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The Lakenheath Shield. A Stunning and Rare example of a Bronze Age Yetholm type copper alloy shield, circa 1300 B.C. to 975 B.C. The circular shield hammered to create a disc with a rolled forward rim onto the front face of the shield, the prominent central boss with three rings of smaller domed shaped bosses, 60cm diameter. The shield was discovered in 2015 near Lakenheath in the county of Suffolk by a metal detectorist, the shield has gone to the Portable Antiquities Scheme and registered. The shield as of January 2019 is only the 27th example ever found

A bronze celt, possibly Bronze Age, believed to have been found in Skerries, Dublin. 7cm

A pair of c1920 Egyptian Revival style cold painted bronze figural candlesticks, a young Egyptian warrior in armour with spear and a young Egyptian woman in flowing robes, each on circular stepped marble bases with gilded decoration to three circular supports, height of each 38cm. CONDITION REPORT Some age-related wear. Some very small rim chips and scratches to the base. The sceptre in hand is slightly misshapen. No obvious signs of restoration, no loss of colour etc.

After Coustou, a pair of bronze Marley horses, 19th century, height 28 cm. CONDITION REPORT: Generally in good order throughout with no obvious losses or faults visible. Both are a uniform colour throughout with slight rubbing to the horses chests and only light surface marks to both commensurate with age. A nice modelled pair.

Oriental scale design bronze bowl D: 16 cm CONDITION REPORT: No damage to the bowl little wear to the base rim suggest no great age.

3rd century BC. A Chalcidian Type V bronze helmet, possibly worn by a soldier who fought under Alexander the Great; the bowl forged in two pieces with the left part overlapping the right one; small reduced nose-guard, a moulded band traced around the eye perimeters, while the crown shows the typical carinated perimeter of the type; the carinated crown with median ridge; the front upper parts of the bowl embossed with two volutes, shaped like ram horns, connected across the perimeter by shallow ribs; the cheek-pieces a later replacement. See Pflug, H.,'Chalkidische Helme'; 'Italische Helmen mit stirnkehle' in: Antike Helme, RGZM Monographien 14. Mainz, 1988, 137-150; 276-292; Connolly, P., Greece and Rome at war, London, 1981; Christie's, The Axel Guttmann Collection of Ancient Arms and Armour, part 1, London, 2002; Christie's, The Axel Guttmann Collection of Ancient Arms and Armour, part 2, London, 2004; ????????? ?. ?., '????? ??????????? ??????? ?? ????????? ??????' (Sarmatian Age Helmets from Eastern Europe), in Stratum Plus, n. 4, 2014, pp. 249-284. This helmet is very similar to various examples in private collections (Christie's 2004, p.99, cat.103), but belongs to the variant V of the category, fitted with movable cheek-guards and mainly having a South Italian origin. In South Italy, especially in the Western part of the Lucania, the Chalcidian helmet developed with movable cheek-guards, in various imitations and variants of the originals. Helmets of this typology were exported also into the Balkans, the continental Greece and the Macedonia, as well as the Black Sea area, and we are not able to say if our specimen was used by a Italiote warrior or a noble Sarmatian or Meotian aristocratic warrior of the Pontus Euxinus. However the absence of the neck guard points towards the second hypothesis, and the possibility of the helmet being modified by Greek craftsmen of the Pontus. 722 grams, 27cm (10 3/4"). Property of a European businessman; from his private Belgian collection formed in the 1990s; previously in a North American collection formed in Illinois in the 1980s; accompanied by a metallurgic analytical report written by Metallurgist Dr. Brian Gilmour of the Research Laboratory for Archaeology and the History of Art, University of Oxford, report number 135239, and an academic report by military specialist Dr Raffaele D'Amato. This helmet is decorated with the Horns of Zeus Amun, possibly used by a soldier who fought under Alexander the Great, who, after the visiting of the Oasis of Siwa, proclaimed his divine descent from Zeus-Amun. Before Alexander, the Greeks of the lower Nile Delta and Cyrenaica, combined features of the supreme god Zeus, with the features of the Egyptian god Amun-Ra. He was usually depicted with horns that curved downward, a characteristic common to rams in the Nile region. Greek travellers to Egypt would report that Amun, who they determined to be the ruler of the Egyptian pantheon, was similar to the king of the gods of the Classical Greek pantheon, Zeus, and therefore they became identified by the Greeks as the same deity. Moreover, Amun's consort Mut became associated by the Greeks with Zeus’s consort in the Classical pantheon, Hera. At Megalopolis, the god was represented with the head of a ram (Pausania, VIII, 32 § 1), and the Greeks of Cyrenaica dedicated at Delphi, a chariot with a statue of Ammon. Such was its reputation among the Classical Greeks that Alexander the Great journeyed there after the battle of Issus and during his occupation of Egypt, where he was declared ‘the son of Amun’ by the oracle. Fine condition. A rare variant.

13th-6th century BC. A bronze spearhead with leaf-shaped blade, long tubular neck and split socket; midrib with short incised cuneiform inscription which translates to: 'Belonging to Eulmash-shakin-shumi, king of the world', he reigned for 17 years from 1003-987 BC, in Babylon. See Khorasani, M.M. Arms and Armour from Iran. The Bronze Age to the End of the Qajar Period, Tübingen, 2006. 244 grams, 29.5cm (11 1/2"). From the private collection of a North West London lady; previously with a central London gallery; formerly acquired before 1990. Fine condition. Rare.

13th-6th century BC. A bronze dagger comprising a two-edged leaf-shaped blade with median lines, curved guard and waisted grip with rows of beading to the pommel; mounted on a custom-made stand. See Khorasani, M.M. Arms and Armour from Iran. The Bronze Age to the End of the Qajar Period, Tübingen, 2006. 185 grams total with stand, 22.3cm (8 3/4"). Property of a London gentleman; acquired London art market, 1970-1980. Fine condition.

7th century AD. A bronze box brooch, discoid in plan with slightly tapering sidewall with a band of dense interlace; the upper face with a triskele of beasts each executed in three-strand banding with profile bird-head, pellet to the eye, all surrounding a central boss; hollow to the reverse with catchplate and pin-lug, remains of ferrous pin and cloth impressions. [A video of this item is available to view on TimeLine Auctions website.] Cf. box brooches in the Ashmolean Museum, Oxford, in MacGregor, A. et al. A Summary Catalogue of the Continental Archaeological Collections, Oxford, 1997, item 1.1; Arwidsson, G. Valsgärde 7, Uppsala, 1977. 23 grams, 45mm (1 3/4"). Property of a lady; from her family collection by descent; formerly in a 19th century collection. Stylistically the present brooch is a very early type of box brooch, lower and flatter than the examples from the Viking age. These normally feature a slightly domed upper face divided into quadrants with beast-head detailing but this example features a triskele of Style II zoomorphic motifs. The antecedents of the design appear to lie in the Uppland region of Sweden and specifically such items as the shield-boss found in the Mound 7 ship-burial at Valsgärde (Arwidsson, 1977"). Very fine condition, wear to part of one side.

12th-10th century BC. A bronze Troy type sword or rapier blade, leaf-shaped in plan; the midrib extending to the short tang with curved lateral extensions to the shoulders, tang with flattened finial to accept the hilt. Cf. Branigan, K. Aegean Metalwork of the Early and Middle Bronze Age, Oxford, 1974, plate 11, item 483 ascribed to Troy (Anatolian Troad"). 465 grams, 57.5cm (22 3/4"). From a private Austrian collection; formerly in a London private collection, acquired 1980s. Very fine condition.

1st century BC. A helmet of Pseudo-Illyrian form, the bowl made of two pieces of bronze, decorated from front to back by two hemispherical ribs, forming a double edge which runs from back to the front of the helmet, the two halves of the crown overlapping along the dividing seam, with three bronze rivets still visible; cheek-pieces either side. Cf. Chernenko, E. V. Skifskii dospekh (Scythian armour), Kiev, Naukova dumka (in Russian), 1968; Dedjulkin, A. V. 'Locally Made Protective Equipment of the Population of North-Western Caucasus in the Hellenistic Period', in Stratum Plus, n.3, 2014, pp.169-184; ????????? ?. ?., '????? ??????????? ??????? ?? ????????? ??????' (Sarmatian Age Helmets from Eastern Europe), in Stratum Plus, n.4, 2014, pp.249-284; ????????? ?. ?., '????? «????????» ????', (Novichikhin, A.M., 'A new Meotian helmet) in Parabellum Novum, Military History Journal, n.3 (36), ?????-?????????, 2015. This helmet is very similar to various samples found in the Scythian graves, although his origin is Mediterranean. Symonenko in 2014 individuated at least nine specimens of such category, partially fragmented or half broken, which he categorised variant I of the Illyrian helmet. He mentioned also the presence of three further helmets of this category in private collections, and one more in USA, plus a specimen in the Safari Park of Gelendzhik. All helmets of this type were found in the North-Western Caucasus (in Adygea"). The name of the typology came from the constant presence, on helmets of such category (especially characteristic of the so-called insular Illyrian helmets), of the double edge decorating the crown front to back. The chronological gap in the production of the original prototypes (from VII century BC on) and of these other specimens makes difficult to see the influence of the Illyrian helmets on the genesis of the pseudo-Illyrians (III-I century BC"). However one find in the necropolis of Nymphae (Chernenko, 1968, 92-93, fig.51) dated at the V-IV century BC seems to give the possibility that since this age the Illyrian helmets - always through the mediation of the Greeks - could have been diffused among the population of the North-Western Caucasus. 667 grams, 23.5cm (9 1/4"). From a London W1, UK, collection; acquired on the German art market before 2000; accompanied by an academic report by military specialist Dr Raffaele D'Amato. The common feature of this helmet category is, besides the form and manufacturing technique, the circumstance that the two halves of the bowl are riveted with an overlap along the 'sagittal seam'. The bowl is usually hemispherical, compressed on the sides. The bottom edge is wrapped out and embossed, forming a low roller. Somewhat higher, the roller is raised higher over the rim of the bowl, turning up on the front and forming the quoted double edge, along the 'sagittal seam'. Constructive details and ornamentation of the crown are however different and allow us to individuate several variants of such helmets. This helmet belongs to the variant I, whose specimens have been found in Kurganinsk, in the necropolis of Sereginskii (grave 138) and Chetuk, in the Sanctuary near Psenaf (Symonenko, 2014, fig.14, nn.1-4"). Other helmets of this variant are visible in the Karakovsky collection, while, according to V.R. Ehrlich, another specimen from Mesmay is stored in the depots of the Pushkin Museum of Fine Arts, Moscow. The specimens of Chetuk and Sereginskii are decorated with stylised diadems, with volutes at the ends, like those of the Chalcidian-attic helmets; one of the Chetuk helmets shows also several vertical ribs, on the frontal and parietal parts of the crown. These motifs, typical of the contemporary pseudo-attic helmets are clearly perceived in this decoration, probably because they were familiar to the craftsmen who made the pseudo-Ilyrian ones. The cheek-guards of this specimen, which according to the author of the present report, are not pertinent and are from a different model. Fair condition, restored.

12th-10th century BC. A bronze Troy type sword or rapier blade, leaf-shaped in plan; the midrib extending to the short tang with curved lateral extensions to the shoulders, tang with flattened finial to accept the hilt. Cf. Branigan, K. Aegean Metalwork of the Early and Middle Bronze Age, Oxford, 1974, plate 11, item 483 ascribed to Troy (Anatolian Troad"). 408 grams, 54.5cm (21 1/2"). Property of a North London gentleman; acquired on the UK art market before 2000. Fine condition.

Late 2nd century AD-early 3rd century AD.  Another 'hauntingly unforgettable work of art', with distinct artistic parallels to the famous Crosby Garrett helmet found in Cumbria in 2010; a bronze sports helmet mask of the exceptionally rare Mater Castrorum or female type, showing the head of an Amazon warrior or goddess with locks of wavy hair, topped with a tutulus hairstyle, diadems, garlands and other jewellery; the garland-diadem has a central knot with two hanging curls and is decorated with X-patterns inscribed inside rectangles; this mask was removable, being capable of being taken off at any time, proving that this type of helmet could be used not only during parades and other ceremonies, but also in combat.  Property of a London collector; previously in the Craddock collection having been acquired from a London gallery in 2006; formerly in the Brian Grover collection of Surrey since acquisition in York in the 1970s; formerly in the collection of Peter Minns; believed originally from Northern England; accompanied by a copy of a signed acquisition and provenance declaration/receipt dated 23 May 2005; a sales invoice to A. L. Craddock from 2006; a metallurgic analytical report, written by Metallurgist Dr. Brian Gilmour of the Research Laboratory for Archaeology and the History of Art, University of Oxford, report number 609/131084; an academic report by military specialist Dr Raffaele D'Amato who will be making a presentation on this helmet at our reception on 2nd September 2019; and a report by the conservation specialist who restored the helmet, discussing the similarities of style and workmanship to the 'Crosby Garrett' helmet, which concludes that it is likely made by the same craftsman, or at least from the same workshop; accompanied by an Art Loss Register certificate no. S00149981. Published: Illustrated on the front page of Antiques Trade Gazette, 31 August 2019, Roman mask leads antiquities parade, with further editorial on pages 32 & 33 entitled Mask 'matches Crosby Garrett find'. 580 grams, 26 x 24 cm without stand (10 1/4 x 9 1/2").  See Robinson, R., The Armour of Imperial Rome, New York, 1975; Garbsch, J., Römische Paraderustüngen, München, 1979; James, S., Excavations at Dura Europos 1928-1937, Final Report VII, The Arms and Armour and other military equipment, London, 2004; D'Amato R., A.Negin, Decorated Roman Armour, London, 2017. The two most evident samples resembling our specimen are the mask of Nola, today at the British Museum, and the mask of the Paul Getty Museum (D'Amato-Negin, 2017, p.220, fig.255 letters d-e). Maybe, as the facial mask from Nola, our mask depicts a goddess, Minerva or Victoria or Diana. This goddess is well suited to being depicted on protective arms since, unlike Mars, who loved blood, war and violence in any form, Minerva represented sacred defensive war and was the goddess of defence, symbolising the protection and patronage granted to the soldier. The stylistic type of the mask suggests that it is from the same school who made the masks of Nola (Italy?) and of the Paul Getty Museum (Syria or Egypt?). The similarity with the latter is astonishing, and like in the one of the Getty, the empty spaces of the diadem were probably originally encrusted with precious stones.  This mask helmet belongs to the category of Roman mask helmets usually employed in the sportive games, acting also as military training, of the so called Hyppika Gymnasia described by Arrian of Nicomedia in his Taktika, written down during the age of the Emperor Hadrian (117-138 AD). The finds of two opposed ‘male’ and ‘female’ kind of masks in the military camp of Straubing, together with items of arms and equipment of opposing teams which performed a theatrical cavalry tournament, allowed to understand that the two groups performed, in their exercises, the mythical fight amongst Greeks and Amazons. This theatrical Amazonomachy was popular among Roman soldiers as evidenced by the fact that it is depicted on one of the three oval shields of the third century AD from Dura Europos (James, 2004, pl.VII). The representation of an Amazonomachy scene was not only a tribute to mythological tradition. In warfare, time after time the Romans encountered women fighting against them: Flavius Vopiscus wrote that women dressed in male attire (apparently, Sarmatian women warriors) used to fight against the Romans on the side of the Goths even in the late third century AD (Scriptores Historia Augusta, Divus Aurelianus, XXXIV, 1). Therefore, the imitation of confrontation with these militant women might be quite popular for theatrical cavalry tournaments, as well as for the visualisation of mythological scenes (D'Amato-Negin, 2017, p.213). A. Negin, however, was able to individuate three different types of such female masks used in such tournaments and probably also on the battlefield: the ‘Amazon’ type, the ’Mater Castrorum’ type, and the ‘Medusa’ type.  Our specimen belongs to the Mater Castrorum type. E. Künzl (2008, pp.115-117) noted the similarity of some masks with images of soldiers’ empresses of the third century AD and suggested their relationship with the cult of mater castrorum (mother of the camp). It is commonly known that, besides civilian titles, an empress received this honorary title for her participation in military campaigns, like Faustina the Younger or Julia Domna (D'Amato-Negin, 2017, p.222). Examples in this group of masks date from the second half of the second to the first half of the third centuries AD. It was not necessary to make an exact copy of the portrait of a woman of the imperial family, it was sufficient to have a few distinguishing features on an item and achieve a general resemblance. According to J. Oliver, celebrations in the calends of January (Kalendae Ianuariae), as marked in the military calendar from Dura-europos (Feriale Duranum), namely 1 January, were intended to honour and bring sacrifices to the mother patroness of the military camp (mater castrorum). Negin assumed that during the solemn and theatrical ceremonies, masks of this type could be worn by the celebrant representing the divine patroness of military camps and performing games in cavalry tournaments. The relationship, at least, of a number of female masks to the cult of mater castrorum partly explains the fact that Arrian in his treatise on cavalry tournaments mentioned nothing about masks depicting female faces, as Faustina the Younger was awarded this title forty years after this source had been written. Putting on the attributes of a different gender identity, male soldiers impersonated women both in theatrical performances of Amazonomachy and in ceremonies honouring the ‘mother of the camp’.  Very fine condition, an exceptional survival from Roman Britain. Excessively rare. [A video of this item is available to view on TimeLine Auctions website.]

Early 3rd millennium BC. A squat ceramic pot with carinated profile, everted rim, band of impressed linear ornament to the shoulder. See Briard, J. The Bronze Age in Barbarian Europe, London, 1979 for discussion. 517 grams, 14.5cm (5 3/4"). Property of a professional collector; acquired before 1990. [No Reserve] Fine condition.

4th-3rd century AD. A large silver appliqué, to cover the frontal head of a horse, with richly chased decoration showing the outstanding work of probably Pontus Greek artists; in the centre the head of Athena Promachos (warrior Athena), seen from three quarters, inside a phalera (disc) decorated with foliate motifs; the Goddess is represented carrying an attic helmet ornamented with a three-folded plume (tryfaleia); the phalera is positioned and affixed between two female Deities; above a female priestess is performing a sacrifice to a statue of a goddess (probably Athena), standing on a base; on the left and right are two smaller gorgoneia, or representations of the Medusa, the snake-haired Gorgon killed by the hero Perseus, whose gaze petrified men; the phalerae and the other images are mounted upon a structure which represents the straps of a horse muzzle, upon which the fragmentary piece of armour was collocated; mounted on a custom-made stand. [A video of this item is available to view on TimeLine Auctions website.] See Daremberg - Saglio, Dictionnaire des Antiquités Grecques et Romaines, Paris, 1873 - 1917; Yavtushenko, I (ed.), Masterpieces of Platar, Kiev, 2004; ???????? ?.?., ????.???.????; ??????? ?.?., ????.???.????; ?????? ?.?., ?-?.???.????; ?????? ?.?., ????.???.????; ?????? ?.?; ????????? ?.?., ?-?.???.????; ??????? ?.?, ???????? ????????? ????????? ????? ?????????? ?? ?????, ????, 2004; The phalera with the head of Athena Promachos find a good correspondence with the famous piece found in the Scythian Koul-Oba Kurgan (near Kertsch, Crimea, S. Daremberg-Saglio, s.v. Galea, col. 1451, fig. 3476), giving us a clear idea of the provenance of the piece of armour; the representation of Athena shows her famous helmet, copying the helmet of Athena Parthenos of Phidias, decorated with a great richness and with the crest recalling the Phaloi (horse-crests) of Homeric Age; the two phalerae representing Medusa are identical to a horse phalera of 2,9 cm (dated 330-300 BC) published by Ukraine archaeologists in 2004 (????????-???????-??????-??????-??????-?????????-???????, 2004, p. 98 fig. 5b), again part of a Scythian grave deposit. 458 grams total, 28 x 33cm with base (11 x 13"). Property of a UK collector; formerly in the collection of Jan Adler, London, UK; acquired 1983; previously with Gorny & Mosch, 17 December 2014, lot 54 (20,000.00 euros); accompanied by a copy of the relevant Gorny & Mosch catalogue pages; and an academic report by military specialist Dr Raffaele D'Amato. It is not a wonder that Athena, she-protector of the war horse, was used as decoration for the front piece of the horse armour. In the Greek world horse armours were already in use since at least from the 7th century BC, but increasingly in the Hellenistic age, especially after the military reforms of Philip II and Alexander III the Great of Macedonia, where the cavalry was employed as a fundamental tactical instrument on the battlefield, and not only as support of the Phalanx. At the same time protection for the horse, especially with the creation of units of armoured cavalry following the Iranian models, increased as well. Such protection for Hellenistic and then Roman Armies was sometimes complete, comprising defences for the head (prometopidia, chamfron), the neck and the body. The Greek terms for the various elements are listed in the 2nd century BC by Pollux, in his Onomastico (I, 140-141): ????????????? (protection of the head), ???????? (eye-protectors), ??????? (cheek-pieces), ????????????? (covering for the breast), ?????????????? (protection of the flanks), ???????????? (covering for the thighs), and even ????????????? (covering for the legs"). The Prometopidion was often created from one piece of bronze or brass, but in this case was probably an openwork applied upon the leather straps of the muzzle. The piece was applied over a leather base, being a functional piece of horse protection to be worn in battle, probably by a high military commander. The ????????????? is an exquisite product of Greek Pontic art. After settling on the Pontus Euxinus Coast by the Greeks, attracted by its minerals, fertile soils and profits with local inhabitants (Scythians, Tauri, Maeoti), important Hellenic centres flourished in the area from the 5th-4th century BC, forming the main Greek states of Olbia, Chersonesos and the Pontic Kingdom. Although in general their artistic productions do not differ a lot from that of the Greek Homeland, the North-Pontic jewellers and craftsmen established their own styles of decoration. They excelled in the stamped metallic appliqué, such as this example, where the three main phalerae were produced separately to be incorporated in the structure of the frontal horse protection. Exceptional workmanship. Excessively rare.

Mid 7th-6th century BC. A rectangular sheet bronze plaque, holes close to the rim for attachment of a lining; the surface executed in repoussé technique, is filled by scenes horizontally divided with guilloche of two interlaced serpents; in the lower register two opposed lions (an antithetic pair, a lion and a lioness), both in profile, walking position, are showed attacking a boar; the lions have the jaws opened and prominent muscles; the mane is marked, their tails form a reverse S-curved between their hind legs; the anterior part of the boar is collapsing under the lion's attack; rosettes are filling the field and in the upper register, two large bosses are separating three semi-human figures, maybe representing evil spirits, advancing in crouching pose with elbows bent and hands palm-upwards, rosettes and fungi in the field, their arms elevated in prayer. Rawlinson, G.M.A., The five great Monarchies of the Ancient Eastern World, III vol., New York, 1881; Schmidt, E.F., Persepolis II, Contents of the Treasures and other discoveries, Chicago, 1957; Soudavar, A., Iranian complexities, a study in Achaemenid, Avestan and Sassanian controversies, Houston, 1999; Garrison, M., 'Notes on a boar hunt (PFS 2323) in Bulletin of the Institute of Classical Studies vol. 54, No. 2 (2011), pp.17-20; Muscarella, O.W., Archaeology, Artifacts and Antiquities of the Ancient Near East, Boston, 2013. 495 grams, 42 x 25cm (16 1/2 x 10"). Property of a West London businessman, formed in the late 1980s-early 1990s; accompanied by an academic report by specialist Dr Raffaele D'Amato, and by a metallurgic analytical report, written by Metallurgist Dr. Brian Gilmour of the Research Laboratory for Archaeology and the History of Art, University of Oxford, report number 618/129067. Our specimen is a well preserved decorative votive plaque of Early Achaemenid Age, although some elements could induce to consider the plaque as belonging to the late Elamite period. Usually these plaques are rectangular in shapes and contain one or more figures. One of the predominant figures is the lion, an old symbol of power in Ancient Mesopotamia. It appears often in a similar shape, for example in the Achaemenid seals (Schmidt, 1957, pp.42-44), as a hunter. The king of the beasts was considered a worthy foe, but sometimes was used as a symbol of the dynasty. Boars are also visible in seal pattern (Rawlinson, 1881, p. 240; Schmidt, 1957, pp.12,15,40,41,49"). The rosette motive is well known in the Achaemenid art, like on the Miho's Artaxerxes plate (Soudavar, 1999, p.11) or in decorated architectural fragments left on the ground in Persepolis (Soudavar, 1999, p.20 fig.14), and, more important, in the famous Otane's plaque (Soudavar, 1999, p.29 fig.32; p. 42 fig. 41a-b-c) or on the plaque reporting the Bisotun text (Soudavar, 1999, p. 56 fig. 45"). The rosette is a representation of the solar emblems, and it is already visible in works of the first millennium BC (Muscarella, 2013, pp. 682-683, 781), and on the diadems of the Elamite Rulers represented in the Achaemenid art. The representation of the Ansh?nite Sun Flower under form of rosette vary in shapes and it is not always easier to understand if its making is anterior to the Darius Persepolitan style. Here, the presence of convex more than concave rosettes are pointing more to a date anterior to the Darius Kingdom (522-486 BC"). The representation of the snakes is singular, considering that there is a general negativity in the Persian ancient culture associated with the word kerm/kirm (snake) and the animosity that Zoroastrianism developed towards snakes. However, according to the Sh?hn?meh, the discovery of fire was ushered by the appearance of a magical snake, at which, the legendary king Hushang threw a stone; it missed its mark but hit another stone and produced sparks that lit a fire. The Achaemenid Empire dominated the Near East and the eastern Mediterranean for about two centuries, from the mid-sixth to the mid-fourth BC, when it was conquered by Alexander the Great and the last Persian King, Darius III Codomannus, was killed by his generals. It was one of largest Empire's in the World and in many way one of the most successful. Votive plaques were dedicatory offerings to the temple, like modern ex-voto. The motive of the boar hunt in the Achaemenid Art is visible on seals, and represents the warriors (lions) hunting the enemy (ibex, boar), a typical war training exercise for soldiers, commanders and Princes. The theme of the boar hunt by Persian warriors has traditionally been associated closely with later Achaemenid glyptic from the western realms of the empire, but in this ancient plaque representation the lions appear symbolically substituting the warriors. Fine condition, with a beautiful greenish patina.

3rd-1st century BC. A bronze Chalcidian helmet showing the features of Attic and Chalcidian helmets of the 4th century BC, being formed of a bronze bowl with raised panels to the crown and brow, the rim on the front takes the shape of a short nose-guard, which recalls the prototypes of the Pseudo-Attic Chalcidian typology; like the helmets of the Illyrian category, along the bottom of the crown embossed with a relief running around the circumference, formed by a rolled up and forged edge; the cheek pieces are connected to the bowl by a three-part clasp, of which two bronze fastening rivets are still visible, each of the cheek-piece is D-shaped with scooped forward edge, with a hole for the fastening of the chin-strap. See Masson, M. E., Pugachenkova, G. A. Parfi anskie ritony Nisy (Parthian rhyta from Nisa"). Al’bom illiustratsii (Album of illustrations), Moscow, 1956; Beglova, E. A., Antichnoe nasledie Kubani (Ancient heritage of Kuban) III, Moscow, pp.410-422 (in Russian); Dedjulkin A. V., 'Locally Made Protective Equipment of the Population of North-Western Caucasus in the Hellenistic Period', in Stratum Plus, n.3, 2014, pp.169-184; ????????? ?. ?., '????? ??????????? ??????? ?? ????????? ??????' (Sarmatian Age Helmets from Eastern Europe), in Stratum Plus, n.4, 2014, pp.249-284. 550 grams, 29cm (11 1/2"). From a London W1, UK, collection; acquired on the German art market before 2000; accompanied by an academic report by military specialist Dr Raffaele D'Amato. This helmet is very similar to various examples found in Sarmatian and Meotian graves, although its origin is from Greek prototypes. The type is characterised by a hemispherical bowl, laterally compressed, with strong marked brow ridges and a sharp short nose-band. According both to Symonenko and Dedjulkin (2014, p.189, fig.9, nn.4-5-6), this category of helmets derived from the Chalcidian types. According to Dedjulkin, these helmets, although derived from Greek prototypes, were simplifications of the original models, made by local artisans. The related centres of productions of such items have been localised at the sites of the ancient Meotian settlements of the Trans-Kuban region, at the northern foothills of the Western Caucasus, as well as in the valleys of the Belaya and Kurdzhips rivers. These centres operated in the period from the second half of the 4th century until the 1st century BC. Judging upon the location of the finds, these types of converted and modified Greek helmets were used by the Barbarians of the North Caucasus in the Late Hellenistic Era and served as models for local blacksmiths. [No Reserve] Fair condition, restored.

Early 3rd millennium BC. A squat ceramic pot with carinated profile, slightly everted rim, band of impressed linear (corded) ornament to the neck and chevrons to the shoulder. See Briard, J. The Bronze Age in Barbarian Europe, London, 1979 for discussion. 746 grams, 13.5cm (5 1/2"). From the family collection of a South East London collector; formerly acquired in the late 1950s. Very fine condition, cleaned and conserved.

Early 3rd millennium BC. A squat ceramic pot with carinated profile, parallel-side neck and rounded rim, bands of impressed linear (corded) ornament to the shoulder, concentric corded rings to the body. See Briard, J. The Bronze Age in Barbarian Europe, London, 1979 for discussion. 1.2 kg, 16cm (6 1/2"). From the family collection of a South East London collector; formerly acquired in the late 1950s. Very fine condition, cleaned and conserved.

Hamish Mackie, Otter on a rock, 2008 Bronze, signed Ham and inscribed 2008, 21/25 28cm high, 25cm wide Similar works by this artist retail at: £5,000 Hamish Mackie: British wildlife sculptor Hamish Mackie has had the privilege of observing wildlife in many corners of the world at first hand. “Observing animals in their own environment, in their natural habitat, is essential to understanding the subject’s physical and instinctive traits. For example, the disposition of a captive predator is very different from that of a predator the wild,” he says. This close observation, often involving intense research trips and sculpting from life in the field, informs Hamish’s whole approach to his work, which resonates with his passion for the natural world. His bronze wildlife sculptures capture instinctive moments of animal behaviour but are his own interpretation, not merely photographic representations. Hamish manages to convey the inner core, strength and grace of his subject. Largely self-taught, his style is unique - he frequently works in spontaneous, often unrepeatable, fluid gestures with a confidence born from many years of mastering his craft. This assertive handling of his materials, coupled with an acute understanding of anatomy, results in strong, dynamic, ‘living’ sculptures. “It is close observation of my subject’s behaviour that really brings my pieces to life. I want to convey a sense of character, their spirit. This determines how I handle my material - in a loose fluid manner or in a tighter, more controlled way; with large sweeping strokes, or with smaller detail. A sculpture should have its own power. I want the viewer to feel an emotional response.” (Hamish Mackie) Born in 1973, Hamish Mackie grew up on a livestock farm in Cornwall, England. In the kitchen of the family farm, there still hangs his first bronze sculpture - a calf’s head he made at the age of 12 as a Christmas present for his father. He attended Radley College and Falmouth School of Art, before going on to study design at Kingston University. He began sculpting full time in 1996. Hamish has works in public and private collections around the world. His wildlife sculptures are cast in bronze or silver as limited editions, each signed, dated and numbered. Each sculpture takes on average four months to be sculpted, moulded and then cast into bronze using the lost wax method. It is a highly skilled, labour-intensive process. In 2007, Hamish built a studio in Oxfordshire, where he now lives and works with his wife Laura and their three daughters. He has travelled to Antarctica, the Falkland Islands, South Georgia, Africa, United Arab Emirates, Australia and India, as well as all over Europe, to study wildlife and he often writes about these trips on his blog. In 2014, Hamish Mackie won a major public art commission - Goodman’s Fields Horses for the Berkeley Homes Goodman’s Fields development in the City of London - six life and quarter size horses running loose through the pedestrianised plaza. During this year long project, he collaborated with Lockbund Foundry to create a new foundry big enough for the job that required over a kilometre of steel for the armatures, six tonnes of clay, one tonne of silicone rubber and four tonnes of bronze. The sculptures were unveiled in 2015 to critical acclaim and the following year, won the Public Monuments and Sculptures Association’s Marsh Award for Excellence in Public Fountains. In 2016, Hamish also presented his sixth Solo Show, Life in Bronze, at Mall Galleries, London to great critical acclaim.

An 18th century Indian bronze statue of a deity holding a bird and a lotus flower, 26cm.Condition report intended as a guide only.Some chips to the base. No breaks through any limbs and free from repair. Wear commensurate with age.

A fragment originating from a Middle Bronze Age socketed spearhead belonging to the 'wide blade' group, dating c. 1550-1150 BC. Only approximately 1/3 of the original object survives, consisting the upper part of the blade. Triangular in plan and retaining the uppermost portion of the socket when viewed from its truncated lower edge, both faces of the spearhead demonstrate a prominent tapering midrib that runs to its point. Condition: some agricultural damage, otherwise good with an even greenish patina, slightly bent in profile. Length: c. 56mm. Provenance: from the collection of an ex metal detectorist, found Oxfordshire, Berkshire and Hampshire during the 1980s/1990s. 

A mixed lot of various detecting finds (17), Roman to Post-Medieval. Of note: an incomplete Trewhiddle style Middle Saxon strap end, two fragments of enamelled Roman brooch, the tip of a Middle Bronze Age spearhead, three Medieval casket keys (c. 1150-1400), two leatherworking awls and a Post-Medieval ornate tankard or mirror mount in the form of a fish. Provenance: from the collection of a metal detectorist. 

A complete cast copper-alloy bracelet or arm-ring of the so-called 'Liss type', dating to the Middle Bronze Age, c. 1400-1200 BC. The bracelet is circular in plan with an oval section, decorated all over its surface with incised linear, herringbone and 'eye' shaped motifs within panels. Preserved extremely well, with an even brownish patina. External diameter: c. 95mm. Weight: 346g.Discussion: Liss-type bracelets concentrate in the southern counties of Britain, being primarily known from Hampshire, Wiltshire and Dorset. However, examples have also been recovered in East Anglia. Similar bracelets from Northern Europe demonstrating comparable incised decoration infer that these pieces form part of a distinct metalworking tradition, or alternatively were imported from the area.Provenance: found Merton Parish, Oxfordshire, 2018. Recorded on the PAS as BERK-7B524E. 

A small mixed lot of detecting finds. Within this lot, an incomplete cast copper-alloy Late Bronze Age socketed axe (c. 1000-800 BC), a Roman or Early Medieval openwork bell, a decorated Early Anglo-Saxon disc type brooch decorated with multiple punched ring-dot motifs (c. AD 450-600) and a decorated copper-alloy Late Medieval dagger chape. Condition: generally good, the brooch treated. Provenance: from the collection of a metal detectorist, from various locations. The axe from Hampshire, the brooch Rochester, Kent, and the chape reportedly a Thames find. 

A complete cast copper-alloy socketed and looped spearhead belonging to the 'developed side loop' group, dating to c. 1550-1150 BC. The object demonstrates a circular-sectioned tapering socket, at the midpoint of which on each side projects a single integral loop. Above this, the socket transitions into a flattened leaf-shaped blade with a prominent midrib visible on each face-converging at its apex to a sharp point. Condition: very good, even greenish patina, some probable agricultural damage to one side. Length: c. 84mm. Discussion: spearheads of this form are the most common type found in Britain during the Late Bronze Age. Provenance: from the collection of an ex detectorist, found Oxfordshire, Berkshire or Hampshire during the 1980s/ 1990s.

A mixed lot of copper-alloy metal detecting finds. Lot includes a fragment of Middle Bronze Age axe, two Roman spoon handles, a decorated Roman nail-cleaner/strap end, a fragment of Roman trumpet brooch, two unidentified objects, a complete Medieval cinquefoil-shaped brooch, a Medieval lamp hanger, two Tudor clothes fasteners and a 17th/18th century gilt mount in the form of a cherub. Condition: 'as dug', though mostly fair to good.Provenance: various findspots, from the collection of a metal detectorist. 

A complete cast copper-alloy spearhead dating to the Middle Bronze Age, c. 1400-1350 BC. This spearhead belongs to the group with 'ribbed kite-shaped blades' , demonstrating a tapering, circular sectioned socket with two flattened loops close to its base. At the upper portion of the socket, the blade flares out-the sides initially concave before straightening and converging to form a sharp point. Aligned roughly along the mid-section of each blade wing, a single raised bevel is visible, converging just below the blade tip itself. A bend at the midpoint of the blade (that has simultaneously cracked the metal) probably reflects deliberate destruction of the object prior to deposition. Condition: good, rather coarse greenish patina with some patches of roughness. Length (not accounting for bend): c. 138mm. Diameter of socket mouth: 22mm. Provenance: from the collection of a metal detectorist. 

A small group of worked flints (5) consisting of four waste flakes (one heat crazed) and an incomplete Middle Bronze Age barbed and tanged arrowhead of Green's (1980) Kilmarnock type-the latter with one barb broken away. Length of arrowhead: c. 26mm.Provenance: from the collection of a metal detectorist.

BELINDA SILLARS "Recumbent labrador" chocolate patinated bronze signed within the casting and No'd 10/12 CONDITION REPORTS Has general wear and tear conducive with age and use to include dirt, etc. See images for more details. 30 cm long x 11 cm high.

A circa 1900 Austrian cold painted bronze figure of a spread eagle upon a rock by Franz Bergman of Vienna bears vase mark to underside of tail CONDITION REPORTS 29cm high 36cmwide span. Areas of paint work flaking/worn, general wear and tear condusive to age and use. See images for more details

Collection of bronze age axe heads and arrows

ARTISTS: Small selection of signed postcard reproductions by various artists comprising Graham Sutherland (colour image of Thorn Tree, signed Sutherland in blue ink to the image and again signed and inscribed to the verso, with a full signature, 15th July 1964). Ben Nicholson (colour image of Painting, 1937, signed with his name alone to the verso), Kenneth Armitage (image of his bronze sculpture People in a Wind, signed to the verso) and Victor Pasmore (image of Black Abstract, 1963, signed with his monogram to the lower white border). Some light creasing and minor age wear, G to about VG, 4

Tudor chafing dish handle, Georgian nut crackers/sugar snips, Medieval spindle whorls, thimbles, Medieval casket key, furniture fittings, Jews/Jaw harp; Silver and Bronze Antoninianus Group, Numerian, Gallienus and Gordian III; Tudor Silver-Gilt Dress Hook; A 15th century Medieval Silver-Gilt Belt Mount; Postumus Æ Double Sestertius AD 260-269; A Bronze Age Awl, c. 2150-800 BC; Roman bronze votive sword

CA.1000 BC, Interesting Bronze Age cloth pin, use to hold the animals garments use back in the day; Good Condition; L:145mm (5.70in); 47gr; Provenance: Important estate collection from Oxfordshire; formed in the 1970s-2000. All Items sold by Pax Romana Auctions come with professional Certificate of Authenticity.

Ca.800 BC. Unusual Holy Land Bronze Age terracotta oil lamp with pedestal foot consist of 3 folds forming a flower. Good Condition; H:70mm/W:95mm ( 2.75in, 3.74in); 90gr; Provenance: Private London collection, formed in the 1990s on the UK and European art market. All Items sold by Pax Romana Auctions come with professional Certificate of Authenticity.

Ca.1500 BC . Wonderful example of Greek weaponry specifically Mycenaean bronze Age; well-formed bronze blade that rises in the center in a very gentle ridge and flattens out at twin sharp edges - A type sword; Good Condition; 380mm ( 14.96in) ; 225gr; Provenance: Private London collection, formed in the 1970s on the UK and European art market. All Items sold by Pax Romana Auctions come with professional Certificate of Authenticity.

CA.12000 BC. Greek Archaic period (bronze Age) bronze sword with tapering lentoid-section two-edged blade, crescentic lower guard, Ibex shaped handle designed to have an inlaid bone or ivory panel. Superb Condition, 370mm914.56in) ;325gr. Provenance: From an old British collection, acquired on the UK art market in the 1980s. All Items sold by Pax Romana Auctions come with professional Certificate of Authenticity and FREE domestic and international shipping.

Ca. 2800 - 2300 BC. Rare bronze age Aegean, possibly Cycladic type blade. A large and well-formed bronze blade that rises in the center in a very gentle ridge and flattens out at twin sharp edges. A sturdy tang ending in a circular shape top its, cast in one piece with the blade with a wide blood channel running along the blade .Good Condition;375mm ( 14.76in) ; 165gr; Provenance: From an old British collection, acquired on the UK art market in the 1980s. All Items sold by Pax Romana Auctions come with professional Certificate of Authenticity.

Ca. 1800 - 1300 BC . A fine example of Bronze Age weaponry from the near East, beautiful cast mold mace head composed by an upper end covered with groups of projecting nodes separated and encircled by finely incised bands, mimicking a rope design. The base is flared. Fine green patina. Good Condition; on custom stand ; H:178mm/190mm ( 7.08in, 7.48in) (with stand) ; 485gr; Provenance: From an old British collection, acquired on the UK art market in the 1980s. All Items sold by Pax Romana Auctions come with professional Certificate of Authenticity.

Ca. 800 BC. Bronze Age Luristan decorated sword with intact handle. A fine example of a lost wax cast bronze sword with a narrow handle designed to have an inlaid bone or ivory panel. Blade with geometric pattern decoration close to handle. Superb Condition. 350 mm( 13.77in) ; 180gr. Provenance: From an old British collection, acquired on the UK art market in the 1980s. All Items sold by Pax Romana Auctions come with professional Certificate of Authenticity

Ca.2000 Bc . A fine example of Bronze Age (Luristan) weaponry; beautiful cast mold axe head . Fine green patina. Good Condition; on custom stand ; L:138mm/H:120mm(5.43in, 4.72in) (with stand); 420gr; Provenance: From an old British collection formed in the 1990s. All Items sold by Pax Romana Auctions come with professional Certificate of Authenticity.

Ca. 800 to 500 BC. Northern Europe, Celtic culture, Late Bronze Age socketed ae head with loop. An excellently-preserved example of a cast bronze axe head. The head is socketed, with an ovoid opening for a handle. The blade has two long, cast, shallow grooves on each side. There is a slight collar around the socket, and two fastening loop on either side of the blade that would have helped affix the axe head to its wooden handle. The hollow socket was a technological innovation, allowing economical use of bronze while still making a strong weapon. Fine example. 80mm( 3.14in) ; 185gr; Provenance: Important London collection of Ancient art; formed in 1970s then passed by descent. All Items sold by Pax Romana Auctions come with professional Certificate of Authenticity.

Ca. 1200 BC. Bronze Age, Luristan, decorated short sword with intact handle. A fine example of a lost wax cast bronze short sword with a narrow handle designed to have an inlaid bone or ivory panel. Blade with geometric pattern decoration close to handle. Superb Condition.468mm ( 18.42in) ; 395gr; Provenance: Important London collection of Ancient art; formed in 1970s then passed by descent. All Items sold by Pax Romana Auctions come with professional Certificate of Authenticity.

Ca.1500 BC . A fine example of Bronze Age weaponry (Luristan), beautiful cast mold mace head composed by numerous spikes; . The base is flared. Fine green patina. Good Condition; on custom stand ; 172mm/182mm( 5.98in, 7.16in) (with stand); 530 gr;Provenance: From an old British collection formed in the 1990s; previously acquired in Germany. All Items sold by Pax Romana Auctions come with professional Certificate of Authenticity.

Ca.1500 BC . A fine example of Bronze Age weaponry (Luristan), beautiful cast mold mace head composed 3 flat panels with diagonal lines running across it . Rare Example. Fine green patina. Good Condition; on custom stand ; 172mm/182mm( 5.98in, 7.16in) (with stand); 745gr;Provenance: From an old British collection formed in the 1990s; previously acquired in Germany. All Items sold by Pax Romana Auctions come with professional Certificate of Authenticity.

Ca.1000 BC Interesting Bronze Age bowl, fashioned from hammered bronze sheet, decorated with triangular shapes and Sun Symbols, with beautifully exposed bronze and dark almost black patina; Good Condition, Intact; H:90mm/W:172mm(3.54in, 6.77in); 380gr; Provenance: From an old British collection, acquired on the UK art market in the 1970s, All Items sold by Pax Romana Auctions come with professional Certificate of Authenticity.

Ca.2000 BC. Bronze Age Bactrian terracotta chalice compromised of a pedestal base and tiered foot, bowl large with flared rim. No doubt its original owner turned the cup round and round in his hands, admiring its stunning beauty as we still do today. Near the top, two stylized snakes adorn the rim of the chalice. Fine Example, Super Condition; H:175mm/D:120mm( 6.89in, 4.72in) ; 420gr ; Provenance: From an old Professional British collection, acquired on the UK art market in the 1970s, All Items sold by Pax Romana Auctions come with professional Certificate of Authenticity.

Ca.2000 BC. This type of very interesting stone statuette, sometimes referred to as Bactrian princesses or Bactrian goddesses, is a very distinctive and rare object of the prehistoric civilization of Bactria. These seldom exceed 20cm in height and they are composite in nature, with the head (and also often a cap or other headdress) being separate from the body.They are made up with two or more different types of stone; usually green chlorite or steatite for the body, with heads of white limestone and occasionally in green chlorite.Bactra was the Greek name for the area of modern Balkh, in what is now northern Afghanistan and Margiana was the Greek name for the Persian satrapy of Margu, the capital of which was Merv, in today's Turkmenistan.This civilisation 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. 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. Pictographs on seals have been argued to indicate an independently-developed writing system.Religion may have been based around deities represented by pieces such as this. However, they are extremely rare.. Their significance is unclear. Fine Condition, intact. Size: 10.5cm x9cm (4.13 x 3.54 in); 700gr; Provenance: Private collection of an Oxford professional, formed in the 1970s-1990s on the UK art market, All Items sold by Pax Romana Auctions come with professional Certificate of Authenticity.

CA.900 BC. Large wearable solid bronze Hallstatt bracelet, smooth patina- The Hallstatt culture was the predominant Western and Central European culture of Late Bronze Age from the 12th to 8th centuries BC and Early Iron Age Europe from the 8th to 6th centuries BC, developing out of the Urnfield culture of the 12th century BC and followed in much of its area by the La Tène culture. Good Condition;W:63mm/L:70mm; 86gr; Provenance: Private Kent collection, formed in the 1980s on the UK art market. All Items sold by Pax Romana Auctions come with professional Certificate of Authenticity.

Ca.1000 BC. Interesting Bronze Age ring with incised bands that flow into disc decorations, shield shape bezel representig a sun motif. Good Condition; Inner diameter: 17 mm; outer diameter: 22mm ring size UK N; US 6; gr; Provenance: From an old British collection formed in the 1990s; previously acquired in Germany.All Items sold by Pax Romana Auctions come with professional Certificate of Authenticity.

AFTER SALVATORE MARCHI; a bronze figure, Madonna and Child, bearing signature to the reverse, height 22cm.Additional InformationUnsightly mark to the underside of base, appears to be in construction but is a groove cut into the bronze, a couple of small dents but overall general surface wear commensurate with age.

Gilt bronze penannular ring or fastener with trumpet terminals, possibly European Late Bronze Age, 2.2cm wide,Provenance: From the collection of the late Elizabeth Attridge 1934-2018. Collected from 1980's onwards. .

Lowenthal ( Artur Imanuel , 1879-1964). The Hon Colin Paget Tennant, circa 1935, circular cast bronze bas relief plaque, depicting Colin Tennant, later Lord Glenconner at the age of around 10 years, signed A Lowental FECIT lower right, 15.5 cm diameter (6.1 ins), with old handwritten label pasted to verso 'Colin Tennent Son of Lord Glenconner London' (Qty: 1)Colin Paget Tennant, 3rd Baron Glenconner (1926-2010) purchased the island of Mustique (following the sale of inherited land in Trinidad), where he entertained the rich and famous, especially Princess Margaret, who gave him the nickname 'King of Mustique'.

A VICTORIAN WHITBY JET BROOCH CARVED WITH FLOWERS, AN ART NOUVEAU BRASS BUCKLE, AN EARLY VICTORIAN GOLD BROOCH, A BRONZE EQUESTRIAN FIGURE, 10 CM H APPROX AND MISCELLANEOUS COSTUME JEWELLERY++GENERAL WEAR AND DAMAGE CONSISTENT WITH AGE

A 17th century bronze mortar, the sides applied with portraits of a gentleman in the fashion of the day, 9.5cm high, pestle en suite, c.1675 Condition Report: Good overall condition with many age and use marks/dents, possible repair to base, please see additional images

A 1960 Land Rover Series II SWB canvas tilt, registration number 9035 NX, bronze green. Introduced in 1958 to replace the very successful Series I and remaining in production until the Series IIA became available in 1961, making it one of the rarer variants. As with the previous model they would be available in both long and short wheelbase versions powered by either diesel or petrol engines.This particular SWB petrol engined example has just emerged from a full body off restoration to a high standard. The Land Rover is beautifully presented in bronze green with a new canvas tilt and re-trimmed interior. The engine has seen similar attention and has been fitted with a new Weber carburettor for improved performance, the wheels have been repainted and new tyres fitted. The body is particularly straight with even panels and the bronze green has been applied to a good standard. Now ready to be enjoyed by the next custodian this fully restored Series II will be offered for sale with some receipts. V5C, MOT and tax exempt See illustrationsAll lots in this sale are sold as is and bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding. Please read our terms and conditions.

A cold painted bronze figural group after Bergmann, modelled as a nude female stood besides a seated panther on a Persian rug, mark to underside 'Nam Greb' and an urn initialled 'B', 17cm high x 15.5cm wide CONDITION REPORT: Please note that this is not a period Bergamann figure but a later copy. General age wear patina to the surface throughout with light knocks and marks. Figure is a little loose and there is some wear to the screws on the underside. Some casting imperfections.

Tudor chafing dish handle, Georgian nut crackers/sugar snips, Medieval spindle whorls, thimbles, Medieval casket key, furniture fittings, Jews/Jaw harp; Silver and Bronze Antoninianus Group, Numerian, Gallienus and Gordian III; Tudor Silver-Gilt Dress Hook; A 15th century Medieval Silver-Gilt Belt Mount; Postumus Æ Double Sestertius AD 260-269; A Bronze Age Awl, c. 2150-800 BC; Roman bronze votive sword

Ceramic Head of Mithras Wearing A Phygrian Cap c. 2nd-4th Century AD43 mm x 35 mmA bronze Roman zoomorphic strap fitting in the form of a horse's head. The reverse has two lugs for attachment, probably the remains of a rectangular strap loop. C. 1st - 2nd century AD.30 mm x 24 mm, 9.0 gmsIron Age and Roman Artefact Group. Two British Iron age cosmetic mortars (or 'Woad grinders') c. 1st century BC, largest 50 mm.A late Iron age vessel mount in the form of a water bird c. 1st century BC -1st century ADRoman decorative mount or terminal c. 1st - 2nd century AD, 20 mmBronze disc.(5)18th Century Monogrammed Silver Seal Matrix18th Century silver seal matrix. Octagonal handle with triple collars and circular suspension loop, the oval face engraved with a monogram 26 x 18 mm/9.1 gms