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Francois Pompon (French, 1855-1933) Dinde Patinated bronze, Signed 37cm high, 31cm wide, 27cm deep On view at: The Sculpture Park Born in Saulieu, Burgundy, in 1855, Pompon worked first as an apprentice to his father, a cabinet-maker, and from his teenage years as a monumental mason and stone carver, involved in the rebuilding of a damaged Paris after the Franco-Prussian war.A sought-after assistant and stone cutter, Francois Pompon provided blocks of marble for contemporaries Auguste Rodin (even at one point becoming his head of studio) and Camille Claudel. As a sculptor, Pompon’s practice was first centred around the human figure. Then, around 1905, he abandoned the human form to capture animals instead, visiting the Jardin des Plantes in Paris to observe them. This shift in his career led to his first great success - at the age of 67, Pompon exhibited a streamlined ‘Ours Blanc’ or polar bear, which was to become his most iconic work. During the decade that followed, he received several large commissions, including a stag for the Dutch city of Arnhem, and a bull for his hometown of Saulieu. His sculptures are held by important museum collections worldwide, including the Metropolitan Museum of Art in New York, and the Musee d’Orsay in Paris

Golden Penny for Bravery, awarded to: Thomas Bellamy, 1903, silver with engraved name and date. Note: Extract from The Golden Penny - Two Brave Hoxton Boys receive The “Golden Penny” and Royal Humane Society Medals - In awarding the Silver Medal for Bravery this week to Thomas Bellamy and George Jonas, two schoolboys of Hoxton, the “Golden Penny” is satisfied that the recipients are well worthy not only of this honour, but also of the Bronze Medal of the Royal Humane Society which has been awarded them. These two lads have proved that Hoxton boys are as ready as any others to risk even life itself on behalf of a drowning comrade. One day in June, Charles Flude, a little fellow of eight, while playing on the tow-path of the Regent’s Canal, accidentally fell in and was fast drowning. No grown person being near, and his playmates being too young to help, there seemed no hope of rescue. Young Bellamy, who is only thirteen, and a small boy for his age, came up in the nick of time, and at once throwing off his jacket, sprang into the water. Instantly the drowning boy gripped him by the throat, and both went under, but, freeing himself, Bellamy again tackled the lad, who was now getting weak, and landed him on the bank. Here he at once began restorative treatment according to the system taught at his school, and in a short time was successful. ..... Quite everyday events, some may say. Well, they may be commonplace, but nevertheless they require as much real courage as has gained many a man the Victoria Cross’. Also awarded the Royal Humane Society Medal in Bronze, ref. R.H.S. Case No. 32,664.

Egyptian amulet, brass figures, bronze age style miniature axe head etc., tallest 21cm

A Chinese small bronze vase with Arabic inscription, trumpet neck and oviform body; 15 cm high, Qing Dynasty958 gmsProvenance: The Property of a Gentleman. From a Private English Collection.Similar vases are known, presumably as a result of the wealthy status of Muslim communities in cities like Xi'an in Shaanxi Province. Compare, for example, a small brass vase in the Metropolitan Museum collection (07.205.1) with two Arabic inscriptions, reading: 'Glory To Allah' and 'Praise Be To Allah'. As Persian cobalt travelled eastwards on its journey to Jingdezhen, so of course Chinese ceramics also began to record a connection with the Islamic and Arab world (see for instance the Zhengde mark and period, blue and white vase offered by Christie's Hong Kong, Lot 3825 on 1-6-2011). Other blue and white porcelains with cursive Arabic script, also appeared during the Zhengde reign. Sometimes, these designs were highly distinctive; see for example the five peaked mountain brush rest (British Museum/Franks.147.b), and the pair of spherical hat stands (British Museum/Franks.265+).Good condition commensurate with age - tarnished inside and to base, possibly polished in the past

Ca. 2000 BC. Amazing Bronze Age Bactrian terracotta bowl; Good Condition; Size: 13.5cm x13.5cm (5.31 x 5.31 in); 450gr; 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.1000 - 800 BC. Amazing bronze age weapon dagger; pommel divided into two semi-circular 'ears' at right angles to the blade, which has a flat midrib down the centre. Blade and handle all one piece. Good Condition; on custom stand; Size: 38cm (14.96 in); 325gr; 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.1000 - 800 BC. Large Greek Archaic Period thin spear with a wide base. A cast Bronze Age sword or rapier blade, leaf-shaped in plan; the midrib extending to the short tang with curved lateral extensions to the shoulders, wide blood channel for maximum damage. Good Condition; on custom stand; Size: 57cm (22.44 in); 475gr; 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.

A SMALL QUANTITY OF ROMAN COINS AND ARTIFACTS ETC, together with a small Bronze age Spear head

A LARGE JAPANESE BRONZE SINGING BOWL, 'DOBACHI', MEIJI PERIOD, 1868-1912 The hand-hammered bowl with deep rounded sides and resting on a padded cushion, all contained within a red-lacquered gilt-wood stand, the pierced and carved waist above a shaped apron supported by cabriole legs with scrolling feet on a circular stretcher, together with a leather-clad striker, age related wear53,5cm high including stand

Anton Smit (South African 1954-) NUDE WITH ARMS REACHING UPWARD signed, dated 2004, editioned 1/24 and stamped with the 'Bronze Age Foundry' mark bronze height: 36cm

A Franz Bergman Austrian cold painted bronze novelty owl figure opening to reveal a (now missing) nude figure, seated upon two books bearing Franz Bergman vase stamp and "Nam Greb" CONDITION REPORTS Some light surface scratches and scuffs, accretions etc. Some flecks of white paint in areas. Some minor areas of wear to the edges where the two halves of the owl come together. Some minor wear to the edges of the hinge. Build up of dust on the inside and out. Wear to areas of the paint on the inside of the owl. Item has general wear and tear commensurate with age and use. See photos for more details.

Large quantity of Bronze age and later comics; DC, Marvel and others, including Thor, Superboy, Fantastic Four, The Amazing Spider-Man, Iron Man Daredevil, Flash, Batman, Superman, etc.

Large quantity of Bronze age and later comics; DC, Marvel and others, including Justice League America, Adventure, Iron Man, Flash, Dr Strange, Batman, Judge Dredd, Haunt of Fear, Fantastic Four, Green Lantern, Captain America, Superman, Captain Marvel, Wonder Woman, etc, approximately 325.

WATT JAMES: (1736-1819) Scottish Inventor and Mechanical Engineer. Final page of an A.L.S., James Watt, one page, 4to, n.p., n.d. (post 1807), to [Mr. Craig]. Watt makes reference to a statue of the Duke of Bedford in Russell Square by Richard Westmacott ('which is said to be very handsome') and continues 'I am not sufficiently conversant in those matters to recommend any artist, but I am informed they stand in the following order in point of taste. Flaxman, Westmacott, Rossi, Bacon…..But I have heard of none who have executed Bronze statues, except the Elder Bacon & Westmacott', further remarking 'I know however that a man may be an excellent modeller & not be able to cast or repair a statue, knowledge & experience are requisite there as well as taste' and concluding by hoping to be able to meet his correspondent at Glasgow 'when all these subjects may be discussed better than by letter', further sending his best wishes to Mrs. Craig and family. Neatly laid down and with some light creasing and age wear and one very small hole just affecting the paraph of the signature, otherwise about VG Richard Westmacott (1775-1856) British Sculptor who operated his own foundry in London, casting his own works as well as those of other sculptors, including John Flaxman. Westmacott's statue of Francis Russell (1765-1802) 5th Duke of Bedford was erected in Russell Square, Bloomsbury, in 1807. 

‡ Mary Spencer Watson (1913-2006) Thought, 1928 a cire perdue bronze cast by John Galizia at the Central School of Arts & Crafts circa 1934-35 after the original sculpted in plasticine by Mary Spencer Watson in 1928, unsigned, 21cm. high Literature Annette Ratuszniak Mary Spencer Watson Sculpture 11th September-4th December 2004 Salisbury & South Wiltshire Museum, page 76 catalogue number 1. This bust was, by repute, the first piece modelled by Mary Spencer Watson at the age of fourteen. Exhibited Mansard Gallery (heal's) 1937 Sculpture in Britain Between the Wars, Fine Art Society 1986, curated by Peyton Skipwith, page 145, catalogue no.103. Provenance Fine Art Society. Private collection. Woolley and Wallis Auctioneers would like to thank Peyton Skipwith and Annette Ratuszniak for their help in cataloguing this lot.

Neolithic/bronze age points & other items

A WW I Casualty group to include bronze memorial plaque, naming Patrick Callaghan, 1914-15 Star, British War and Victory, 10761 PTE. P. CALLAGHAN R. DUB. FUS., together with a portrait photograph and badge. (6) Private Patrick Callaghan 1Bn Royal Irish Fusiliers was killed in action 06/05/15 the second day of the Gallipoli Landings at the age of 25 and is remembered with honour at V Beach Cemetery.Please be aware that it has been suggested that the naming on these medals may be later or official replacements, on close inspection I would suggest that the BWM at least has been re-named.

AFTER BLASCHE - A 'LE PRINTEMPS' BUST modelled as a bronzed maiden, 60cm high Condition Report: This is not bronze but a composite material. Modern in age.

George III black-lacquered chinoiserie brass-dial eight day longcase clock, William Liptrot, London, circa 1760, the 12" break arch brass dial having a silvered chapter ring with inner quarter hour track, Roman hours and Arabic minutes, signed Will'm Liptrot, London, framing a matted centre with silvered subsidiary seconds ring, all within Baroque mask spandrels, the arch with silvered Strike/Silent ring, knopped five-pillar movement striking on a bell, the hood with fretwork spandrels over gilt hood door and columns, long trunk door with gilt relief scene and conforming base on bracket feet, 218cm high Condition: Dial - minor wear to top of brass arch of dial plate, light tarnishing to silvered chapter ring between numerals VI and VII, calendar ring is operational, movement appears clean and sound but is not tested or guaranteed, there is no packing beneath the seat board, case has been cleaned and partly relacquered, horizontal crack across base, minor cracking to hood frame and no backing to spandrels, sold with two bronze-sleeved weights plus pendulum - **General condition consistent with age

Japanese Meiji style bronze figure group, late 20th Century, depicting a street musician and child with drums, the conforming rectangular bronze plinth with silvered wire inlay, overall height 46cm Condition: Some extremely minor scratching to the platform - **General condition consistent with age

Partially gilded bronze figure of a seated Buddha, probably Sino-Tibetan, his left hand raised, his right holding a cup, seated on a double lotus leaf, the underside with engraved decoration, 20.5cm high Condition: Verdigris and rust deposits across the plain metalwork - **General condition consistent with age

Pair of 19th Century French bronze cassoulets, each of urn form having two handles, reversible cover turning to reveal a candle sconce, each standing on a square foot, 18.5cm high Condition: One is rather loose on its base which would suggest that the bolt that holds it together needs rethreading to enable the nut to be tightened - **General condition consistent with age

After Dominique Alonzo, - Gilt bronze figure - Egyptian Dancer, unsigned, standing on a marbled slate base, 25.5cm high inclusive of base Condition: Minor nibbles to the bottom of base - **General condition consistent with age

Nick Bibby (b.1960), - Bronze sculpture - Rodrigues Giant Gecko No.3 from a limited edition of 10, from the Extinct Species Series, 46cm high. Artists Resale Right may apply. Provenance: The vendor was employed at Pangolin, the foundry that cast this piece Condition: **General condition consistent with age

Roman Ceramic Head of Mithras Wearing A Phygrian Cap c. 2nd-4th Century AD43mm 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.30mm x 24mm, 9.0g.Iron Age and Roman Artefact Group. Two British Iron age cosmetic mortars (or 'Woad grinders') c. 1st century BC, largest 50mm.A late Iron age vessel mount in the form of a waterbird c. 1st century BC -1st century ADRoman decorative mount or terminal c. 1st - 2nd century AD, 20mmBronze 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 26x18mm/9.1grms

Architectural: A rare bronze door knocker in the form of a Cockatrice by Anton Dominik Fernkorn circa 1860 34cm high Anton Dominik Fernkorn (1813-1878) was born in Erfurt near Leipzig and studied sculpture under Johann Baptist Stiglmaier and Ludwig Michael Schwanthaler in Munich, from 1836 to 1840. His first sculptural project, “Saint George and the Dragon” for the courtyard of the Montenuovo palace, attracted attention, and the Austrian government appointed him director of the imperial bronze foundry at Vienna, in 1840, where he was part of the movement against the Neo-Classicism. He rediscovered Baroque sculpture and used it as the basis for his equestrian statue of Archduke Charles (1859), who had defeated Napoleon at the Battle of Aspern in 1809. This unusual bronze door knocker, baroque in style, is virtually identical in modelling to a large scale cockatrice made for the medieval Trsat castle in modern day Croatia. (see picture) This cockatrice, the so-called Dragon of Trsat, was a mythical creature cast in bronze that grew to become one of the best known symbols of the city. There are two, both commissioned by Austrian Field-Marshal and Count Laval Nugent who purchased the castle in the 19th century. A big history buff, Nugent, originally of Irish descent, was particularly keen on the legacy of the Frankopan, one of the leading noble families in Croatia from the 12th to the 17th century. As Trsat Castle used to belong to the Frankopan dynasty, Nugent was happy to acquire the edifice along with another similar estate, the Frankopan castle in Bosiljevo. The cockatrices, by Anton Dominik Fernkorn were installed in front of the central object on the castle grounds, guarding the gate to what is now Nugent’s mausoleum. For the Cathedral of Speyer, in 1858 he completed six of the eight free-stone statues of the German emperors buried there. He also made a statue of Prince Eugene of Savoy, but by unveiling in 1865 he was mentally ill and no longer able to work. He is well remembered for his portraits, and these include a bust of the Emperor Franz Joseph I of Austria and the funerary bust of Carl Ludwig Freiherr von Bruck in 1862. He was also a noted animalier, producing works such as the Lion of Aspern in Vienna. He died at the age of 65 in the hospital for mental patients in Saint Radengundu near Graz. Literature: Anton Dominik Fernkorn, Monument to Josipu Jelacicu, ISBN-86-7460-001-11 (a copy which is included with this lot) Published Zagreb, 1990.

DERWENT WOOD (BRITISH 1871-1925)BUST PORTRAIT OF ROBERT BROUGH Signed, inscribed and dated 1904 in the cast, bronze23cm (9in) highNote: Robert Brough's art is often overshadowed by the trauma and tragedy of his untimely death; after suffering horrific burns in a train collision outside of Sheffield. A great friend and protégé of Singer Sargent, the older artist rushed to be with his friend in his final days and following his death curated a memorial exhibition in celebration of the young artist's talent. Brough's life was cut short during a steep upward career trajectory; he was very much a rising art star, working alongside Sargent and having recently been made an associate of the Royal Scottish Academy.Brough displayed a talent for both art and music from a young age, and was greatly encouraged by the family's neighbour, the painter Sir George Reid. With this support Brough found an apprenticeship as a lithographer in Aberdeen and used his earnings to fund trainings at Gray's School of Art in the city, before applying to the R.S.A. Schools in Edinburgh in 1891. By the end of his first year, he had been awarded three prestigious prizes, thus beginning a notable career. Brough completed further training in Paris, enrolling at the Acadamie Julien in Paris with Scottish Colourist S.J. Peploe, before travelling on in search of Sisley at Moret-sur-Seine and then Gauguin at Pont Aven in Brittany. By 1894 he had returned to his native Aberdeen and his steady progress was being closely monitored by the local press, 'When only three-and-twenty years of age Mr. Brough created some sensation and scored an undoubted triumph with two pictures shown at the Grafton Exhibition of the Society of Portrait Painters. His reputation already extended far beyond the confines of his native land. He had important pictures in Munich, Moscow, and in other leading Continental Galleries' (1895 Aberdeen Daily Journal). Then by 1897, and the age of 25, he was in London working on society portraits alongside Sargent. A Scottish artist, with a particular European flair, Brough's modern French training combined with a range of influences and inspirations from Raeburn to Velazquez to create a sophisticated and flamboyant approach. Close engagement with the selection of offered works by this intriguing artist reveal his true talent and dexterity; his lightness of touch and sophistication across mediums particularly apparent. Rowing Boats by a Harbour Quay, Concarneau atmospherically evokes the Brittany coast and the quick, deft brushwork is handled with a charming lightness. An unfinished working sketch still visible verso reveals the artist's working practice. In Rowing Boats, and Figures on the Harbour Wall, Brittany, Brough beautifully balances the compositions and utilises the unique qualities of the differing mediums. Within the offered group a particular preoccupation with ripples and reflections is visible, elegantly captured by the artist in a variety of media, from directly applied waving lines of pastel pigment to a patterning of daubs of fluid watercolour. Overall it is his dexterity with pastel that is a true delight to witness, with his lightness of touch allowing him to delineate the patterning of architecture and greenery in South of Concarneau, the colourful, graphic topography rising elegantly out of the buff paper surface, and the sparseness of a Parisian winter in Bulb Planting in the Tuileries Gardens, Paris, the effortful gestures of the workers clear in their brief outlines and the elegance of the city visible in the grey and white distance. Brough's talent and approach was beautifully summarised by his friend and mentor, Sargent: '. . . the grace, the fluidity, the lightness of touch that are so delightful in Brough; that very rare quality of surface that seems to make the actual paint a precious substance.'Provenance:This reduction bronze is believed to be unique and was specially commissioned by John Singer Sargent from Derwent Wood as a gift to Lady Maude Messell (1875-1960 ) in memory of the artist.By decent to Lord Anthony Armstrong Jones and consigned to benefit the National Trust acquisition of Nymans House.Neil Wilson, Campbell Wilson Fine ArtPrivate Collection, ScotlandThere are 3 known full size versions; National Gallery of Scotland, Aberdeen Art Gallery, and the third is believed to be in a private collection in the US.

‡Fredda Brilliant (Polish, 1903-1999)The Young AtlasSignedBronze 52cm high (2)With a book: Fredda Brilliant, Biographies in Bronze (New York: Shapolsky Books, 1986)Brilliant states 'The Young Atlas ... holds up the world, the heavy burden of humanity. Youth bears the burden of age ..The past is eternally borne by the now into the future'.

DC Bronze Age Mix (1970-86): Action 403, 420, 428, 583, DC Special 10, 12, J.L.A. 85, 98, 103, Kamandi 1, 2, Secret Origins 1-3, 5-7, Showcase 102, 103, Strange Sports Stories 1-6, Super DC Giant 27, Wanted 1-9, Weird War Tales 108 and World's Finest 218, 257. (14 x cents copies) [gd/vg/fn+] (38). No Reserve

A Chinese bronze vase with scrolling and lotus leaf decoration with elephant head handle, chocolate patinated bearing script signature to base CONDITION REPORTS Numerous light surface scratches, some scuffs, accretions etc. Some minor knocks and scuffs to the rim. There is an area of old repair to the rim also, a dent to the foot and general wear and tear commensurate with age and use. See photos for more details.

A pair of Chinese bronze dogs of Fo or temple lions, one seated his right foot upon a ball, the other his left foot upon a pup or cub both raised on triangular banner decorated and lotus leaf design plinths to bracket feet base each with finely textured fur CONDITION REPORTS 46cm height 21cm width 31cm depth approx. Both lions have light surface scratches, scuffs etc. Some small knocks in areas, accretions etc. Both lions have been cleaned with a wire brush. Both have general wear and tear commensurate with age and use. See photos for more details. Weight approx 21.6kg each

A 19th century bronze censer, as a toad, set with cabochons, 12cm high Condition Report: Generally good for age, stones partly reattached, see images, patina fair

Antiquities - a well patinated small socketed axe head, Greek late bronze age Urnfield type 2.5in (6.4cm) long, along with rectangular white metal horse harness escutcheon, decorated with diademmed head, European (3.1 x 2cm); two bronze Byzantine encolpion reliquary crosses, probably Macedonian dynasty, 7.6cm and 4.5cm; two Roman bronze fuinger rings with engraved tablets, also another medieval, miniature white metal torc, with other decorative fragments, small iron engraved fob seal, quantity of Eastern Roman lead stamps (qty)

Late 1st-early 2nd century AD. A bronze 'Kostol Type' sports helmet mask with strong realism, 'Type A' of the Robinson classification of cavalry sport helmets (Robinson, 1975, pl.309, p.112), showing the portrait of a youthful African male, possibly that of the Mauri Prince, Lusius Quietus; with broad forehead, high cheekbones, short, wide nose with wide mouth and small, pierced almond-shaped eyes; locks of hair on the head in a series of semi-circular bands; rear edge of mask pierced for attachment of the leather lining; the wide eye-holes terminate with flanges representing the eye-lids; traces of burning are visible on the forehead, nose, around left eye and right cheek. See Robinson, R., The Armour of Imperial Rome, New York, 1975; Garbsch, J., Römische Paraderustüngen, München, 1979; D'Amato R., Negin, A., Decorated Roman Armour, London, 2017; the mask helmet finds a good parallel in the Kostol helmet (Garbsch,1979, pl. 23,3), although differs for the kind of portrait; it belongs to the category of Roman mask helmets usually employed in the sportive games, acting also for military training, of the so called Hippika gymnasia, well described by Arrian of Nicomedia in his Taktika, written down during the age of the Emperor Hadrian (117-138 AD); mask helmets were produced in all of the Empire until at least the late 4th century AD, they were however also destined to be worn in real combat, as shown by the gravestone of Flavinus at the Hexham Abbey (Robinson, 1975, pl.307, p.106; D'Amato-Negin, 2017, p.150, fig.158), and Sextus Valerius Genialis at Cirencester (D'Amato-Negin, 2017, p.82, fig.78); the 'Type A' to which the mask belongs, is extremely rare, and it shows mask helmets still strongly influenced by the Hellenic taste; the face and the hair are treated with strong realism, in a extremely naturalistic manner, different from the classical form seen in the similar helmets of Alexander Typology; as supported by Robinson these category of helmet was probably realised by artists trained as sculptor specialists in portraiture; however, differently from the Kostol helmet in which the whole skull acts also as a bowl, here the mask was destined to be attached to a second part, in a similar way to the other well known portrait helmet mask known from Stockstadt (Garbsch,1979, pl.20,3), and to the masks of 'Alexander Type' (D'Amato-Negin, 2017, pp.194"). 1.59 kg total including stand, 29cm without stand (11 1/2"). Property of a South London collector; previously in a German collection prior to 1980; accompanied by an academic report by military 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, number 93511. Most probably this specimen is from a grave of a soldier or military commander. The helmet is hemispherical and imitates abundant curly hair which is made in a realistic fashion. In addition, the helmet is unusual due to the fact that its design and appearance demonstrate a combination of several traditions in manufacturing of military headgear, like the Kostol one. The bottom edge of the helmet could be also bent in the form of a hem and have a continuity of holes intended either to attach the lining, or to suspend some sort of neck protection in the form of a lamellar or scale aventail, which is not typical of Roman helmets, worn in the Roman army only by soldiers of Eastern auxiliary units. The mask portrait is the one of a young Dipartimento Studi Storici università di Ferrara Pagina 2 African prince, or man, in an age in which Africans (Numidians) were highly considered in the Auxilia military forces serving under Trajan and Hadrian. It should well be remembered the important tasks accomplished by the Mauri of Lusius Quietus during the Trajanic wars against the Dacians, and also during the repression, in the last years of the Trajan's Empire, of the Jewish revolt in the so-called Kitos war (116-118 AD"). We cannot exclude that the mask was destined to a member of his family, or to a portrait of the Prince himself, considering the similarity of this portrait with the presumptive image of Quietus on Trajan's Column (Cichorius, scene LXIII"). According to Arrian of Nicomedia, a Roman provincial governor and a close friend of Hadrian, face-mask helmets were used in cavalry parades and sporting mock battles called hippika gymnasia. Parades or tournaments played an important part in maintaining unit morale and fighting effectiveness. They took place on a parade ground situated outside a fort and involved the cavalry practising manoeuvring and the handling of weapons such as javelins and spears. Parades would have taken place at several times in the year, especially at religious festivals and on days marking the birth, and accession to the throne, of the Emperor. Hippika gymnasia were colourful tournaments among the élite cavalry wings of the army, the alae. Both men and horses wore elaborate suites of equipment on these occasions, often in the guise of Greeks and Amazons. Calvary helmets were made from a variety of metals and alloys, often from gold-coloured alloys or iron covered with tin. They were decorated with embossed reliefs and engravings depicting the war-god Mars and other divine and semi-divine figures associated with the military. [A video of this item is available to view on TimeLine Auctions website.]Very fine condition, minor restoration and edge loss. Excessively rare.

6th-5th century BC. An iron short sword comprising a leaf-shaped blade with midrib, bow-shaped lower guard, flat grip and T-shaped 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, pp.72-75 for discussion. 2.3 total, 63.3cm including stand (25"). From the family collection of a South East London collector; formerly acquired in the late 1950s. Very fine condition. Professionally cleaned and restored.

10th century AD. A substantial bronze pommel cap of Petersen's Type H with defined lateral recesses forming lobes, the surface enhanced with applied bands of silver wire; mounted on a custom-made stand. Cf. Peirce, I. Swords of the Viking Age, Woodbridge, 2002, pl.VI for type. 210 grams, 75mm including stand (3"). Property of a London gentleman; formerly in an old UK private collection. Mainly fine condition, usage wear. Scarce.

Early 3rd millennium BC. A squat ceramic jar with bulbous body decorated with incised spirals and concentric-ring stamps, short neck with impressed cord detailing and similar to the chamfered rim. See Briard, J. The Bronze Age in Barbarian Europe, London, 1979 for discussion. 1.1 kg, 17.5cm (7"). From the family collection of a South East London collector; formerly acquired in the late 1950s. [A video of this item is available to view on TimeLine Auctions website.]Very fine condition. Professionally cleaned and conserved.

3rd millennium BC. A ground and polished diorite axehead with large perforation, boat-shaped in plan with flat striking face to the rear. See Briard, J. The Bronze Age in Barbarian Europe, London, 1979 for discussion. 468 grams, 11.5cm (4 1/2"). From the family collection of a South East London collector; formerly acquired in the late 1950s. Very fine condition.

Early 14th century BC. A jasper cylinder seal with frieze depicting in the centre two genii holding jugs with a bull's head between, below them two lions and a stylised fish; above, a winged disc and a four-character Cypro-Minoan inscription with central rosette; to the left above, two crossed lions, standing on a high altar table or standard; to the right the other two main figures are a goddess with the face of a lioness, in a long dress, supporting a jumping goat with her right hand; behind her is a small human figure with lion's legs and tail, holding its tip with the right hand; the goddess (a kind of mistress of the animals?) faces a bull-headed human (Minotaurus?) in a long dress, opening to show one leg, holding a long handled sickle sword and a lion, upside down; his tail tip is held by the left arm of the goddess; above the hanging lion are another character and a bukranion, and below, the head and neck of a lion; between Minotaurus and the hanging lion are two more characters, between Minotaurus and the two crossed lions a star; Horror vacui. Additional images available by logging in to TimeLine Auctions website. There is a very similar specimen to this seal, published in: Boardman, John Greek Gems and Finger Rings. Early Bronze Age to Late Classical, London, 1970, p.90, fig.206 (photos), p.106 (description and literature); authenticity is supported by the masterful execution of the figures, but especially by some subtle differences: 1) Face of the goddess: Boardman-seal: of a woman; this example is of a lioness. 2) Head above between goddess and Minotaurus: Boardman-seal: the facing head of a horned deity; on this example: a bukranion. 3) The two crossed lions: Boardman-seal: something sandwiched between winged disc and Minotauros; this example: standing on a high altar table or standard. 4) Characters between goddess and Minotaurus: Boardman-seal: only one; this example: three characters. 5) Fish and star this seal are missing in Boardman-seal. 29 grams, 36.7mm (1 1/4"). Property of a London gentleman; from his father's collection formed in the late 1980s-early 1990s. Very fine condition. Very rare.

Late 3rd-early 2nd millennium BC. A red limestone columnar idol, waisted with shallow slot to both flat faces. Cf. Pottier, M. H., Matériel funéraire de la Bactriane méridonale de L' Age du Bronze, Mémoire, Editions Recherche sur les Civilisations, 36, p.16, pl.V, nos.34-5 for two virtually identical lingams called 'masses d'arme', and p.43, pl.XXXV, nos.292-3 for similar yoni; also, Schmidt, E. F., Tepe Hissar Excavations, 1931, The Museum Journal, XXIII, no.4, 1933, The University of Pennsylvania, Philadephia, pl.CXXXVI. 5.2 kg, 27cm (10 1/2"). From a private UK collection; previously with Robin Symes Gallery, Mayfair, London, UK, before 1999. Fine condition, chipped.

A full sized 1910-vintage Pathe-Freres hand cranked 35mm�silent film projector.The Pathe company has been synonymous with the film industry for over 120 years. And in many ways Pathe, and the 4 brothers who founded it, could be considered the Edisons of Europe- starting life as a fledgling reseller of phonographs in 1896, and rounding out the 20th century as a major innovator of photographic, audio, and film technology, not to mention a global media distributor. Anyone lucky enough to catch a double feature during the golden age of cinema will remember Pathe as the name behind the eponymous newsreels of the 40�s and 50�s; and many timeless films, both European and American, were shot and projected on Pathe-engineered machines. The Pathe No. 1 Imperial- sometimes referred to as The English Model- began production around 1908, and continued well into the teens. It was originally offered as a hand-cranked unit but could be easily modified into an electric drive system and accepts a number of different lighting systems depending on the type of projection needed. Renowned in its era as one of the sturdiest, most flexible designs on the market, the No. 1 was used for both traveling and permanent exhibitions, and is replete with turned bronze gearing, optional Mallet system swing-open safety spool boxes, a fully adjustable and collapsing lens, automatic winder, and a rigid, intricate frame. This example, Serial no. 3063, is in its original orientation: hand operated, with a Geneva drive linkage and large, external 'pin-wheel' shutter. Two antique 12 inch 35mm reels are included. Decked in Pathe cocoa brown enamel, mounted to a sturdy iron and oak stand, it makes an extraordinary display piece, evoking the earliest days of motion picture history; the quiet whirring of the shutter and spinning of the gears are still a charm to behold, and the crank turns easily in the hand. A section of color film leader completes the look. Issued: c. 1910 Dimensions: 62"H x 32"L x 14"D Manufacturer: Pathe-Freres Provenance: Private Collection Country of Origin: France Condition: Wear and patina consistent with age, and use To view the video for this item, click the link below:Pathe-Freres hand-cranked 35mm film projector

1870 US-made precision instrument in box; papers, accessories.This�Heller & Brightly theodolite transit scope is an extraordinary example of mid-19th�century engineering and scientific exploration at the height of its fervor- befitted in brass, equipped with a huge and ornate nautically pointed compass, and housed in a dovetailed instrument box replete with hand numbered serial card and printed notes. The case includes 2 additional eyepieces, a glare shade, and large bronze tribrach mount. Bronze hardware and the original hand-riveted leather straps complete the look. Made in Philadelphia and serialized 7012, this scope is a historical landmark for analog precision and a true piece of art for any collector of instruments nautical or geographical- an undeniably handsome collaboration of spun brass knobs, vernier scales, and hand-ground lenses. Artist: Heller & Brightly Issued: 1870 Dimensions: 13.5"L x 9.5"W x 14"H, in case Country of Origin: United States Condition: Overall good, age related wear to the case and instrument

Heavy brass transit in original wood, leather box; table stand.Made sometime prior to 1940 when A.S. Aloe Company (St. Louis, MO) shifted to medical equipment manufacturing, this 1917 patent transit scope is a beautiful example of early 20th century design, featuring precisely graved vernier scales, large spun-brass controls, black lacquer and varnished bronze finishing; all fitted on a removable trivet, making it ideal for desk or table display.� The controls and locks spin- the rack focus is smooth - automated eyepiece cover swings freely and the view through the optics is clear- spirit level full and visible - an excellent addition to any collection of scientific or exploratory history. Includes brass front cap and original wood and leather field case. Serial no. 11908 Artist: A.S. Aloe Co Issued: Early 20th c. Dimensions: 13"L x 5.25"W x 9"H, in case Country of Origin: United States Condition: Use and age related wear

Heavy brass transit in original wood, leather box; table stand.Made sometime prior to 1940 when A.S. Aloe Company (St. Louis, MO) shifted to medical equipment manufacturing, this 1917 patent transit scope is a beautiful example of early 20th century design, featuring precisely graved vernier scales, large spun-brass controls, black lacquer and varnished bronze finishing; all fitted on a removable flat base plate, making it ideal for desk or table display. The controls and locks spin- the rack focus is smooth - spirit level is full and readable- an excellent addition to any collection of scientific or exploratory history. Includes brass sunshade and original wood and leather field case. Serial no. 10932 Artist: A.S. Aloe Co Issued: Early 20th c. Dimensions: 13"L x 5.25"W x 8.5"H, in case Country of Origin: United States Condition: Age and use related wear; weathered box

Bronze and steel scope with bubble level, numerous adjustments.A classic piece of scientific surveying equipment, this Buff & Buff Co. transit scope is built from brass, bronze, and steel casements and machined parts, befitting the quality of early 20th century precision instruments. Two toned, equipped with a large bubble level and stored in its original wood and leather field case, an excellent addition to any collection of engineering, scientific, navigational, or American industrial equipment, and certainly a handsome mantelpiece. Artist: Buff & Buff Issued: December 1st 1960 Dimensions: 20"L x 6"H x 10"H, in case Country of Origin: United States Condition: Use and age related wear

Officer-of-the-deck model black spotting scope in oak box.Produced by the Kollmorgen Optical Corporation under contract from the U.S.N. Bureau of Ships, this 10 power spotting scope was standard issue aboard line ships across the seas during World War Two. Heavily constructed from enameled spun bronze and coated in an early form of abrasion resistant rubber, this scope shows good condition with unchipped lenses and a straight body. The original coating and enamel is in good condition, and the felt lined oak presentation box- with its brass hardware and original naval badge- is a collectors item in its own right. Serial Number 2444. Issued: 1940s Dimensions: 25"L x 3.75"D x 3.75"H Edition Number: 2444 Manufacturer: Kollmorgen Country of Origin: United States Condition: Age related use and wear

U.S. Navy ordnance scope issued during WWII in oak case.This 16 power spotting scope was issued aboard line ships across the seas during World War Two. Produced by the Kollmorgen Optical Corporation under contract from the U.S.N. Bureau of Ships, and heavily constructed from enameled, spun bronze, and coated in an early form of abrasion resistant polymer, this scope shows good condition with unchipped lenses and strong enamel finish. The original coating is also in good condition, and the felt lined oak presentation box- with its brass hardware and finger jointed construction- holds the scope firmly. Issued: 1940s Dimensions: 32.5"L x 4.75"D x 5"H Manufacturer: Kollmorgen Country of Origin: United States Condition: Age related use and wear. Oak case shows sign of repair

Bold black bronze and chrome decor on this clever stereo icon.Long before the ubiquitous red plastic Viewmaster and their disks, the Viewmaster company made a number of 3D-viewing and stereo platforms, including producing their own stereo camera. The Personal, a well featured and splendidly styled camera, evokes not only the 40's and 50's obsession with travel, 3D popcorn drive-in films, and persona photography- it also evokes 'cool'. Issued: c. 1940's Dimensions: 6"L x 2.5"D x 3.25"H Manufacturer: Viewmaster Country of Origin: United States Condition: Age and use related wear, as-is

FRANZ XAVER BERGMANN; an Austrian early 20th century cold painted bronze study of a reclining cat with foundry mark to base, length 7.8cm. Provenance: Purchased from Hickmet Fine Arts with photocopy of paperwork. Additional InformationGeneral light wear commensurate with age and handling. 

ALFRED DUBUCAND; a late 19th century French patinated bronze cockerel with impressed signature, mounted on oval rouge marble plinth base titled 'Chanteclair', height including base 10cm. Additional InformationBronze somewhat loose on base, this will need tightening, general surface wear commensurate with age and handling throughout, some nibbles to the base of the marble plinth with scratches, nicks etc. 

Ancient Greece, Mycenaean Period, Late Bronze Age, ca. 14th to 13th century BCE. A lovely wheel-thrown bi-chrome pottery cup with a planar base, a cylindrical body with a flared neck leading to a broad rim, a single spout set 90 degrees to the loop handle. The body is decorated with three horizontal bands of iridescent black slip at the lower end; horizontal frets also delineated in iridescent black slip adorn the handle; swooping marks adorn the underside of the spout and the interior is covered in the same iridescent black slip. The underside of the base is unadorned. With its elegant form and decorative program, this mug is emblematic of this fascinating and almost-mythical period, immortalized in the Iliad and the Odyssey. Size: 5" W from end of spout to opposite side x 2.5" H (12.7 cm x 6.4 cm)The Mycenaean period is so named for the palace at Mycenae, famed in Homeric legend as the opulent seat of King Agamemnon - excavations there revealed an elite and long-lasting society with a great deal of wealth. This extended to the workshops of artisans who produced pottery like this mug both for use in Greece and throughout the Mediterranean world; shiploads of similar jars went out as far as the Levant and Spain, carrying oil, wine, and other commodities. Provenance: private East Coast, USA collection; ex-Richard Wagner collection, Cape Cod, Massachusetts, USA, acquired in the 1970s Condition: Remarkably intact. Scattered mineral deposits across the surface, more visible on the buff areas. Black slip has developed an attractive iridescence. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #146169

Central/Eastern Europe, Balkan Region (Slovenia, Serbia, Bulgaria), Celtic peoples, ca. early 1st millennium BCE. A well-preserved, curved, single-edged iron sword called a makhaira (machaira), also known as a sica, with a hammered flat tang studded with three iron sun ray-decorated bolts and a small pommel. It is accompanied by the sheath, which is cast from iron with decorative incised bands around its top and bottom and a flat, disc-shaped tip. The blade is wide below the thick tang before tapering to a point. Incised decorations on the surface show two birds - both of whom likely once had precious metal or stones inlaid as their bodies - and a sun-ray or sunburst motif between them, at the highest point of the blade when the dagger is held vertically. These incised motifs look very similar to ones on a machaira found in a grave alongside a sword and helmet at Montana in northwestern Bulgaria (see below for comparison). Size: 15.1" H (38.4 cm); 8.95" H (22.7 cm) on included custom stand.Curved, single-edged swords developed during the Bronze Age in southeastern Europe, with various groups around the eastern Adriatic coast using them. One notable example is from the late La Tene cremation burial at Most na Soci, Slovenia, where a cremation burial included a sword of this type, a spearhead, and a fibula. In that burial, the sword and fibula had both been ritually destroyed as most metal grave goods were by the Celts.See the similar example from Montana, Bulgaria, and several other similar examples from archaeological finds here: https://balkancelts.wordpress.com/2012/11/24/curved-sacrificial-daggers/ Provenance: private East Coast, USA collection Condition: Both items have oxidized patinas that have not obscured the details. The hilt and tip are lost from the dagger, while the sheath has a loss from its upper edge. Other small losses are visible elsewhere. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #146589

Ancient Europe, central to northwestern region, Celtic, La Tene / Iron Age, ca. 4th to 1st century BCE. A simple yet elegant bronze torc (sometimes torq or torque) necklace of an open circular form with conical termini and flattened ends. The band of the bracelet narrows slightly between the termini, which are cast to have incised, simple decoration. Vaguely avian/floral motifs, each focusing on an eye, precede each terminal, which flares outward, resembling the trunks of great trees and terminating in flat bases. This style is known as the "vegetal" or "Waldalgesheim" (see below). The Celtic world spanned much of the central, western, and northern regions of ancient Europe, shrinking to a fringe area around the north and west as it came into contact with the Romans and other Germanic peoples. The Celtic culture is known for curved metalwork as is evident with this example. The size of this example suggests it was worn by a woman, or possibly a youth. Size: 5.4" W x 5.4" H (13.7 cm x 13.7 cm)This example is stylistically very similar to one made of gold, found in a chariot grave from ca. 4th century Waldalgesheim, near modern day Frankfurt, found alongside several matching armbands and believed to be the grave of a woman. This torc is currently held by the Rheinisches Landesmuseum in Bonn, Germany. Provenance: private California, USA collection; ex-Christie's, London, UK, 1990s Condition: Beautiful condition, with mottled deep green patina. Motifs are very nicely preserved as is the form. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #146080

A BRONZE FIGURE OF RAMANUJA DECCAN SOUTHERN INDIA 18TH/19TH CENTURY the Vaisnavite acharya seated on a lotus throne his hands in namaskara mudra a pennant resting on his right shoulder Vaisnavite emblems on his forehead and body 15cm high Ramanuja who lived in Tamil Nadu in the 11th century and is traditionally believed to have lived to the age of 120 is one of the most important figures in the development of bhakti or devotional Hinduism. He spent much of his life as a priest at the Varadaraja Temple Kanchipuram

A fine and very rare Chinese Ming Dynasty (1368-1644) gilt bronze cloisonné scribe's water dropper, probably early seventeenth century, the cylindrical-form pot with flared rim decorated with two five-clawed dragons upon a turquoise ground. Dimensions : Height including the dropper finial 79.07 mm. Diameter across the base 57.20 mm, diameter across the top 52.04 mm, height not including the dropper 60.65 mm, weight not including the dropper 342.3g, gross weight 348.8g. CONDITION REPORT: The item is in very good condition showing time-aged natural wear and discolouration, rubbing to the gilding in keeping with age along with minor surface scuffs to the metal. Detail is good and crisp, in keeping with age some cloisonne cells showing pitting and tiny vacant patches with no signs of damages, cracks or chips. This item appeared recently as a feature in the BBC Antiques Road Show from the Civic Centre, Newcastle Upon Tyne, series 40, episode 26.

Buried treasures from Cambridgeshire - A rare Roman silver and gilt inset ring depicting Minerva, circa 150 AD, An Anglo Saxon cruciform brooch 5th century AD, A rare Anglo Saxon brooch of a bronze bird together with an Iron Age Roman bronze bangle, circa 300 AD and a fine Edwardian solid silver poultry case medallion, struck with hallmarks in original presentation case. (5)

A RARE CHINESE SILVER AND GOLD INLAID IRON RUYI-SCEPTRE 16TH/17TH CENTURY The shaft decorated with seal script characters and geometric fylfot patterns, the head cast in relief as a lingzhi, with interlocking T-shaped designs to the edges, 73cm, 1.7kg. Provenance: from a Welsh private collection, acquired in Abergavenny in the 1950s. Cf. Sydney L Moss Ltd, The Second Bronze Age: Later Chinese Metalwork, no.38 for a similar ruyi-sceptre.十六/十七世紀 銀錯金絲如意擺件來源：威爾士私人收藏，購於1950年代。

AMENDMENT BRONZE NOT GILT A Chinese small gilt vase with Arabic inscription, trumpet neck and oviform body; 15 cm high, Qing Dynasty958 gmsProvenance: The Property of a Gentleman. From a Private English Collection.Similar vases are known, presumably as a result of the wealthy status of Muslim communities in cities like Xi'an in Shaanxi Province. Compare, for example, a small brass vase in the Metropolitan Museum collection (07.205.1) with two Arabic inscriptions, reading: 'Glory To Allah' and 'Praise Be To Allah'. As Persian cobalt travelled eastwards on its journey to Jingdezhen, so of course Chinese ceramics also began to record a connection with the Islamic and Arab world (see for instance the Zhengde mark and period, blue and white vase offered by Christie's Hong Kong, Lot 3825 on 1-6-2011). Other blue and white porcelains with cursive Arabic script, also appeared during the Zhengde reign. Sometimes, these designs were highly distinctive; see for example the five peaked mountain brush rest (British Museum/Franks.147.b), and the pair of spherical hat stands (British Museum/Franks.265+).Good condition commensurate with age - tarnished inside and to base, possibly polished in the past

Ca. 2000 BC. Early Bronze Age terracotta vessel with incised decoration. Size: 125mm; 190 gramsProvenance: Important estate collection from Oxfordshire; formed in the 1970s-2000. All Items sold by Pax Romana Auctions come with a professional Certificate of Authenticity and FREE domestic and international shipping.

CA.3000 BC. Important Indus valley terracotta Bowl depicting zebu bull, ibex, geometric motifs and sun symbols. The Indus Valley Civilisation was a Bronze Age civilisation in the north western regions of the Indian subcontinent. Intact; Museum quality piece, 350x300. Provenance: Property of a London gallery, previously in old British collection formed in the 1980s All Items sold by Pax Romana Auctions come with a professional Certificate of Authenticity and FREE domestic and international shipping.