his armoured costume as he commanded the ninth legion north into Caledonia to stop an uprising of Celtic warriors known as Picts.This costume consists of a bronze-colour urethane galea-style helmet with leather straps and a brown and grey plume of synthetic hair which has been added to complete costume; a silver-colour urethane piece of torso armour; pair of bronze-colour bracers with leather details; a crimson cape with brown urethane accents which has been added to complete costume; a beige shirt and pair of beige trousers from production which have been added to complete costume; a pair of bronze-colour urethane greaves; and a pair of brown leather sandals form production which have been added to complete costume. It exhibits signs of wear and age from production. Estimate: £1,200 - 1,800 Ω

This lot will be auctioned on Wednesday, November 10th. The auction will begin at 3:00pm BST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on November 9th or November 11th.Acrisius' (Jason Flemyng) stunt cursed sword from Louis Leterrier's fantasy-adventure remake Clash of the Titans. Acrisius was struck by a bolt of Zeus' (Liam Neeson) lightning, leaving both him and his weapon deformed.The sword is made of rubber with a metal armature, and has been painted to look like bronze. It is intentionally distressed and is split down the middle from the lightning strike. The sword has some wear from production use and age, including scuffing and scratches. The tip of the blade has come away, revealing the armature beneath. Dimensions: 81.5 cm x 3.5 cm x 8.5 cm (32" x 1½" x 3¼") Estimate: £2,000 - 3,000 M

This lot will be auctioned on Tuesday, November 9th. The auction will begin at 3:00pm BST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on November 10th or November 11th.Captain America's (Reb Brown) costume from Ivan Nagy's superhero TV movie Captain America II: Death Too Soon. Steve Rogers donned his signature superhero costume when he finally adopted his father's "Captain America" moniker, and again when he hunted eco-terrorist Miguel (Christopher Lee). This costume was on display at the first installation of the Marvel: Universe of Super Heroes exhibit at MoPop in Seattle in 2018.It consists of a blue urethane pullover cowl with two elastic straps; a blue hooded zip-up spandex bodysuit featuring iconic American flag motifs of red and white stripes and a white star; a pair of matching Spandex-blend blue trousers; a red leather belt with a bronze-colour buckle which was featured on Brown's costume in the previous film in the series, Captain America; a pair of red leather gloves with velcro straps; and a pair of matching rubber-soled, red cuffed leather boots. It is affixed to a white fibreglass mannequin for display purposes. This costume exhibits signs of wear from age and use including some discoloration on the blue sections of the costume. Dimensions: 190.5 cm x 61 cm x 40.75 cm (75" x 24" x 16") Estimate: £6,000 - 8,000 Ω

This lot will be auctioned on Tuesday, November 9th. The auction will begin at 3:00pm BST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on November 10th or November 11th.Perseus' (Sam Worthington) hero soldier sword from Louis Leterrier's fantasy-adventure remake Clash of the Titans. Perseus carried his sword as he accompanied the King's Guard on their quest to defeat the Kraken, and used it when practising with Draco (Mads Mikkelsen).The sword is made of solid cast bronze and has been intentionally distressed to look worn.It has additional wear from production use and age, including scuffing, scratches, small spots of verdigris, and a dent on the edge of the blade. Dimensions: 70.5 cm x 6.5 cm x 8.5 cm (27¾" x 2½" x 3¼") Estimate: £4,000 - 6,000 M

Roman, a collection of coins, to include Imperial Roman; Severus Alexander 222-235 AD silver denarius, obv. Laureate and draped bust right within IMP SEV ALEXAND AVG (Imperator Severus Alexander Augustus: Emperor Serverus Alexander Augustus), rev. Severus Alexander as Romulus, walking right with spear and trophy within P M TR P VII C_OS II P P (Pontifex Maximus, Tribunicia Potestate Septima, Consul Secundum, Pater Patriae: High priest, holder of tribunician power for the seventh time, consul for the second time, father of the nation; Constantine I 306-337 AD bronze Sol coin, obv. Laureate and draped bust right within IMP CONSTANTINUS AUG, rev. Sol, radiate, standing left, chlamys draped over upper chest and left shoulder, holding globe above hip to right within SOLI INVICTO COMITI PTR (To the invincible Sun [God], companion of the Emperor, Trier mint, TF in field (TEMPORVM FELICITAS; The happiness of the age); Julia Donna 193-211 AD silver denarius, obv. Draped bust right within IVLIA AUGUSTA, rev. Ceres seated left holding corn ears and torch within CERERI FRVGIF (Cereri Frugiferae; To the fruit bearing Ceres) (worn); Constans 333-350 AD denarius, obv. Laureate draped bust right within CONSTANS, REV. Securatas standing, leaning on a column with sceptre in the right hand (worn); and Constantine I 306-337 AD copper follis, obv. draped and rosette diademed facing right with CONSTANTINUS MAX AUG,rev. two soldiers standing facing each other, each holding a spear with two standards between within GLORIA EXERCITVS (To the glory of the army), SMNT mint mark for Nicomedia beneath, etc. (10)

Chinese brass censer, squat form, raised on straight foot, six character mark to base, 15cm diameter, together with a Chinese bronze dish with floral design. (2)Condition report: There are three small holes to the body of the censer , and a small dent. Otherwise general surface wear commensurate with age. The dish has some scratching.

THREE CHINESE BRONZE VESSELS Of archaic form The largest 34cm high x 19cm x 18cm Condition: Signs of wear and oxidation commensurate with use and age, a thin crack to the largest example

A ORIENTAL BRONZE MODEL OF A DRAGON Modelled standing upright By repute from Luang Prabang 23.5cm Condition: Minor signs of wear commensurate with age and use

AN INDONESIAN BRONZE RAIN DRUM With glass top 52cm high x 66cm diameter Condition: Minor signs of wear commensurate with age and use

ANNA REDWOOD R.O.I. (BRITISH, CONTEMPORARY) - SEATED NUDE Property from an Emerald Hill shophouse, the home of the interior designer behind ‘Galerie Cho Lon' Bronze, on marble base, Signed and numbered 4/18 37cm x 44cm x 48cm high Condition: Signs of wear and oxidation commensurate with age and use

Eagle Comic - A collection of over 120 'Eagle' Comics. All issues date from tje Mid - lates 1980's (Bronze and Copper Age). Lot includes # 313; #247; #304; #291 and similar. Comics appear to be in Fair - Good overall condition with fading, some tears and age related wear. (This does not constitute a guarantee)

Marvel, Other - A collection of over 50 British Bronze Age comics. Lot includes 'Marvels Team-Up' a consecutive run from #1 - #17 (11 Sept 1980 - 7 Jan 1981); 'Forces In Combat ' a consecutive run from #1- 35 (15 May 1980- 7 Jan 1981); Marvel 'Blockbuster' Magazine #1-2, and #5-7 and similar. Comics and Magazines appear to be in Good overall condition with fading and age related wear. (This does not constitute a guarantee)

A Chinese bronze paperweight,Qing dynasty (1644-1911), in the shape of a Buddhist lion, seated on its haunches with its torso raised and turned to the right, finely incised with flames, its face with a smiling expression, 14.5cm long, 549.5gFor a similar lot, see Bonhams, Hong Kong, 26 May 2013, lot 365.清 铜制佛狮纸镇Condition report: Surface scratches and minor dents consistent with age. The tip of tail with a bit verdigris. 549.5g.

A Chinese bronze incense burner,Qing dynasty (1644-1911), the compressed globular body on three stud feet with two loop handles, four-character Xuande mark in a recessed rectangle to base,13.5cm diameter, 1118.8g清 铜桥耳三足炉 《宣德年制》篆书模款Condition report: 1118.8g. Surface scratches and dents consistent with age, signs of polish.

BRONZE AGE DAGGER,circa 1200-600 BC, with leaf form blade and short tang, 25.3cm long, with certificate of examinationCondition report: Nibbles and losses to blade, surface oxidisation, further scuffs, marks and general wear, further images available

BRONZE AGE RAPIER,European circa 1200-600 BC, flattened leaf form blade, 35cm long, with certificate of inspection

A bronze figure of a Burmese girl, probably French or Austrian, late 19th century, modelled seated and wearing traditional robes, she smokes an opium pipe, set on an ebonised pedestal base, 14.5cm high.Condition report: Figure appears good with no apparent damage or losses, only negligible signs of age.  Wood base has some minor wear.

A COPPER-ALLOY COPPER-INLAID FIGURE OF A SAKYA LAMATibet, 16th centurySeated on a double-lotus throne, the hands raised in mudra in front of the chest, the robes sweeping around the body in rhythmic folds and fluttering across the top of the base, the hem incised with a scrolling brocade, the face of serene expression beneath finely-incised hair. 11cm (4 3/8in) high.Footnotes:十六世紀 薩迦喇嘛銅像Published and Illustrated: O.Hoare, Portraits of the Masters: Bronze Sculptures of the Tibetan Buddhist Lineages, Part II, private publication, p.55, no.29.出版著錄：O.Hoare，《Portraits of the Masters: Bronze Sculptures of the Tibetan Buddhist Lineages》，卷二，頁55，編號29The present lot can be identified as belonging to the general field of Sakya imagery by the lotus throne and costume. The Sakya School has a strong tradition of sculpted portraiture and encouraged individually-cast portraits of the great Sakya masters, commissioned by themselves, their disciples, or spiritual disciples of later centuries. They were considered to have such well-known facial features and iconography (for those who made up their intended audience), that an inscription naming them would have been seen as unnecessary. The present lot is similar to another group of uninscribed Sakya imagery, illustrated in the first volume of Portraits of the Masters, Chicago, 2003, pls.79-82. Traditionally, those that have a youthful cast, such as the present lot, have suggested identification with Chogyal Pakpa (1235-1280) who achieved dazzling heights in scholarship, practice and career before dying at the age of 45.Compare with a related copper-alloy figure of a Sakya Lama, Tibet, 15th century, which was sold at Bonhams New York, 14 March 2017, lot 3280.For further information on this lot please visit Bonhams.com

An exceptionally rare Imperial embroidered chestnut-ground silk 'dragon' robeYongzhengMeticulously worked on the front and back in couched gold thread, satin stitch tiny detail of seed stitch with nine powerful, five-clawed dragons clutching or pursuing flaming pearls amidst a profusion of hovering cranes vividly depicted in different poses, some holding a tally in their beaks, all on a densely deep blue-patterned ground of stylised wan emblems and above a lishu hem beneath a sea of tumultuous waves interspersed with elaborate pavilions, with original sleeve extension and midnight-blue cuffs and collar decorated with further dragons and clouds.205.3cm (80 6/8in) wide x 138.5cm (54 1/2in) long.Footnotes:清雍正 御製香色地繡彩雲金龍「海屋添籌」紋袍Provenance: Linda Wrigglesworth Ltd., London, 1994An Australian private collection來源：倫敦古董商Linda Wrigglesworth Ltd.，1994年澳洲私人收藏This remarkable robe, notable for its exquisite and complex embroidery, vivid depictions of cranes and most unusual terrestrial diagram, made of elegant pavilions floating above rolling waves, was probably made for a First Rank Prince, one of the sons of the Emperor. A closely-related embroidered chestnut-ground robe, dated to 1738, excavated from the tomb of Prince Guo (1797-1738), seventeenth son of the Kangxi Emperor, is similarly embroidered with vivid designs of five-clawed dragons, cranes carrying tallies in their beaks and pavilions on lattice ground, illustrated by J.Vollmer, Imperial Silks. Ch'ing Dynasty Textiles in the Minneapolis Institute of Arts, Chicago, 2000, p.143, no.42.According to the 'Illustrated Regulations for the Ritual Paraphernalia of the Imperial Court 'Huangchao liqi tushi 皇朝禮器圖式, edited in 1759, the brown colour for garments, qiuxiangse, was one of the five Imperial shades of yellow which could only be used by the innermost family circle of the Emperor; see J.Vollmer, Ruling from the Dragon Throne: Costumes of the Qing Dynasty (1644-1911), Berlekey, CA, 2002, pp.85.This exceptional robe may have been worn by the Imperial family member during birthday celebrations. The auspicious combination of the sea hai, the pavilions wu and the tallies chou carried by the cranes underscore the auspicious wish for long life, forming the rebus Haiwu Tianchou 海屋添籌, which can be translated as 'Adding tallies to the Immortal's abode above the sea'. The literary origin of the scene originated in 'Conversations of Three Old Men', from the 'Collected Writings by Su Dongpo' Dongpo zhilin 海屋添籌, by the Northern Song scholar Su Shi (1037-1101 AD). During one chance meeting of three Immortals, the topic of age was broached. Each one of the sages tried their best to exaggerate their own great age. The second sage famously boasted, 'After every cycle of the sea drying up and becoming mulberry fields, I put a strip of bamboo in my house as a counter and now the tallies have already filled ten houses'. By the Qing dynasty, when pun rebus design became increasingly popular and the character chou 筹 for bamboo strip counter acquired a pun on shou 寿 meaning longevity, the Haiwu Tianchou 海屋添籌 phrase became a popular allusion conveying the birthday wish 'May the length of your life be eternally prolonged 'Hai wu tian shou 海屋添寿'.The term 'sea house', haiwu, probably referred to Kunlun, the fabled fairyland of the Immortals, rising from the Oceans of Eternity which is often represented by a pavilion or mansion built atop an isle, with refined caves and lavish gardens full of propitious flowers and plants, ponds made of gold and trees made of gemstones. Imperishable and magnificent in its loftiness, this land was the perfect goal of the adept's quest for Immortality; see Wu Hung, 'Mapping Early Daoist Art: The Visual Culture of Wudoumi Dao', in S.Little, Taoism and the Arts of China, Berkeley, 2000, p.85. Cranes were also considered important constituents of Kunlun. As birds with a long life span, they were deemed celestial beings, symbolising longevity, wisdom and divine grace; see M.Wan, 'Emperor Jiajing and His Auspicious Words', in Archives of Asian Art, vol.57, pp.95-120 and P.Sturman, Cranes above Kaifeng: The Auspicious Image at the Court of Huizong, in Ars Orientalis, 1990, p.33-68. Reinforcing the wish for extended happiness to last for eternity, the blue fret ground, so finely embroidered on the present robe, is an endless pattern incorporating the leiwen designs, meaning ten-thousand, thus forming the pun for 'May ten-thousand generations be granted happiness'.The combination of cranes carrying tallies, pavilions and Immortal figures became a popular subject decorating objects destined for use by the Qing Court during the Yongzheng reign. See a doucai bowl, Yongzheng mark and period, in the Victoria and Albert Museum, London, illustrated by R.Kerr, Chinese Art and Design, London, 1997, p.57; see also a blue and white dish, Chenghua mark but Yongzheng period, from the Cleveland Museum of Art, acc.no.1989.315. See also an 18th century kesi silk panel, Ming dynasty, embroidered with cranes carrying tallies, hovering above pavilions floating in waters, in the National Palace Museum, Taipei, acc.no.GU-SI-000068-00000.'Dragon robes' were supreme significant social markers representing access to power. The right to wear such garments depended on rank and status. The Manchu rulers of the Qing dynasty were keen on projecting an evocative and powerful image of themselves, and their Court costumes conveyed legitimacy and heritage. Despite their initial reluctance to wear the same type of robes as their Ming predecessors, by the reign of the Kangxi Emperor, the Manchu elites were keen wearers of richly-ornamented 'dragon' robes on semi-formal Court occasions and official duties.In Han Chinese thought, the five-clawed dragon was the quintessential symbol of Imperial power, embodying royalty, dominion and expressing the visual metaphor of the good ruler who behaved wisely for the wellbeing of his subjects. Capable of flying high in the sky and diving back into the sea, dragons were regarded as intermediaries between Heaven and Earth and credited with extraordinary powers that compared to those of the Emperor. Even the number nine, for the dragons depicted on the present robe, is highly evocative and likened to the power of Heaven. The multiple of three threes, nine has a long association with the Emperor. In addition, the 'Records of the Grand Historian' Shiji, completed during the first century BC, recounts that, having tamed the floods that once engulfed the land, the mythical Emperor Yu divided the territory into the Nine Provinces and collected bronze in tribute from each one. Thereafter he cast the metal into nine large tripod cauldrons. These vessels thus were at the heart of ruler's possessions and symbolic conveyers of power.Stylistically, the five-clawed front-facing dragons and trailing wispy clouds of the present robe closely compare with their counterpart woven on an Imperial yellow-ground kesi robe, Yongzheng, in the collection of the Minneapolis Institute of Art, Minneapolis, acc.no.42.8.11.For further information on this lot please visit Bonhams.com

A THAI BRONZE STANDING BUDDHA TORSO The bronze figure robed with one hand pointing upwards and the other downwards in the Abhaya mudra position, the ushnisha elongated in the shape of flames, on contemporary stand 92cm x 26cm x 20cm Condition: Minor signs of wear commensurate with age and use

A THAI BRONZE SEATED FIGURE OF BUDDAH Seated in a yogic cross legged-position with a monastic robe and flamed ushnisha, his right hand pointing downward in the earth touching gesture, while his left hand rests in a position of meditation (Bhumisparasa) 56cm x 44cm Condition: Minor signs of wear commensurate with age and use

TWO CHINESE BRASS TRIPOD INCENSE BURNERS Twin handled bronze incense burners, cast character marks to base 8cm high x 12cm diameter Condition: Minor signs of wear commensurate with age and use

FOUR CHINESE BRONZE TRIPOD INCENSE BURNERS Four bronze twin handled tripod incense burners, of varying sizes, various cast marks Largest measures 7.5cm high x 17cm wide x 13cm deep Condition: Minor signs of wear commensurate with age and use

A pair of French Empire style bronze and ormolu garnitures, of circular dish form over tri-form dolphin mounted bases, 14.2 cm diameter x 10 cm high, together with a similar period pocket watch stand, formed as an ormolu eagle on a marble pedestal column, 18 cm high.Qty: 3Condition report: Light surface wear commensurate with age, but no apparent damage or repair. Small nick to the corner of the base of the watch stand

A set of three bronze wall sconces, formed as mythical winged figures, two with globes, 43 cm high (to include globe).Qty: 3Condition report: One with loose wall fitting. All with general surface wear commensurate with age.