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1200-700 BC, Greek Archaic Period. This bronze speak has a leaf-shaped blade with raised midrib and barbs, broad neck and a tang for insertion into a haft. Bronze weaponry production flourished in western Asia, the Aegean, and Mainland Greece from the 2nd millennium BC to about 700 BC, when it was gradually replaced by iron. Swords, spears, and arrows were important symbols of war in Greek Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it. Good condition; great patina; on a custom stand.Size: L:153mm / W:24mm ; 30g; Provenance: Private London collection, formed since the 1980s on the UK and European art market.

700-1100 AD, Viking Age. Bronze pendant showing a horned, winged beast, probably a dragon, in profile. In Norse mythology, Fáfnir (Old Norse and Icelandic) or Frænir is a son of the dwarf king Hreidmar and brother of Regin, Ótr, Lyngheiðr and Lofnheiðr. After being affected by the curse of Andvari's ring and gold, Fafnir became a dragon and was slain by the brave hero Sigurd. Dragons were powerful mythological symbols, embodying power and strength. Good condition, beautiful patina; Size: L:30mm / W:30mm ; 5.4g; Provenance: Private Kent collection, formed in the 1980s on the UK art market.

Ca. 600 BC. Bronze Age. Bronze age wheel pendant comprising circular hoop and crossed spokes. In ancient societies, wheel amulets were traditionally connected with good fortune and this piece was probably worn as amulet with the hope of bringing luck to its owner. Good condition; beautiful patina.Size: L:39mm / W:37mm ; 15g; Provenance: From an old British collection formed in the 1990s.

C. 600 BC, Bronze Age Large bronze cage pendant. The pendant's openwork biconical shape is formed of a combination straight and curved, and circular sections of bronze. Such pendants may originally have belonged to precursors of the Druids. A Druid (Celtic: “Knowing [or Finding] the Oak Treeâ€) was a member of the learned class among the ancient Celts. They seem to have frequented oak forests and acted as priests, teachers, and judges. The earliest written testimony of the Druids comes from the 3rd century BC but they probably originated much earlier as this late dating reflects the point at which the literate Greek-speaking societies of the Mediterranean came into contact with the Celts of Northern Europe. Good condition; Size: L:32mm / W:61mm ; 27g; Provenance: Private London collection, formed in the 1990s on the UK and European art market.

700-1100 AD. Viking Age. Bronze sword-shaped amulet with suspension loop at the top, and a stylised depiction of a leaf-shaped blade with several fullers or blood grooves. The era known as the Viking age lasted for more than 300 years, from the late 8th century to the late 11th century. The history of the Vikings is closely linked to their role as masters of the sea and they were feared as fierce and ruthless invaders. This rare item would probably have belonged to a Viking warrior intent on expressing his martial identity or on seeking divine protection from harm in battle. Good condition; beautiful patina; Size: L:95mm / W:35mm ; 35.8g; Provenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1990s.

700-1100 AD, Viking Age. A bronze bracelet with squared terminals and alternating incised crosses and horizontal lines. In Viking society, arm rings and bracelets were not just decorative, but also served to mark bonds of loyalty between a lord and his followers in a culture where honour was a matter of life and death. Such items were also given to young men to mark their coming of age and bracelets of precious metals were also used as currency in a time before the widespread availability of coinage. Good condition; superb patina. Size: L:55mm / W:65mm ; 39g; Provenance: Property of a North London professional; previously acquire on the UK/European art market in the 1980s.

800-600 BC. Celtic Bronze Age. Heavy cast bronze bracelet with sheer terminals. In Celtic society, arm rings and bracelets were not just decorative, but also served to mark bonds of loyalty between a lord and his followers in a culture where honour was a matter of life and death. Such items were also. given to young men to mark their coming of age and bracelets of precious metals were also used as currency in a time before the widespread availability of coinage. Good condition, beautiful patina; Size: L:55mm / W:75mm ; 65g; Provenance: Property of a London gentleman, formerly with the Parthenon gallery, previously in an old English collection formed in the 1980s.

700-1100 AD, Viking Age. A heavy bronze twisted bracelet comprising several strands of bronze woven together with looped terminals meant evoke the form of a snake. In Norse mythology, Jormungand (pronounced “YOUR-mun-gand;†Old Norse Jörmungandr, “Great Beastâ€), also called the “Midgard Serpent,†is a snake or dragon who lives in the ocean that surrounds Midgard, the visible world. He was so enormous that his body forms a circle around the entirety of Midgard. He is one of the three children of Loki and the giantess Angrboda, along with Hel and Fenrir. Good condition; Size: L:55mm / W:70mm ; 29.3g; Provenance: Property of a London gallery, previously in old British collection formed in the 1980s.

2000-700 BC. Bronze Age. Rare axe head with short, crescentic blade, elongated cylindrical cheek, projecting loop handle and stepped socket. A moulded male human face with abstract features is depicted just below the socket rim. 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. Axes, swords, spears, and arrows were important symbols of war in Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it. Excellent condition; on a custom stand. Size: L:155mm / W:62mm ; 535g; Provenance: From the collection of a gentleman based in London; formerly with a British gallery; acquired in the 1990s.

1200-700 BC, Greek Archaic Period. This beautiful bronze sword has a tapering, bevelled blade with raised midrib and a sub-rectangular handle for insertion into a handle. 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. Superb condition; on a custom stand.Size: L:477mm / W:52mm ; 460g; Provenance: Private collection of an Oxford professional, formed in the 1970s-1990s on the UK art market.

C. 600 BC, Bronze Age Large bronze cage pendant. The pendant's openwork biconical shape is formed of a combination straight and curved bars of bronze, some with incised linear decoration. Such pendants may originally have belonged to precursors of the Druids. A Druid (Celtic: “Knowing [or Finding] the Oak Treeâ€) was a member of the learned class among the ancient Celts. They seem to have frequented oak forests and acted as priests, teachers, and judges. The earliest written testimony of the Druids comes from the 3rd century BC but they probably originated much earlier as this late dating reflects the point at which the literate Greek-speaking societies of the Mediterranean came into contact with the Celts of Northern Europe. Good condition; Size: L:28mm / W:52mm ; 15.9g; Provenance: Private London collection, formed in the 1980-90s on the UK and European art market.

900-1100 AD. Viking Age. A rare bronze zoomorphic amulet comprising a hexagonal frame surrounding a stylised figure of a person with hands held by their sides and legs akimbo; the space between the legs is filled, suggesting that they are wearing of a skirt and, by extension, that the figure should be identified as a woman. This unusual piece of anthropomorphic art may represent Jörð (from the Old Norse jǫrð, "earth"), the personification of earth and a goddess in Norse mythology. She is the mother of the thunder god Thor, and a wife of Odin Odin. Good condition; beautiful patina; professionally restrung.Size: L:40mm / W:41mm ; 10g; Provenance: Important London collection of Ancient art; formed in 1970s then passed by descent.

1200-700 BC, Greek Archaic Period. This bronze speak has a broad, leaf-shaped blade with raised midrib, and a tang for insertion into a haft. Bronze weaponry production flourished in western Asia, the Aegean, and Mainland Greece from the 2nd millennium BC to about 700 BC, when it was gradually replaced by iron. Swords, spears, and arrows were important symbols of war in Greek Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it. Good condition; great patina; on a custom stand.Size: L:125mm / W:30mm ; 25g; Provenance: Private London collection, formed since the 1980s on the UK and European art market.

C. 300 BC. Celtic Iron Age. Bronze omega brooch with circular hoop, rounded terminals and well-preserved loop pin. The metal of the brooch now displays a gorgeous deep green patina. In ancient Celtic societies brooches were used not only as jewellery but also as ritual objects with high monetary values and portable stores of wealth. Excellent condition; beautiful patina.Size: L:55mm / W:57mm ; 31.2g; Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1970s.

C. 1000 BC. Hallstatt Culture. Cast bronze zoomorphic amulet comprising a suspension loop, ribbed ring and stylised standing stag. A round suspension hole passes through the shoulder. Animal amulets are common in Bronze Age cultures, as they might associate their owners with the positive natural qualities – strength and fearlessness, for example – of wild beasts or the prestige of owning domesticated animals. The Hallstatt Culture, named for the village in Austria where it was first identified, is a Bronze Age Culture which flourished in much of Western and Central Europe between the 12th and 8th centuries BC; it is commonly associated with Proto-Celtic and Proto-Celtic societies and is known for the richness of its metalworking traditions. Excellent condition; beautiful patina; Size: L:40mm / W:45mm ; 20.8g; Provenance: Property of a London gallery, previously in old British collection formed in the 1980s.

1200-700 BC, Greek Archaic Period. Bronze Age. A bronze spearhead with a leaf-shaped, lentoid sectioned blade, a raised midrib and a short neck decorated with incised lines that transitions into a tang. Bronze weaponry production flourished in western Asia, the Aegean, and Mainland Greece from the 2nd millennium BC to about 700 BC, when it was gradually replaced by iron. Swords, spears, and arrows were important symbols of war in Greek Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it. Good condition, on a custom-made stand; Size: L:170mm / W:22mm ; 40g; Provenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1970s.

700-1100 AD, Viking Age. A bronze example of an axe or Perun amulet comprising a suspension loop and a stylised axe with a notched head, and impressed concentric circles intended to decorate the outward facing surface, some of which cluster around a circular opening in the axe blade's centre forming a quasi-floral motif. This type of amulet is modelled after the axe Molnia and is often seen as a counter part to the common Mjolnir amulet. Some associate these axe pendants with Perun who was the ruler of living world, sky and earth who used the axe to kill the snake that stole the earthly light. Excellent condition, with neck chain. Wearable; Size: L:32mm / W:50mm ; 10.8g; Provenance: Obtained from a B.C.F; previously in a collection formed in 1970s then passed by descent.

1000-1100 AD. Viking Age. Bronze cross with equal-length arms ending in circular terminals ornamented with equally spaced small circular ornamental details. The rectangular panels and circular terminals of the cross preserve traces of yellow enamel. The Cross is the principal symbol of Christianity, recalling the Crucifixion of Jesus Christ and the redeeming benefits of his Passion and death. The cross is thus a sign both of Christ himself and of the faith of Christians. The Vikings officially converted to Christianity during the 11th century, and this beautiful piece is a testament to their widespread adoption of the Christian faith. Good condition.Size: L:40mm / W:37mm ; 5.8g; Provenance: Obtained from L.C. ; previously in a collection, formed in the 1980-90s on the UK and European art market.

700-1100 AD, Viking Age. A heavy bronze coiled bracelet intended to evoke the form of a snake. In Viking society, arm rings and bracelets were not just decorative, but also served to mark bonds of loyalty between a lord and his followers in a culture where honour was a matter of life and death. Such items were also. given to young men to mark their coming of age and bracelets of precious metals were also used as currency in a time before the widespread availability of coinage. In Norse mythology, Jormungand (pronounced “YOUR-mun-gand;†Old Norse Jörmungandr, “Great Beastâ€), also called the “Midgard Serpent,†is a snake or dragon who lives in the ocean that surrounds Midgard, the visible world. He was so enormous that his body forms a circle around the entirety of Midgard. He’s one of the three children of Loki and the giantess Angrboda, along with Hel and Fenrir. Good condition; beautiful patina; Size: L:65mm / W:60mm ; 123g; Provenance: Property of a North London gentleman; previously acquire on the UK/European art market before 2000;

700-1100 AD, Viking Age. A bronze bracelet with squared terminals and alternating incised crosses and horizontal lines. In Viking society, arm rings and bracelets were not just decorative, but also served to mark bonds of loyalty between a lord and his followers in a culture where honour was a matter of life and death. Such items were also given to young men to mark their coming of age and bracelets of precious metals were also used as currency in a time before the widespread availability of coinage. Good condition; superb patina. Size: L:55mm / W:65mm ; 39g; Provenance: Property of a North London professional; previously acquire on the UK/European art market in the 1980s.

800-600 BC. Celtic Bronze Age. Heavy cast bronze bracelet with sheer terminals. In Celtic society, arm rings and bracelets were not just decorative, but also served to mark bonds of loyalty between a lord and his followers in a culture where honour was a matter of life and death. Such items were also. given to young men to mark their coming of age and bracelets of precious metals were also used as currency in a time before the widespread availability of coinage. Good condition, beautiful patina; Size: L:55mm / W:75mm ; 65g; Provenance: Property of a London gentleman, formerly with the Parthenon gallery, previously in an old English collection formed in the 1980s.

1200-700 BC. Bronze Age. Beautiful bronze axe head with short, curved blade, triangular cheek, rounded socket and handle-sleeve and a spiked projection on the reverse. 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. Axes, swords, spears, and arrows were important symbols of war in Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it. Good condition; superb patina. On a custom-made stand.Size: L:85mm / W:185mm ; 855g; rovenance: Obtained on the London art market in the early 2000s; formerly from the collection of an English Family, by descents form the 1970s.

Ca. 700-1100 AD. Viking Age. A thick cast Viking era bronze 'Omega' penannular brooch with circular hoop, rounded section, a broad, arrow-shaped pin and two projecting trapezoidal plates bearing elaborate geometric motifs. Brooches were an important part of Viking culture and were worn by both men and women. These items were multifunction with their most basic purpose being clothing fasteners while their more ostentatious role was to serve as a display of wealth. Brooches such as this one were status symbols, tradable goods in lieu of currency, and are often found as grave goods to provision the dead for the afterlife. For more general information on Viking Jewellery see Arbman, H. Birka I: Die Gräber, Uppsala, 1940. Good condition; wearable. Size: L:55mm / W:26.6mm ; 8.6g, Provenance: Private collection of an Oxford professional, formed in the 1970s-1990s on the UK art market.

700-1100 AD, Viking Age. A heavy bronze coiled bracelet intended to evoke the form of a snake. In Viking society, arm rings and bracelets were not just decorative, but also served to mark bonds of loyalty between a lord and his followers in a culture where honour was a matter of life and death. Such items were also. given to young men to mark their coming of age and bracelets of precious metals were also used as currency in a time before the widespread availability of coinage. In Norse mythology, Jormungand (pronounced “YOUR-mun-gand;†Old Norse Jörmungandr, “Great Beastâ€), also called the “Midgard Serpent,†is a snake or dragon who lives in the ocean that surrounds Midgard, the visible world. He was so enormous that his body forms a circle around the entirety of Midgard. He’s one of the three children of Loki and the giantess Angrboda, along with Hel and Fenrir. Good condition; beautiful patina. Size: L:65mm / W:60mm ; 140g; Provenance: Property of a London gallery, previously in old British collection formed in the 1980s.

700-1100 AD, Viking Age. A heavy bronze twisted bracelet comprising several strands of bronze woven together with flattened loop terminals decorated with incised cross hatch lines meant evoke the form of a snake. In Norse mythology, Jormungand (pronounced “YOUR-mun-gand;†Old Norse Jörmungandr, “Great Beastâ€), also called the “Midgard Serpent,†is a snake or dragon who lives in the ocean that surrounds Midgard, the visible world. He was so enormous that his body forms a circle around the entirety of Midgard. He is one of the three children of Loki and the giantess Angrboda, along with Hel and Fenrir. Excellent condition. Size: L:60mm / W:70mm ; 55g; Provenance: Important London collection of Ancient art; formed in 1970s then passed by descent.

800-600 BC. Celtic Bronze Age. Heavy cast bronze bracelet with sheer terminals. In Celtic society, arm rings and bracelets were not just decorative, but also served to mark bonds of loyalty between a lord and his followers in a culture where honour was a matter of life and death. Such items were also. given to young men to mark their coming of age and bracelets of precious metals were also used as currency in a time before the widespread availability of coinage. Good condition, beautiful patina; Size: L:55mm / W:75mm ; 65g; Provenance: Property of a London gentleman, formerly with the Parthenon gallery, previously in an old English collection formed in the 1980s.

C. 1000 BC. Hallstatt Culture. Cast bronze zoomorphic amulet in the form of a ram with short snout, long curving horns, clearly delineated legs and docked tail; a suspension hole runs horizontally behind the ram’s shoulders. Animal amulets are common in Bronze Age cultures, as they might associate their owners with the positive natural qualities – strength and fearlessness, for example – of wild beasts or the prestige of owning domesticated animals. The Hallstatt Culture, named for the village in Austria where it was first identified, is a Bronze Age Culture which flourished in much of Western and Central Europe between the 12th and 8th centuries BC; it is commonly associated with Proto-Celtic and Proto-Celtic societies and is known for the richness of its metalworking traditions. Excellent condition; beautiful patina.Size: L:43mm / W:23mm ; 7.43g; Provenance: From an old British collection formed in the 1990s;

c. 1000-1100 AD. Viking age. A beautiful bronze ring with a circular hoop and an octagonal bezel bearing incised decoration in the form of a hunter and a dragon, probably Sigurd and Fáfnir. In Norse mythology, Fáfnir (Old Norse and Icelandic) or Frænir is a son of the dwarf king Hreidmar  and brother of  Regin , Ótr, Lyngheiðr and Lofnheiðr. After being affected by the curse of Andvari’s ring and gold, Fafnir became a dragon and was slain by the brave hero Sigurd. The wearable reminder of this myth would have inspired bravery in Viking warriors. Good condition; Size: D: 20.02mm / US: 10 1/4 / UK: U; 10.55g; Provenance: Property of a North London gentleman; previously acquire on the UK/European art market before 2000.

1200-700 BC, Greek Archaic Period. This beautiful bronze sword has a tapering, bevelled blade with raised midrib and a sub-rectangular handle for insertion into a handle. Bronze weaponry production flourished in western Asia, the Aegean, and Mainland Greece from the 2nd millennium BC to about 700 BC, when it was gradually replaced by iron. Swords, spears, and arrows were important symbols of war in Greek Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it. Good condition; great patina; on a custom stand.Size: L:435mm / W:64mm ; 355g; Provenance: From the private collection of a Central London gentleman; previously in a collection formed on the UK/European art market before 2000.

Ca.1300-600 BC. Bronze Age Luristani culture. Bronze cloth pin comprising a round-sectioned shank and stylised poppy-head terminal above a cross-shaped projection. Good condition; beautiful patina; Size: L:200mm / W:30mm ; 90g; Provenance: Property of a London gallery, previously in old British collection formed in the 1980s.

C. 1000-800 BC, Celtic Bronze Age. Bronze axe head with short curved blade, elongated, cylindrical cheek with a single rib running around the outside and a reinforced, flaring socket. Bronze weaponry production flourished from the 2nd millennium BC to about 700 BC when it was gradually replaced by iron. Swords, axe heads, spears and arrows were exchanged via trade and war and are discovered in both civic and ritual context. A mace head such as this one would have been an important symbol of rank, and have served a purpose in warfare, but also in religious contexts as mace heads were common votive offerings in shrines. Excellent condition; mounted on custom-made stand.Size: L:45mm / W:105mm ; 340g; Provenance: Obtained from a B.C.F; previously in a collection formed in the 1980s on the UK art market.

700-1100 AD, Viking Age. A heavy bronze bracelet with incised linear and punched dot decoration, and striations on the terminals thought to be a stylised depictions of dragons, which frequently appear on Viking-age ornaments. In Viking society, arm rings and bracelets were not just decorative, but also served to mark bonds of loyalty between a lord and his followers in a culture where honour was a matter of life and death. Such items were also. given to young men to mark their coming of age and bracelets of precious metals were also used as currency in a time before the widespread availability of coinage. Dragons were important figures in Norse mythology, and were known for their powerful, destructive nature, perhaps reflecting a claim to power by the individual who once owned this bracelet. Good condition, beautiful patina; Size: L:50mm / W:65mm ; 31g; Provenance: Property of a North London professional; previously acquire on the UK/European art market in the 1970s;

1200-700 BC, Greek Archaic Period. Bronze Age. A bronze spearhead with a flaring leaf-shaped, lentoid sectioned blade, a raised midrib and a short neck decorated that transitions into a tang. Bronze weaponry production flourished in western Asia, the Aegean, and Mainland Greece from the 2nd millennium BC to about 700 BC, when it was gradually replaced by iron. Swords, spears, and arrows were important symbols of war in Greek Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it. Good condition, on a custom-made stand; Size: L:140mm / W:27mm ; 35g; Provenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1990s.

700-1100 AD, Viking Age. A bronze example of an axe or Perun amulet comprising a suspension loop and a stylised axe with a notched head, and impressed dots decorating the outward facing surface. This type of amulet is modelled after the axe Molnia and is often seen as a counter part to the common Mjolnir amulet. Some associate these axe pendants with Perun who was the ruler of living world, sky and earth who used the axe to kill the snake that stole the earthly light. Excellent condition, with neck chain. Wearable; Size: L:50mm / W:35mm ; 12.4g; Provenance: Obtained from a B.F; previously in a collection formed in the 1990s on the UK art market.

700-1100 AD. Viking Age. Bronze sword-shaped amulet with suspension loop at the top, and a stylised depiction of a leaf-shaped blade with interlocking diamond-shaped decoration. The era known as the Viking age lasted for more than 300 years, from the late 8th century to the late 11th century. The history of the Vikings is closely linked to their role as masters of the sea and they were feared as fierce and ruthless invaders. This rare item would probably have belonged to a Viking warrior intent on expressing his martial identity or on seeking divine protection from harm in battle. Good condition; beautiful patina.Size: L:97mm / W:12mm ; 34g; Provenance: Obtained from L.C. ; previously in a collection formed in the 1970s on the UK and European art market.

C. 600-800 BC. Bronze Age. Cast bronze zoomorphic amulet comprising an animal, perhaps a horse, shown in profile, with dual circular suspension loops, elongated head, short, curved tail and out-stretched legs. Animal amulets are common in Bronze Age cultures, as they might associate their owners with the positive natural qualities – strength and speed, for example – of wild beasts or the prestige of owning domesticated animals. Excellent condition; beautiful patina. Size: L:30mm / W:37mm ; 8.7g; Provenance: From an old British collection formed in the 1990s;

1200-700 BC, Greek Archaic Period. This bronze speak has a tapering, bevelled blade with raised midrib, a broad neck and a tang for insertion into a haft. Bronze weaponry production flourished in western Asia, the Aegean, and Mainland Greece from the 2nd millennium BC to about 700 BC, when it was gradually replaced by iron. Swords, spears, and arrows were important symbols of war in Greek Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it. Good condition; great patina; on a custom stand.Size: L:135mm / W:27mm ; 35g; Provenance: Important London collection of Ancient art; formed in 1970s then passed by descent.

1200-700 BC, Greek Archaic Period. This bronze speak has a tapering, bevelled blade with raised midrib, a V-shaped guard and a long, tapering tang for insertion into a haft. Bronze weaponry production flourished in western Asia, the Aegean, and Mainland Greece from the 2nd millennium BC to about 700 BC, when it was gradually replaced by iron. Swords, spears, and arrows were important symbols of war in Greek Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it. Good condition; great patina; on a custom stand.Size: L:370mm / W:44mm ; 360g; Provenance: Property of a London gentleman, formerly with the Parthenon gallery, previously in an old English collection formed in the 1980s.

1200-700 BC, Greek Archaic Period. This beautiful bronze sword has a tapering, bevelled blade with raised midrib, an integral cylindrical handle and a heavy, crescentic “skull crusher†guard which could be used for secondary bludgeoning attacks. 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. Superb condition; on a custom stand.Size: L:510mm / W:90mm ; 695g; Provenance: From the collection of a gentleman based in London; formerly in an old British collection; acquired in the 1980s.

700-1100 AD, Viking Age. A heavy bronze twisted bracelet comprising several strands of bronze with incised linear decoration woven together with looped terminals meant evoke the form of a snake. In Norse mythology, Jormungand (pronounced “YOUR-mun-gand;†Old Norse Jörmungandr, “Great Beastâ€), also called the “Midgard Serpent,†is a snake or dragon who lives in the ocean that surrounds Midgard, the visible world. He was so enormous that his body forms a circle around the entirety of Midgard. He is one of the three children of Loki and the giantess Angrboda, along with Hel and Fenrir. Good condition; Size: L:55mm / W:70mm ; 35.8g; Provenance: Property of a North London professional; previously acquire on the UK/European art market in the 1990s;

1200-700 BC, Greek Archaic Period. Bronze Age. A bronze spearhead with a broad leaf-shaped, lentoid sectioned blade, a raised midrib and a short neck that transitions into a tang. Bronze weaponry production flourished in western Asia, the Aegean, and Mainland Greece from the 2nd millennium BC to about 700 BC, when it was gradually replaced by iron. Swords, spears, and arrows were important symbols of war in Greek Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it. Good condition, on a custom-made stand; Size: L:110mm / W:22mm ; 15g; Provenance: Private London collection, formed in the 1980-90s on the UK and European art market.

1200-700 BC, Greek Archaic Period. This bronze speak has a leaf-shaped blade with raised midrib and barbs, road neck and a tang for insertion into a haft. Bronze weaponry production flourished in western Asia, the Aegean, and Mainland Greece from the 2nd millennium BC to about 700 BC, when it was gradually replaced by iron. Swords, spears, and arrows were important symbols of war in Greek Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it. Good condition; great patina; on a custom stand.Size: L:132mm / W:25mm ; 35g; Provenance: Private London collection, formed since the 1980s on the UK and European art market.

1200-700 BC, Greek Archaic Period. This bronze spear has a leaf-shaped blade with raised midrib and barbs, board neck and a tang for insertion into a haft. Bronze weaponry production flourished in western Asia, the Aegean, and Mainland Greece from the 2nd millennium BC to about 700 BC, when it was gradually replaced by iron. Swords, spears, and arrows were important symbols of war in Greek Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it. Good condition; great patina; on a custom stand.Size: L:137mm / W:20mm ; 35g; Provenance: Private London collection, formed since the 1980s on the UK and European art market.

700-1100 AD, Viking Age. A bronze bracelet with rounded terminals and incised interlocking crosses. In Viking society, arm rings and bracelets were not just decorative, but also served to mark bonds of loyalty between a lord and his followers in a culture where honour was a matter of life and death. Such items were also given to young men to mark their coming of age and bracelets of precious metals were also used as currency in a time before the widespread availability of coinage. Good condition; Size: L:40mm / W:65mm ; 20.3g; Provenance: Obtained from P.C. ; previously in a collection formed since the 1980s on the UK and European art market.

700-1100 AD, Viking Age. A heavy bronze bracelet with incised linear decoration, and striations on the terminals thought to be a stylised depictions of dragons, which frequently appear on Viking-age ornaments. In Viking society, arm rings and bracelets were not just decorative, but also served to mark bonds of loyalty between a lord and his followers in a culture where honour was a matter of life and death. Such items were also. given to young men to mark their coming of age and bracelets of precious metals were also used as currency in a time before the widespread availability of coinage. Dragons were important figures in Norse mythology, and were known for their powerful, destructive nature, perhaps reflecting a claim to power by the individual who once owned this bracelet. Good condition, beautiful patina; Size: L:47mm / W:60mm ; 29.7g; Provenance: Property of a North London professional; previously acquire on the UK/European art market in the 1970s;

700-1100 AD, Viking Age. A heavy bronze twisted bracelet comprising several strands of bronze woven together with flattened loop terminals decorated with incised cross hatch lines meant evoke the form of a snake. In Norse mythology, Jormungand (pronounced “YOUR-mun-gand;†Old Norse Jörmungandr, “Great Beastâ€), also called the “Midgard Serpent,†is a snake or dragon who lives in the ocean that surrounds Midgard, the visible world. He was so enormous that his body forms a circle around the entirety of Midgard. He is one of the three children of Loki and the giantess Angrboda, along with Hel and Fenrir. Excellent condition. Size: L:62mm / W:75mm ; 55g; Provenance: From an old British collection formed in the 1990s.

900-1100 AD. Viking Age. Bronze amulet comprising a longboat with stylised dragon’s-head prow and stern with carefully cast features and textured scales; nine elongated tassel pendants hang from the underside, perhaps representing oars or the wings of the dragons. Dragons were important figures in Norse mythology, and were known for their powerful, destructive nature. In Norse mythology, Jormungand (pronounced “YOUR-mun-gand;†Old Norse Jörmungandr, “Great Beastâ€), also called the “Midgard Serpent,†is a snake or dragon who lives in the ocean that surrounds Midgard, the visible world. He was so enormous that his body forms a circle around the entirety of Midgard. He is one of the three children of Loki and the giantess Angrboda, along with Hel and Fenrir. This item would have been an appropriate amulet for a ship’s captain. Good condition; beautiful patina.Size: L:145mm / W:85mm ; 116g; Provenance: Property of a professional Ancient art and jewelry expert; previously with a London gallery; initially from a private British collection formed in the 1970s.

1200-700 BC, Greek Archaic Period. This beautiful bronze sword has a leaf-shaped, bevelled blade with a fuller or “blood grooveâ€, curving attachment point for a guard and a cylindrical handle with a biconical pommel. 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. Daggers, 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. Superb condition; beautiful patina; on a custom stand.Size: L:545mm / W:90mm ; 840g; Provenance: From the collection of a gentleman based in London; formerly with a British gallery; acquired in the 1990s.

1200-700 BC, Greek Archaic Period. Bronze Age. A bronze spearhead with a broad leaf-shaped, lentoid sectioned blade, a raised midrib and a short neck that transitions into a tang. Bronze weaponry production flourished in western Asia, the Aegean, and Mainland Greece from the 2nd millennium BC to about 700 BC, when it was gradually replaced by iron. Swords, spears, and arrows were important symbols of war in Greek Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it. Good condition, on a custom-made stand; Size: L:125mm / W:33mm ; 25g; Provenance: From an old London collection formed in the 1990s.

1200-700 BC, Greek Archaic Period. This beautiful bronze dagger has a leaf-shaped, bevelled blade with a prominent midrib, and a tang for insertion into a wooden haft. 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. Daggers, 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. Superb condition; beautiful patina; on a custom stand.Size: L:382mm / W:65mm ; 300g; Provenance: Property of a professional London art expert; obtained from an old British collection formed in the 1970s.

C. 600-800 BC. Bronze Age. Cast bronze zoomorphic amulet comprising an unidentified animal, shown in profile, with a circular suspension loop at the top, arching head and tail and four legs delineated by three rounded perforations. Animal amulets are common in Bronze Age cultures, as they might associate their owners with the positive natural qualities – strength and speed, for example – of wild beasts or the prestige of owning domesticated animals. Excellent condition; beautiful patina.Size: L:24mm / W:32mm ; 9.6g; Provenance: From an old British collection formed in the 1990s;

700-1100 AD, Viking Age. A bronze bracelet with rounded terminals and incised decorative motifs including a central cross motif(?) and ribbing. In Viking society, arm rings and bracelets were not just decorative, but also served to mark bonds of loyalty between a lord and his followers in a culture where honour was a matter of life and death. Such items were also given to young men to mark their coming of age and bracelets of precious metals were also used as currency in a time before the widespread availability of coinage. Good condition; beautiful patina; Size: L:45mm / W:60mm ; 15g; Provenance: From the private collection of a South London art professional; previously in a collection formed on the UK/European art market in the 1970s;

Patinated bronze of "Lady with Umbrella", on marble base. Louis Icart is a French artist best known for his drawings of glamorous women as well as for his depictions of 1920s Paris life. He was born in Toulouse, France and began drawing at a young age. In 1907, he moved to Paris and began studying painting, drawing, and printmaking. Influenced by Jean Antoine Watteau, François Boucher, and Jean Honoré Fragonard, he became a major figure of the Art Deco period, with his work surging in popularity in both the United States and Europe throughout the 1920s and 1930s. He also worked as a designer in fashion studios during a time when the industry was undergoing a major change, moving away from the conservatism of the 19th century towards a more progressive simplicity. Size: 21 x 14 x 9 in.

Pair of monumental Chinese foo dogs, made of bronze. The female is holding her baby, while the male is holding a ball. Commensurate with age. Size: 53 x 33 x 20 in. Please note that all sales are final. No refunds will be given under any circumstances.

This life-size bronze sculpture of Andy Warhol was done in 2005 by Jack Dowd, a local Sarasota artist who creates paintings and sculptures of artists, celebrities, and everyday people with a very human-like feel to them, and his figures are imbued with a satiric, but affectionate touch. You can see that in the Warhol sculpture here. Born in New York in 1938, Jack was inspired by his father and took up sketching and drawing at an early age. He started sculpting in the ’70s, when he lived in Plainfield, Vermont. He began with a chainsaw and blocks of wood, then started working in clay because it was more flexible: he used wire mesh to build a form, molded the clay around it and made a model, turned that into a rubber mold, and cast bronze or gypsum cement figures from the mold, and his sculptures have a touch of whimsy, avant-garde and folk art all combined in one piece. Jack moved to Sarasota in 1982 and has a private studio here called Moon River. He has had many solo exhibitions sponsored by museums and art centers across the country, including the Florida State Museum of Fine Art, Jacksonville’s Museum of Modern Art, and the Ringling Museum of Art in Sarasota, Florida, which drew 40,000 visitors and was the best attended opening in the museum’s history. The Warhol sculpture is signed and dated “Jack Down 2005 AP3” on the back side, near the back pocket, and the Warhol sculpture stands 70 inches tall, with an 18 inch diameter base.

Titled "Dinner for Two" by Jack Dowd, signed on the wine bottle. Born in New York in 1938, Sarasota-based artist Jack Dowd creates paintings and sculptures of artists, celebrities, and everyday people with a very human-like feel to them, and his sculpture of the Butler is made from gypsum cement and was created in YEAR. Definitely a figure with whimsy to it. Jack was inspired by his father and began sketching and drawing at an early age. He started sculpting in the ’70s, when he lived in Plainfield, Vermont. He began with a chainsaw and blocks of wood, then started working in clay because it was more flexible: he used wire mesh to build a form, then molded the clay around it and made a model, turned that into a rubber mold, and cast bronze or gypsum figures from the mold, and his sculptures combine avant-garde and folk art together. The artist has a private studio called Moon River in Sarasota and has had many solo exhibitions sponsored by museums and art centers across the country, including the Florida State Museum of Fine Art, Jacksonville’s Museum of Modern Art, and the Ringling Museum of Art in Sarasota, Florida, which drew 40,000 visitors and was the best attended opening in the museum’s history. The Butler is cradling wine bottles in his left arm, and the figure is attached to a base which is 10 in. high, 18 in. deep, and 22 1/2 in. wide, and the whole sculpture stands 70 in. tall. “Jack Dowd” is emblazoned on both sides of the base.

Titled "Arturo". Born in New York in 1938, Sarasota-based artist Jack Dowd creates paintings and sculptures of artists, celebrities, and everyday people with a very human-like feel to them, and his sculpture of Arthur Rubenstein, the famous pianist, is imbued with a very playful touch. The gypsum cement sculpture is titled “Arturo” and is a limited edition of 10 copies that were made in 2010. Jack was inspired by his father and began sketching and drawing at an early age. He started sculpting in the ’70s, when he lived in Plainfield, Vermont. He began with a chainsaw and blocks of wood, then started working in clay because it was more flexible; he used wire mesh to build a form, then molded the clay around it and made a model, turned that into a rubber mold, and cast bronze or gypsum figures from the mold, and his sculptures combine avant-garde and folk art together. The artist has a private studio called Moon River in Sarasota and has had many solo exhibitions sponsored by museums and art centers across the country, including the Florida State Museum of Fine Art, Jacksonville’s Museum of Modern Art, and the Ringling Museum of Art in Sarasota, Florida, which drew 40,000 visitors and was the best attended opening in the museum’s history. The sculpture measures 54 1/2 in. high and 20 in. wide, and Arturo sits on a realistic piano bench with knobs on the side. Prepare for a concert in your home.

This is a large sculpture of The Singing Chef by Jack Dowd, a Sarasota-based artist who creates paintings and sculptures of artists, celebrities, and everyday people with a very human-like feel to them, and his sculpture of The Singing Chef has a light, playful touch to it. It was made from gypsum cement in 2009 and comes on a large wooden base. Born in New York in 1938, Jack was inspired by his father and began sketching and drawing at an early age. He started sculpting in the ’70s, when he lived in Plainfield, Vermont. He began with a chainsaw and blocks of wood, then started working in clay because it was more flexible: he used wire mesh to build a form, then molded the clay around it and made a model, turned that into a rubber mold, and cast bronze or gypsum cement figures from the mold, and his sculptures combine avant-garde and folk art together. The artist has a private studio called Moon River in Sarasota and has had many solo solo exhibitions sponsored by museums and art centers across the country, including the Florida State Museum of Fine Art, Jacksonville’s Museum of Modern Art, and the Ringling Museum of Art in Sarasota, Florida, which drew 40,000 visitors and was the best attended opening in the museum’s history. The figure is signed by chefs from the Ritz Carlton, Cafe L’Europe, and other restaurants in Sarasota. The sculpture is attached to the base, and the two together stand about 69 inches tall. The chef is 45 in. tall x 22 1/2 in. wide, and the base measures 24 in. high x 22 in. wide x 22 in. deep. The sculpture is a perfect decoration for people who love to cook and entertain, or for someone who owns a culinary business. Size: 68 1/2 x 23 x 22 in.

This is a large sculpture of a heart by Jack Dowd. It is a personal sculpture that he made for a specific family with their family photos inside.Sarasota-based artistwho creates paintings and sculptures of artists, celebrities, and everyday people with avery human-like feel to them, and his sculpture of The Singing Chef has a light, playfultouch to it. It was made from gypsum cement in 2009 and comes on a large woodenbase.Born in New York in 1938, Jack was inspired by his father and began sketching anddrawing at an early age. He started sculpting in the ’70s, when he lived in Plainfield,Vermont. He began with a chainsaw and blocks of wood, then started working in claybecause it was more flexible: he used wire mesh to build a form, then molded the clayaround it and made a model, turned that into a rubber mold, and cast bronze or gypsumcement figures from the mold, and his sculptures combine avant-garde and folk arttogether.The artist has a private studio called Moon River in Sarasota and has had many solosolo exhibitions sponsored by museums and art centers across the country, includingthe Florida State Museum of Fine Art, Jacksonville’s Museum of Modern Art, and theRingling Museum of Art in Sarasota, Florida, which drew 40,000 visitors and was thebest attended opening in the museum’s history.The figure is signed by chefs from the Ritz Carlton, Cafe L’Europe, and otherrestaurants in Sarasota. The sculpture is attached to the base, and the two togetherstand about 69 inches tall. The chef is 45 in. tall x 22 1/2 in. wide, and the basemeasures 24 in. high x 22 in. wide x 22 in. deep. The sculpture is a perfect decorationfor people who love to cook and entertain, or for someone who owns a culinarybusiness.40 x 33 x 5 1/2 in.

Flint arrowhead possibly Bronze Age or earlier.