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Ca. 1200-700 BC. Western Asiatic. A fine bronze dagger with a slender blade and a concave handle that would have been inset with stone, bone or ivory. 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. Size: L:335mm / W:27mm ; 165g. Provenance: From the collection of a gentleman based in London; formerly in an old British collection; acquired in the 1980s.

Ca. 1200-700 BC. Western Asiatic. A fine bronze dagger with a slender long blade, a raised midrib, and a concave handle that would have been inset with stone, bone or ivory inlay. 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. Size: L:338mm / W:16mm ; 88g. Provenance: Property of a London gentleman, formerly acquired in Europe in the 1990s.

Ca. 800-600 BC. Bronze Age. A beautiful bronze necklace made of numerous stylized mace-head pendant amulets and beads of various sizes and shapes. 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. Size: L:245mm / W:135mm; 109g. Provenance: Property of a European collector, previously acquired on the EU Art Market from B. G. in 2017; formerly in a private collection of B. G., formed in the 1960s.

Ca. 800-600 BC. Bronze Age. A beautiful bronze necklace made of numerous stylized mace-head pendant amulets with bronze and stone beads in a red palette; the central pendant is shaped like an animal foot. 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. Size: L:240mm / W:128mm; provenance: Property of a European collector, previously acquired on the EU Art Market from B. G. in 2017; formerly in a private collection of B. G., formed in the 1960s.

Ca. 800-600 BC. Bronze Age. A beautiful bronze necklace comprising numerous stylised mace-head pendant amulets and stone beads in a red palette. 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. Size: L:275mm / W:160mm ; 70.8g. Provenance: Property of a European collector, previously acquired on the EU Art Market from B. G. in 2017; formerly in a private collection of B. G., formed in the 1960s.

Ca. 202 BC-220 AD. Han dynasty. A beautiful and rare Chinese Han dynasty pottery goose with bronze legs. The goose is standing on its detailed bronze legs which support a large globular body and elegantly slender neck terminating in a red coloured head with a black beak and open, attentive eyes. The body is decorated with brownish and green glaze, imitating the animal-s plumage. Geese were a major motif in Han dynasty era poetry and were typically distinguished between two types of geese, the domestic goose, and the wild goose. 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. Size: L:205mm / W:190mm ; 760g. Provenance: UK private collection of Asian Art; formerly acquired in the early 1990s in Hong Kong.

Ca. 3100-2500 BC. Bactrian. A fine Bactrian alabaster vessel, featuring a flat foot, a slightly bulbous body with the sides slightly flaring outwards terminating at a flared rim. It has a beautiful cream colour, with greyish 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 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 a 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. Size: L:110mm / W:145mm ; 1.32kg. Provenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets.

Ca. 3100-2500 BC. Bactrian. A fine conical Bactrian alabaster vessel, standing on a narrow flared foot. It has a beautiful cream colour, with greyish 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 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 a 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. Size: L:85mm / W:99mm ; 230g. Provenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets.

A carved stone mortar, roughly-hewn, with hollowed-out well, possibly Bronze Age. 15cm by 21cm by 16cm. Note: we understand from the vendor that the mortar was found in the Orkney Isles.

SIR KYFFIN WILLIAMS RA oil on canvas - dramatic and expansive scene featuring Bryn Cader Faner Harlech, being a bronze age prince's burial cairn, over four thousand years old, 60 x 90cms Provenance: private collection north Wales, sold to the present owner's parents by the artist during an exhibition of his work held at Oriel Plas Glyn y Weddw, Llanbedrog in November 2002, the painting featured on the cover of the exhibition catalogue Presentation & Condition: believed in original frame by 'Joints', no apparent damage or repair to the canvas, some minor gilt loss to frame edgePlease note that this lot may be subject to Droite de Suite at 4% of the hammer price (Please see terms / enquire)BUYER'S PREMIUM:24% + VAT (28.8%) on all lots up to a hammer price of £19,99916% + VAT (20%) on all lots of a hammer price £20,000 and over10% + VAT (12%) on all lots of a hammer price £60,000 and over***PLEASE CLICK ON THE IMAGE MULTIPLE TIMES TO SEE A CLEAR HIGH RES IMAGE'

A rare bronze age pottery vessel; 2nd Millennium BC, decorated with a chequerboard pattern, 5" tall x 5 1/2" diameter.

An old but otherwise undated Chinese pierced bronze censer, probably Qing dynasty; 18th/19th Century, good signs of natural wear and age, 7" tall.

A PAIR OF BRONZE AND ORMOLU PEDESTALS19TH CENTURY Each with a shell mounted on a truncated fluted column with swags, on shaped bases21cm high (2)Condition Report: Both pedestals bear the expected minor marks, knocks, scratches and abrasions commensurate with age and use. The upper section of one pedestal rotates in position and sits at a slight angle. The upper section to the other pedestal with some slight movement between it and the fluted base.   Condition Report Disclaimer

A BRONZE BUST OF A YOUNG CROWNED PRINCE19TH CENTURYOn tapering square section column and base27cm highCondition Report: Marks, knocks, scratches and abrasions consistent with age and use.The bust with good patina overall. Some minor areas of verdiegris but otherwise appears in fair order. It is securely mounted to the plinth. There is a layer of adhesive present. The plinth with some knocks and chips to the corners and with later baize to the underside which is peeling. Please refer to additional images for visual reference to condition. The bust element is 10cm high overall, the shaft 17cm high the two elements are securely fixedCondition Report Disclaimer

A BRONZE FIGURE OF AMADIS DE GAULAStanding holding a copy of the book29cm Catalogue Note: Amadis de Gaula is a Chivalric romance by Garci Rodriguez de Montalvo, written in the early 16th centuryCondition Report: Marks, knocks, scratches and abrasions consistent with age and use.The surface patina overall with patches of significant wear. His book is cast as a separate element and this is loose in it's socket with a later plug to secure but remains loose. His left foot with crack through. His left leg with a hole to the belt loop. This was presumably to hold an element which is now missing.Solid and secure on his base. Please refer to additional images for visual reference.Condition Report Disclaimer

A CARVED ALABASTER GROUP OF VENUS IN A SHELLITALIAN, 19TH CENTURYSupported by dolphins and bearing a bronze metal plaque VENERE GALLERIA TESTOLINI VENEZIA63cm high, 43cm wideCondition Report: There are marks, knocks, scratches and abrasions consistent with age and use, some scuffs and knocks to the extremities and edges.Various cracks, some hairline looking as though the two parts have not parted, others that look as though they have broken off, some been chipped along the edges of the break and then re-fixed. There are some traces of glue, other traces of filler the colour of marble, some losses - see photographs.There is surface dirt and discolouration to the marble overall. There are some natural colour variations to the marble.Please refer to additional images for visual reference to condition Condition Report Disclaimer

A FRENCH GILT AND PATINATED BRONZE BUST OF NAPOLEON BONAPARTE LATE 19TH CENTURYOn a square mahogany pedestal with Napoleon's emblem to the front and sides, on conforming feet40cm high, 14cm wideCondition Report: Marks, scratches, knocks and abrasions commensurate with age and use.The dark grey patination of the the bust rubbed in particular to the hair, nose and chin revealing the underlying bronze colour.The socle is slightly loose on the pedestal and can be slid to reveal the hole in the top of the pedestal.The sides of the pedestal are lacquered hardwood with some discolouration to the varnish in places.Some of the feet have slight movement where they meet the base.All that said these comments on condition are only apparent on close up inspection.Please refer to additional images for visual reference to condition.The height of the bust is 16.5cm.  Condition Report Disclaimer

A PAIR OF PATINATED AND GILT BRONZE VASE LAMPSCIRCA 1880The bodies with neo-classical loosely robed female figures flanked by raised pierced handles cast with lion masks and star motifs53cm high, 21cm wide Condition Report: Both with marks, knocks, scratches, abrasions consistent with age and useThese have been fitted and wired for electricity, Dreweatts do not suggest these are working and would need to be rewired and tested by a professional electrician prior to use in a domestic setting. They are sold as works of art only.There are loose elements to both, one is loose on the base, one is missing the beading to the plinth Please refer to additional images for visual reference to conditionCondition Report Disclaimer

A PAIR OF PATINATED AND GILT BRONZE CANDLESTICKSMID 19TH CENTURY, IN THE MANNER OF THOMAS ABBOTTEach hung with cut-glass drops above stork supports with crowns encircling their necks, on rockwork bases39cm highCondition Report: Each with marks, knocks, scratches, consistent with age and useThe removable drip pans are of a similar but slightly varying pattern, they are probably replacements The drops are all of the same form but are varying lengths and most have chips and losses to the tips, Dreweatts do not guarantee that the drops are originalThese have been baize lined, this is all but all worn away to the undersidesOverall these are solid and stable, the screws holding tightly at time of reportPlease refer to additional images for visual reference to condition Condition Report Disclaimer

A BRONZE AND ORMOLU INKSTANDFRENCH, 19TH CENTURY The lid mounted with a winged putto and trophies of War on a base with a wreath and a laurel border enclosing fittings19cm wide, 18cm highCondition Report: Marks, knocks, scratches, abrasions consistent with age and useThe gilt metal with areas of discolouration and unevenness The interior without the glass inkwells - the pounce-pot is present, there is pitting here to the gilt metal The lid has apparently been taped-shut previously - this has taken some surface patina with it when it has been removed - there are bands of this to one side and the rearThe underside was previously baize lined, only very small fragments remainPlease refer to additional images for visual reference to condition  Condition Report Disclaimer

A BRONZE AND GILT BRONZE PLATEAUThe oval gadrooned frame set with a mirror and on four gilt metal leaf and paw feet34cm x 24cmCondition Report: Marks, knocks, scratches, abrasions consistent with age and useThe bronze with some unevenness to the patinaThe mirror panel appears in fair condition The paw feet are gilded and this is not overly worn It stands stable on the feet, each of these has a screw to the rear for disassembly Please refer to additional images for visual reference to conditionCondition Report Disclaimer

A PAIR OF FRENCH BRONZE MOUNTED MARBLE VASESLATE 19TH CENTURYEach with twin pierced scrolling handles, on short fluted stems and square plinths30cm highCondition Report: The marble elements with various natural faults and variation including prominent veins, overall to one vase these appear to be intact with only minor marks, knocks, scratches, abrasions consistent with age and use, the second vase has some filler in these areas. there are plaster plugs to the undersides to hide and secure the screwsThe bronze elements in dark colour overall Please refer to additional images for visual reference to condition Condition Report Disclaimer

AN AUSTRIAN GILT BRONZE, SILVERED COPPER AND ENAMEL, MOUNTED OAK PRESENTATION BOX BY AUGUST KLEIN WITH PROVENANCE TO THE HOUSE OF BISMARCK, CIRCA 1895Of rectangular form with foliate handles and scrolling feet, the later leather inset top centred by a medallion of Friederich Ludwig Jahn within an enamel band inscribed Uns Deutschen kann nur durch Deutsche geholfen werden - Freiderich Ludwig Jahn with the Prince Otto von Bismarck coat of arms above a dated enamel cartouche 1815-1895, all within oak leaf borders, the lid opening to reveal a red velvet and silk lined interior containing a folio and various dedications21cm high, 55cm wide, 39cm deepProvenance: The present lot is by repute from the collection Otto Eduard Leopold, Prince of Bismarck and was presumably kept at his Berlin residence, the Reichskanzlei or palace. Thence by descent. Otto Eduard Leopold, Prince of Bismarck, Duke of Lauenburg, known as Otto von Bismarck (1815-1898) was a conservative Prussian statesman and was the first Chancellor of the German Empire between 1871 and 1890 after German unification which he is today considered largely responsible. At the time of unification, Bismarck styled himself as Imperial Chancellor of the unified German states as well retaining control of Prussia although Austria was excluded. Bismarck's diplomancy and powerful rule at home gained him the nickname 'The Iron Chancellor'. The House of Bismarck was a noble German family which rose to prominence in the 19th century largely through the achievements of Otto von Bismarck. He was granted the ducal title Duke of Lauenburg for his lifetime, a hereditary comital title in 1865 and the hereditary title of Prince of Bismarck in 1871. Several of his descendants, notably his son Herbert, Prince of Bismarck, were also politicians. The portrait image of Friedrich Ludwig Jahn (1778-1852) applied to the casket is presumably to affirm German nationalistic pride. Jahn was considered the 'father of gymnastics' founding the turnverein (gymnastics club) movement in Germany. He was also a fervent patriot, believing that physical education was the cornerstone of national health and strength which was crucial in strengthening character and German national identity. Jahn penned a vigorous defence of cultural nationalism in his work 'Das Deutsches Volkstum (German Nationality) in 1810 and it was this publication which rose to prominence after the German Unification and hence why his image is portrayed on the casket with an inscription which translates 'Germans can only be helped by Germans'Condition Report: Marks, knocks, scratches, abrasions consistent with age and use,Overall clean, there is some discolouration to the wood near the mounts to one side of the topThe gilt metal overall bright and freshThe enamel appears in good order overallThe lined interior with signs of age and wear, probably from the removal and replacing of the folio over time, the supporting arm securing the lid open at time of report and the catch securing Please refer to additional images for visual reference to conditionCondition Report Disclaimer

A LOUIS XV STYLE GILT-BRONZE CANDELABRUM À ÉCRAN LATE 19TH CENTURYWith adjustable shade-panel and two leaf cast sconces, on a steel upright with finial60cm high Provenance: Sotheby's, London, 'The Ballyedmond Collection', 23-24th May 2017, Lot 179 Condition Report: Marks, knocks, scratches, abrasions consistent with age and useThis has been drilled for electricity previously, There are holes to the rear of the baseThere are marks and pitting to the gilt metal areas, the steel shaft has a corrosion mark where the screen has probably sat unmoved - this action is stiff but is working at time of report and holding securely too The velum is intact but misshapen, Please refer to additional images for visual reference to condition Condition Report Disclaimer

λ JAMES OSBORNE (1940-1992)BOY ON A MAGIC ROCKING HORSEPatinated bronze, signed and dated 'Osborne 89'154cm high, 169cm long, 54cm wide Catalogue Note: An original version of 'Boy on a Magic Rocking Horse' was commissioned for Kensington Gardens, LondonCondition Report: Some marks, knocks, scratches and abrasions commensurate with age and use but the bronze is in generally good condition overall. The surface with some minor deposits and oxidisation. A minor crack in the bronze to the hand resting on the horse at the base of the thumb. Please refer to images for visual reference to condition. Condition Report Disclaimer

A SET OF FOUR 'BROMSGROVE GUILD' LEAD GARDEN PUTTI EARLY 20TH CENTURY, MODELLED BY WALTER GILBERTSpring holding a nest of chicks, Summer with a butterfly on her left hand, Autumn holding a leafy branch above her head, and Winter swathed in a loose robe, each with a naturalistic moulded circular base, on later square timber pedestals, one plinth embossed 'BROMSGROVE GUILD/ WORCESTERSHIRE 1910'The figures 109cm high, 111cm high, 112cm high and 115cm high, the pedestals 90cm highProvenance:H C Moffatt of Hamptworth Lodge, Salisbury (the garden designed by Thomas Hayton Mawson), Thence by descentSold Tennants, 22 July 2018, lot 22The Bromsgrove Guild of Applied Arts (1898-1922) emerged from The Bromsgrove School of Art having been founded by the School's headmaster Walter Gilbert. Initially, The Guild operated from studios in Bromsgrove, Birmingham initially producing decorative ironwork. In later years the firm expanded its production to include bronze and lead work as well as wood and stone carvings and stained glass. The Guild also featured in the 1900 Paris Exposition securing nine medals as well as participating in major municipal Exhibitions including The Arts & Crafts Society Exhibition, London 1903. By 1908 the business had established a retail outlet in Victoria Street, London as a result of their most famous commission, the iron and bronze gates outside Buckingham Palace as well as Queen Victoria's memorial. In 1922 the firm restructured as a Limited company, turning its attention to the production of more commercialised range of goods including gates, railings, signs, pendant light fittings and memorial plaques. Fortunes declined coinciding with the 1930s depression and in the final twenty years the business (1946-1966) the business was managed by George Whewell. Condition Report: All with marks, knocks, scratches, abrasions consistent with age and use, and with discolouration consistent with age and storage outside, the surfaces uneven and with some misshaping overallSummer's butterfly with signs of cracking/lifting in this areaThe bases all with old splits and cracks, they have been written on in chalk to indicate which lead figure goes on which base - these are a little unstable possibly due to the natutre of these and the carpets in our salerooms these will require proper installation at the purchaser's property Please refer to additional images for visual reference to condition Condition Report Disclaimer

A PAIR OF FRENCH BRONZE MODELS OF THE MARLY HORSESLATE 19TH CENTURY, AFTER GUILLAUME COUSTOU THE ELDER (1677-1746)41cm high, 38cm longCondition Report: There are marks, knocks, scratches and abrasions consistent with age and use, some rubbing to the extremities and edges.The patina is variable browns, with some rubbing to the almost lacquered finish.Lacking the reins to one horse, and an object to the hand of the other figure.Visible construction seam/possible repair to the right leg of one horse.That said these comments on condition are only apparent on close up inspection.Please refer to additional images for visual reference to condition Condition Report Disclaimer

A PAIR OF BRONZE AND GILT THREE LIGHT CANDELABRA19TH CENTURY With dancing girl finials, three vine moulded nozzles on fluted columns and tripod paw bases43cm (2) Condition Report: There are marks, knocks, scratches and abrasions consistent with age and use, some scuffs and knocks to the extremities and edges in particular the triform bases.Two holes to the collars half way up the columns suggesting that something once fitted here; some rubbing to the gilding in this area.Some minor bending to one figure and some branches so that they are not quite straight.One chain broken, lacking another chain swag.Please refer to additional images for visual reference to condition Condition Report Disclaimer

Three: Private G. R. Pippet, Rifle Brigade, late Ceylon Planters Rifle Corps 1914-15 Star (S-7482 Pte. G. R. Pippet. Rif: Brig:); British War and Victory Medals (S-7482 Pte. G. R. Pippet. Rif. Brig.); together with a Ceylon Tribute Medal, bronze (G. R. Pippet) the last polished and worn, nearly very fine (4) £120-£160 --- George Reginald Pippet was born at Croscombe, Congleton, Cheshire and attested for the Rifle Brigade in London on 13 December 1914, at the age of 22. By profession a tea planter, he declared 18 months’ prior service with the Ceylon Planters Rifle Corps. He served with the 7th Battalion during the Great War on the Western Front, and was wounded by a gun shot wound ‘explosive bullet’ to his right arm on 15 August 1915, being invalided to England on 18 September 1915. He was discharged no longer fit for active service in July 1916.

A French art deco garniture de Cheminee by Irene Rochard, the clock with stepped marble ornament, mother of pearl patterned arabic numeral dial and with silvered bronze pheasants to either side, the stepped ornaments to either side with silvered bronze panels, the pheasants signed 'Rochard', the movement striking the hours and half hours on a bell, the clock 47cm wide x 12.5cm deep x 37cm high, the flanking ornaments each 27cm highCondition report: The clock with very minor marks and chips due to age and use, the dial with very minor loss in the lower right and upper right corners, the movement untested but complete, generally the condition commensurate with age and use

A Chinese Bronze Censer, Xuande reign mark but not of the period, of cushion circular form with loop handles, six character reign mark, 15cm wideBronze with light marks and surface wear, no breaks or dents. Wooden base with a piece re-glued to the rim and with some other chipping. Age unknown, at least 19th century.

In entspannter rajalilasana-Haltung mit aufgestelltem Bein, sitzende Guanyin in langem Gewand, das in anmutigen Falten um den Körper fällt, die Haare in einen Chignon hochgesteckt, die Haarsträhnen fein akzentuiert, beide Arme umschlingen das rechte Knie, ganz bedeckt mit einer cremeweißen Glasur. Architektur aus mehrteilig gegossener, feuervergoldeter Bronze: Terrasse mit kleiner Treppe, darauf ein mit vier kleinen Glöckchen behangener Baldachin (die Klöppel fehlend), hinten eingesteckt zwei blütenbesetzte Äste, auf den Enden Kerzentüllen. Die Bronze Paris, um 1760.H 13,8 cm (Guanyin), 24 cm (Baldachin).ProvenienzPrivatsammlung, BelgienLiteraturZur Montierung s. Kjellberg, Encyclopédie de la Pendule Française du Moyen Age au XXe siècle, Paris 1997, S. 122 und 282

Feuervergoldete Bronze, Ebenholzfurnier, weißes Emailzifferblatt mit schwarzen großen lateinischen und kleinen arabischen Zahlen, gesägte vergoldete Zeiger, gewölbtes Glas. Vierzehntagelaufwerk aus Messing mit versilberter Bronzeglocke und Fadenaufhängung, umgebaut auf Ankergang. Nach links gerichtet stehender Löwe mit anthropomorphen Gesichtszügen, auf seinem Rücken die große Kartusche mit dem runden Pendulenlaufwerk tragend. Als Bekrönung eine Urne mit Lorbeerdraperie. Die oblonge Plinthe in eine furnierte Basis mit betonten Ecken eingesetzt. Vier Ballenfüße mit umlaufenden Blattreliefs. Auf dem Zifferblatt signiert "CAUSSARD H.GR DE ROY./ SUIV.T LA COUR." H 59, B 39,5, T 22,5 cm.Paris, um 1770 - 80.Die beiden Brüder Georges und Edme Caussard waren äußerst erfolgreiche Uhrmacher in der Epoche des französischen Königs Louis XVI. Georges Caussard wurde 1755 geboren und ist bis 1789, also bis in das Jahr der Revolution, nachweisbar. Edme hingegen verstarb schon 1780. Er durfte den privilegierten Titel "horloger privilégié du roi suivant la cour" führen und signierte wie auf dem Zifferblatt der Löwenpendule. Die Bronze wird im Allgemeinen entweder Jean-Joseph de Saint-Germain zugeschrieben oder François Vion. Roland de L´Espée erwähnt aber auch, dass die Gebrüder Caussard aus der Werkstatt Osmond beliefert wurden (Ottomeyer/Pröschel, Bd. II., S. 540). Und tatsächlich ist das bekrönende, mit Lorbeer umkränzte Urnenmotiv auch sehr typisch für das Œuvre von Robert und Jean-Baptiste Osmond. Hans Ottomeyer publizierte im ersten Band zwei Pendulenzeichnungen mit bekrönenden Vasen, die sowohl François Vion als auch Robert Osmond zugeschrieben werden und sich in der Bibliothèque Doucet befinden (Bd. I, 3.12.5). Eine eindeutige Zuweisung ist also zum jetzigen Zeitpunkt nicht möglich, da die Bronze nicht signiert ist. Aber zweifelsfrei stammt sie aus einer der besten Pariser Werkstätten, denn die Ziselierung und die Vergoldung sind von hervorragender Qualität.LiteraturDer Uhrmacher bei Tardy, Dictionnaire des Horlogers Français, Paris 3/1972, S. 116.Eine gleiche Uhr, nur mit dunkel patinierter Löwenplastik und nicht vom Uhrmacher signiert, verst. im Dezember 1967 bei Ader in Paris (Tardy, La Pendule Française 2ème Partie: Du Louis XVI à nos jours, Paris 1969, S. 235). S.a. Ottomeyer/Pröschel, Vergoldete Bronzen, Bd. I, München 1986, Abb. 3.11.3 ff.S.a. Kjellberg, Encyclopédie de la Pendule Française du Moyen Age au XXe siècle, Paris 1997, S. 278.Dieses Objekt wurde unter Verwendung von Materialien hergestellt, für die beim Export in Ländern außerhalb der EU eine Genehmigung nach CITES erforderlich ist. Wir machen darauf aufmerksam, dass eine Genehmigung im Regelfall nicht erteilt wird.

Bronze, gegossen, graviert, ziseliert, vergoldet, Email. Zusammengehöriges Paar zweier gleich gestalteter Kerzenleuchter. Die dreiseitigen Sockel mit geschwungenen Füßen sind mit goldenen Rankenornamenten vor dunkelblauem Email geschmückt. Die schlanken hochaufragenden Schäfte mit vergoldetem Rautenmuster werden von gedrückten Knäufen unterbrochen, die mit mit den Sockeln korrespondierenden Ranken verziert sind. Die Unterseiten der fünfseitigen Traufschalen zeigen ein emailliertes vielzackiges Sternmotiv. Mit unserem Kerzenleuchterpaar unmittelbar zu vergleichen ist ein Kerzenleuchter im Musée de Cluny in Paris, der von Marie-Madeleine Gauthier (op. cit.) ebenfalls als Arbeit des 13. Jahrhunderts aus Limoges beschrieben wird.Oberflächen teilweise berieben, Email mit nur geringfügigen Verlusten. H 26 bzw. 26,5 cm (mit Dorn).LiteraturZu dem vergleichbaren Kerzenleuchter im Musée de Cluny in Paris s. Marie-Madeleine Gauthier: Emaux du Moyen-Age occidental, Fribourg 1972, S. 518, fig. 577.

A collection of twenty-five 19th century and later mostly brass seals, to include a bronze example modelled as the bust of a child, the back signed ‘C Aaron’, height approx 6cm, a small seal with matrix engraved with a coat of arms (25).Additional InformationAll with general and light age wear patina of light marks, rubbing and knocks to the surface.

An early 20th century bronze miniature figure in the manner of Bergman modelled as a seated female figure, height 4.5cm, together with a small bronze figure of a putto on a circular base, stamped FBW within a circle.Additional InformationGeneral light age wear patina to both but essentially ok.

Emmanuel Villanis (French, 1858-1914),‘Lucrèce’, a patinated bronze bust, c.1890, titled and signed ‘E.Villanis’ and with applied ‘Société des Bronzes de Paris’ foundry stamp,71cm highCondition report: In good order, with only minor wear to the finish commensurate with age. Additional image of foundry mark uploaded.

A miniature bronze cast and cold painted figure possibly Austrian bearing name mark to base having age related wear approx 6cm long 

A Himalayan bronze gong, possibly 19th century, of circular form with central domed boss and all-over hammered finish, 53cm dia.Condition report: Good overall with very slight verdigris, consistent with age.

A Nordic basalt battle axe Neolithic Period, circa 2500 B.C. Of ovate cross-section, swelling around the shaft-hole, with knobbed butt, 22cm longFootnotes:Provenance:with Bastiaan Blok, the Netherlands.Celtic and Prehistoric Museum collection, Ireland, acquired from the above in 1997.For a similar Danish Middle Neolithic battle axe cf. A. MacGregor (ed.), Antiquities from Europe and the Near East in the Collection of the Lord McAlpine of West Green, Oxford, 1987, p. 74, fig. 4.171.This axe has been exhibited at the Celtic & Prehistoric Museum on the Dingle Peninsula, Republic of Ireland, a private museum founded by musician and antiquarian Harris Moore in 1998. While travelling extensively and immersing himself in museums and antiquarian shops on the continent, Harris developed a deep passion for the form and simplicity of prehistoric stone implements. Over time, he cultivated relationships with several prominent 20th century collectors of Stone, Bronze, and Iron Age European material. Objects acquired from these collections formed the basis of what is now an extensive and eclectic collection at the Museum.For further information on this lot please visit Bonhams.com

A Cypriot black-topped red polished ware jug Middle Bronze Age, circa 2000-1800 B.C.With beaked spout and globular body, the handle dividing in two at the shoulder, a pierced lug at the base of the neck, with incised zig-zag and nodule decoration, inscribed in capital letters in white ink: 'CYPRUS.', 18cm highFootnotes:Provenance:J. O. Edwards (1911-2000) collection, UK, acquired prior to 5 April 1983; and thence by descent to the present owner.For further information on this lot please visit Bonhams.com

An Anglo-Saxon bronze square-headed brooch Circa 525-575 A.D.The rectangular head-plate decorated with a notched linear design, with ribbed arched bow, the footplate of trefoil lobed form, the two lateral lobes with stylised birds' heads on the shoulder, 13.5cm longFootnotes:Provenance:Discovered in Hambleton, North Yorkshire, 23 August 2008 (PAS recorded and returned to owner, no. NCL-82EDE3).with ArtAncient, London, acquired in 2014.Celtic and Prehistoric Museum collection, Ireland.For a brooch of similar form see A. MacGregor & E. Bolick, A Summary Catalogue of the Anglo-Saxon Collections, Ashmolean Museum, Oxford, 1993, p. 118, fig. 13.13.This brooch has been exhibited at the Celtic & Prehistoric Museum on the Dingle Peninsula, Republic of Ireland, a private museum founded by musician and antiquarian, Harris Moore in 1998. While travelling extensively and immersing himself in museums and antiquarian shops on the continent, Harris developed a deep passion for the form and simplicity of prehistoric stone implements. Over time, he cultivated relationships with several prominent 20th century collectors of Stone, Bronze, and Iron Age European material. Objects acquired from these collections formed the basis of what is now an extensive and eclectic collection at the Museum.For further information on this lot please visit Bonhams.com

A large Danish thin-butted flint axe Early-Mid Neolithic Period, circa 4000-3000 B.C.Of mottled yellow-brown flint, some cortex remaining at the butt, the elongated trapezoid form with curved cutting edge and butt, 26.5cm longFootnotes:Provenance:Thorvald Rasmussen collection, Denmark. Celtic and Prehistoric Museum collection, Ireland, acquired from the above 1994-1995.This axe has been exhibited at the Celtic & Prehistoric Museum on the Dingle Peninsula, Republic of Ireland, a private museum founded by musician and antiquarian Harris Moore in 1998. While travelling extensively and immersing himself in museums and antiquarian shops on the continent, Harris developed a deep passion for the form and simplicity of prehistoric stone implements. Over time, he cultivated relationships with several prominent 20th century collectors of Stone, Bronze, and Iron Age European material. Objects acquired from these collections formed the basis of what is now an extensive and eclectic collection at the Museum.For further information on this lot please visit Bonhams.com

Two Danish thin-butted flint axes Neolithic Period, circa 4000-3000 B.C. Both of trapezoidal form, the larger example of unpolished yellow-brown flint, patinated white; the other of mottled grey flint with straight sides and curved cutting edge and butt, 24.5cm and 20cm long respectively (2)Footnotes:Provenance:Thorvald Rasmussen collection, Denmark. Celtic and Prehistoric Museum collection, Ireland, acquired from the above 1994-1995.Cf. a very similar Danish Neolithic grey flint thin-butted axe in the British Museum, acc. no. 1862,1101.64.These axes have been exhibited at the Celtic & Prehistoric Museum on the Dingle Peninsula, Republic of Ireland, a private museum founded by musician and antiquarian Harris Moore in 1998. While travelling extensively and immersing himself in museums and antiquarian shops on the continent, Harris developed a deep passion for the form and simplicity of prehistoric stone implements. Over time, he cultivated relationships with several prominent 20th century collectors of Stone, Bronze, and Iron Age European material. Objects acquired from these collections formed the basis of what is now an extensive and eclectic collection at the Museum.For further information on this lot please visit Bonhams.com

An antique Thai bronze Buddha shown standing, his hands unusually crossed at the chest in the rare posture of contemplating the metaphysical, an age crack to his robe, in the style of the 16th century but possibly later, 22'' tall.

Marvel - A collection of 10 x Bronze Age issues of Star Wars Weekly including # No 9 from April 5th 1978 and numbers 34, 59, 63, 83, 96, 108, 125 and 126. They are in Fair to Good condition with some wear.

TWO LURISTAN BRONZE AGE ARROWHEADS, 11th-6th century BC, the larger 9cm long, with ceritifcate of examination by Dr. Bonchev

BRONZE AGE DAGGER/SHORT SWORD, with leaf-like shape, ribbed section and short tang, 1200 - 600 BC, 33cm long, with ceritifcate of inspection by Dr. Bonchev

Small bronze figure of a horse, having 'P. Chenet' etched to chest, 12cm high. Condition report: Indentation from casting present, light scratches and wear in places. Please check the extra images provided. As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey.

A PAIR OF GILT BRONZE MOUNTED CHINESE TURQUOISE GLAZED PORCELAIN DOUBLE CARP EWERSIN THE LOUIS XV MANNEREach with foliate-cast rim and C-scroll rocaille base and handle around conjoined carp bodieseach 45cms high Provenance:Lady Ribblesdale, sold Parke-Bernet Galleries, New York, 2 February 1959, lot 311Condition Report: Both vases with some marks, knocks, scratches and abrasions consistent with age and use. Various small old splits to the ormolu elements (see images). One vase with a knock to the tail of one fish. Glaze with the expected minor imperfections. Please refer to additional images for visual reference to condition.  Please note, we cannot guarantee the age of these vases. Potential buyer should satisfy themselves as to the date of manufacture. Condition Report Disclaimer

A FRENCH BRONZE DEPICTING 'COLONNE DE LA RÉPUBLIQUE'LATE 19TH CENTURY, AFTER PAUL LECREUX'S ORIGINAL IN THE PLACE DES PALMISTES, CAYENNE, FRENCH GUIANAWith bust of Marianne above text celebrating the centenary of the French Revolution in 178992cm highCondition Report: The bronze with the expected minor marks, knocks, scratches, scuffs and abrasions commensurate with age and use. In generally good order overall. Some rubbing in places. The timber board to the underside/interior of the column is likely later. It appears that the bronze previously secured to a plinth or base as there ae there are some small screw holes to the lower edges (see images). Please refer to additional images for visual reference to condition. Height overall - 92cm Condition Report Disclaimer

EMILE LOUIS PICAULT (1833-1915), A BRONZE FIGURE OF A MAN 'PAX ET LABOR'LATE 19TH CENTURYHolding a hammer, on a naturalistic base with cast signature 'E. Picault', the base with inset corners and titled 'PAX ET LABOR'73cm highCondition Report: Patina - variegated colour, some possible later patination/staining including to left shoulder area.Minor scuffing, scratches and wear overall consistent with age. Please refer to additional images for visual reference to images.  Condition Report Disclaimer

AFTER CORNEILLE VAN CLEVE (1646-1732), A BRONZE AND ORMOLU FIGURAL TABLE LAMPSECOND HALF 19TH CENTURY And a gilt metal mounted Verde Cipollino marble lamp baseThe figural lamp 46cm high excluding fittings, the other 46cm highCondition Report: Overall chips, knocks, scratches and abrasions commensurate with age and useAfter van Cleve lamp - some discolouration to gilt bronze; the patination variegated green; some scratches and small pitting to marble base; holes to baseCipollino urn lamp - Cone finial detached for electrical fitting; some filler repairs; some discolouration to gilt metal Condition Report Disclaimer

A FRENCH MAHOGANY AND ORMOLU MOUNTED GUERIDON TABLEBY HENRY DASSON, LATE 19TH CENTURYThe underside stamped 'HENRY DASSON 1889'78cm high, the top 32cm diameterHenry Dasson (1825-1896) was one of the most celebrated Parisian bronzier ébénistes. Business was located at 106, rue Vieille-du-Temple, Paris until 1894. His work is renowned for the fine quality of the metalwork; ormolu and gilding. Specialising in the reproduction of the period style of Louis XIV, XV and XVI furniture. Dasson often used to copy items whilst incorporating his own style in the designs. Successes at the Paris Expositions Universalles in 1878 onwards brought his work into demand on the Continent and in England where he established an elite clientele including the Royal Family.Condition Report: Marks, scratches and abrasions consistent with age and use.Some splits along the grain of the undersides of the tiers.Some discolouration to gilt bronze edging. Please refer to additional images for visual reference to conditionCondition Report Disclaimer

AN ITALIAN WALNUT AND EBONISED 'MEDAL CABINET'LATE 17TH/EARLY 18TH CENTURY The drawers fronted by bronze medallions depicting Roman Emperors and Empresses58cm high, 105cm wide, 32cm deep Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Various old chips, splits and losses (see images). Later backboard. Two vacant holes to the top from where finials previously sat. One drawer seized closed. Side handles are old replacements, one is lacking its loop. The handles and escutcheons and cherub/scroll mounts to the drawers are old replacements. Lock plates appear original. One lock plate is lacking. No key present, all locks are open. Some evidence of old worm. Brass mount to the central door is a later addition. Some later tacks have been used to help secure the medals. There are some small old holes to the drawer fronts from where the medals were previously fixed in a slightly different position. The medals bear the expected knocks, rubbing and wear. One medal has small hole adjacent to the face. Vacant holes to the underside from where feet previously sat. Please refer to additional images for visual reference to condition.      Condition Report Disclaimer

A BRONZE MODEL OF A RECUMBENT DEERModern97cm longCondition report: - dark bronze patination, minor discolouration and wear commensurate with use and age. 

A BRONZE MODEL OF A STANDING STAGModern118cm wide; 147cm highCondition report: Dark patination, with some discolouration and rubbing commensurate with age and exposure to the elements. 

A PAIR OF BRONZE STORKSModernThe tallest: 177cm highThe smaller: 147cm highCondition report:Verdi Gris patination. Generally in good condition. Minor scuffs, wear and discolouration in areas commensurate with age and exposure to the elements.  Minor spots to the heads of both, the smaller example with gauge marks to the tip of the beak.

A BRONZE MODEL OF A FEMALE NUDE BATHINGModern94cm highCondition report:Verdi gris patination with general discolouration commensurate with age and exposure to elements. 

A MODERN BRONZE OF A SEATED SPIRITUAL MANSigned to the cast ‘MC 98 6/9’, with various symbols to the back of the figure, 49.5cm highCondition report: Minor oxidisation to the top of his hat.  Otherwise, dirt and dust in areas.  A few minor scuffs commensurate with age and use.