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CA.3000 BC Important Indus valley terracotta jar depicting fish, griffin and ibex. The Indus Valley Civilisation was a Bronze Age civilisation in the north western regions of the Indian subcontinent. Intact; Museum quality piece, 360x260. 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.

Ca. 1200 - 800 BC. Amazing Bronze Age cast bronze cylinder, made to be part of a mace - probably placed around a wooden or less decorated metal staff beneath the mace head. The body has multiples spikes, design to be effective and relentless in battle. Superb Condition. 130mm; 460gr. 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 and FREE domestic and international shipping.

CA. 1200- 800BC. Superb Bronze Age axe. Combined in axe-adze with circular shaft hole; the transverse blade trapezoid with expanding cutting edge; the axial blade expanded with slightly curved cutting edge, effective weapon. Superb Condition, amazing blue patina. 140 x 105mm; 645gr. 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 and FREE domestic and international shipping.

Ca. 2000 BC. Unusual Near Eastern Bronze Age axe head with socket with ribbed upper edge and ribbed chevrons to the rear face; the blade triangular in plan with convex edge and swept profile. Good Condition. 170mm; 315gr. 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 and FREE domestic and international shipping.

Ca. 2000 BC.Lovely example of European Bronze Age weaponry. A cast sickle blade with raised rear border to the upper surface, plain reverse; two circular holes for attachment at the broad end. Good condition. 230mm; 150gr. 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. 800 BC. Bronze Age, Near Eastyern, 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. 325mm; 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 and FREE domestic and international shipping.

CA.800 BC. Greek Archaic period (bronze Age) bronze short 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, 450mm; 270gr. 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. 800 BC. Bronze Age Near Eastern 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. 420 mm; 530gr. 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. 650 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. Superb condition. 600mm; 465gr. 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. 300 BC. Celtic Iron Age votive figurine set of cast bronze horse and horse rider. Good condition, cleaned and conserved. Size: 45-50mm; 50 grams. 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.

A Rare and Important Melon-Form Silver Handled Jar and Cover, Tang Dynasty (618-907)Raised on a short splayed foot, the eight-lobed globular body decorated with engraved panels including birds, deer, tiger and ram amongst blossom and foliage, all on a ring-punched stippled ground, the shoulder surmounted by a pair of recumbent mythical bixie beasts supporting a tapering D-section swing handle, the cover double-domed and rising to a tear-shaped finial.Height 17.3 cm Provenance: An old Scottish Estate, acquired prior to 1980 [Notes: This silver jar is an example of the fine craftsmanship and sumptuous tastes of the Tang Court. Despite China’s strong history of using silver in ornaments and smaller vessels, it was not until the 6th Century that this material was considered one of the premier luxury materials. The vessel was analysed at Oxford University and determined to be of very high fineness (99.7%), comparable with other Tang silver. Its design is unique in both its shape and decoration. The lobed form and depiction of fantastic beasts was introduced through trade along the Silk Road. Despite being used as Chinese decorative motifs since the Bronze Age, the two mythical bixie on the shoulders are also influenced by creatures from Central Asia. Assuming the form of a single-horn winged lion, these animals are known to ward off evil and bring wealth in the form of gold and silver coins to their owners.  With its large size and attractive workmanship, this vessel would have been a prized possession within the Tang upper-class. The presence of a cover is quite remarkable, the double-dome and finial of which are reminiscent of a Buddhist stupa, offering up the possibility that this vessel was used for religious ceremonies in a high-ranking temple. For a similar container of this shape, see Carol Michaelson, Gilded Dragons, Buried Treasures from China’s Golden Ages, London, 1999, Fig. 82, a handled jar and cover at the Shaanxi History Museum. Both have similar rounded forms, swivel handles supported in the mouths of mythical beasts, and engraved depictions of animals and foliage, the latter lacking the lobed body of this specimen; an eight-lobed parcel-gilt silver and gold box sold through Sotheby’s London, 27 November 1973, lot 30, and another example published in Eskenazi’s Early Chinese Metalwork in Gold and Silver; Works of Art of the Ming and Qing Dynasties, London, 2011, page 33; the bold four-square stature of the deer can be compared to that of a repoussé standing rhinoceros on a silver dish sold at Sotheby’s London Masterpieces of Chinese Precious Metalwork, 14 May 2008, lot 59; and the large lush foliage can be compared to similar designs on a silver bowl and a bowl and cover that were sold in ibid., lots 53 and 64. The last three examples were all featured in Bo Gyllensvärd, Chinese Gold and Silver in the Carl Kempe Collection, Stockholm, 1953.]   

Peake (Harold). The Bronze Age and the Celtic World, 1st edition, 1922, 14 black & white plates with captioned tissue guards, letterpress illustrations, scattered spotting, front pastedown with Graham Webster's signature dated '48 (as well as his bookplate) and tipped-in spine from original dust jacket, original bevel-edged red cloth gilt, some marks on front cover, 4to, together with May (Thomas) , Catalogue of the Roman Pottery in the Colchester and Essex Museum, 1st edition, Cambridge, 1930, 93 black & white plates at rear, free endpapers lightly toned, original red cloth gilt, spine faded, 4to plus Stanfield (J.A. & Simpson, Grace) , Central Gaulish Potters..., 1st edition, OUP, 1958, numerous illustrations, many full-page, front pastedown with bookplate of Philip Corder (as well as that of Graham Webster), original green cloth, in rubbed and edge-frayed dust jacket, 4to, plus 24 other archaeology volumes, including: Culture and Environment, edited by I.LL. Foster and L. Alcock, 1963; The Excavations at Dura-Europos, edited by M.I. Rostovtzeff, 1934; Roman Amphorae by M.H. Callender, 1965; and Life and Death in the Bronze Age, by Sir Cyril Fox, 1959 (Qty: 27)A number of the volumes bear the bookplate of Graham Webster.

Jaguar XJ6 Sovereign (XJ40) Registration number: H459 WHH First Registered: 09-06-2000 Previously registered over seas, declared manufactured 1991 Engine Size: 3200cc Colour: Bronze Engine Number: 9BPANA101775 Chassis Number: SAJJHALG3AK637411 V5C present The contemporary fashion trends of the 80's were clear to see in the styling of XJ40 Sovereign unveiled in 1986. The overall proportions were unmistakably Jaguar, with an overall more angular feel to it, featuring rectangular headlamps as well as square rear lights. A real innovation for Jaguar was the quarter light in the rear pillar, creating six light style. XJ40 Sovereign was an instant success, and demand was initially greater than what Jaguar could supply. Under the skin, XJ40 featured a new rear suspension with double wishbones and the brake discs mounted outboard. The manual gearbox was a five speed Getrag transmission first seen on the XJS, while the automatic was a four speed ZF with a new shift called the 'J' gate. 'J' gate was the brainchild of Jim Randle; it allowed gears to be easily and rapidly selected for more lively motoring. Very few clean examples of this model due to a short production run quickly being superseded by newer models. This particular example sums up a time of economic wealth and customer's desire to show it, with bold colour schemes and sumptuous interiors. Finished in champagne gold and trimmed in beautiful biscuit leather, this is a true survivor of the lavish and indulgent 1980s. On inspection the interior is in remarkable, original condition with gleaming walnut and excellent internal brightwork. The engine is silky smooth and transmission changed effortlessly when expected. The coachwork is very original showing very few signs of age with only small areas of rust on the lower offside wing. Accompanied with a history file containing, old Mots, receipts, hand books and owner's manual. Buyer's premium of 10% (+VAT) applies to this lotOriginal paintwork with some signs of touch up. Lower front wings behind wheel arch rusted. Interior original with light wear. Leather seats good with light wear. Headlining showing areas of sagging. Wheels and Tyres good. Starts and drives well.

A Rare Japanese Cloisonne Enamel Plaque, Meiji period, circa late 19th century, Of large circular proportions, Decorated with a large eagle, surrounded by panels of dragons, exotic birds, prunus and roses, richly enameled in colours of malachite, rouge etc, on a blue ground, 92cm diameter Condition reportNo visible damage to the enamels. Minor age surface marks and minor age scratches, mainly to the border. Minor age colour fading to bronze border. Minor age surface marks to base. 

A Pair of French Bronze Lamps, circa late 19th century, Modelled as females in classical dress, with opaque glass shades, converted to electricity, 82cm high, (2) Condition reportMinor chips to end of figures. Age staining and colour fading, in the main to one figure.

A Pair of French Bronze Figures, circa 19th century, Modelled as young males, raised on a cylindrical white marble stand with ormolu mounts, 30cm high, (2)Condition reportFigures okay, no visible damage. Minor age stains. Ormolu disks half revolve on stands. Not fully fixed. Minor age chips to base.

A Bronze Figure of a Panther, circa late 19th century, Possibly oriental, 7cm highCondition reportAge staining to figure, also age surface marks. 

Four axe heads, possibly bronze age

§ Rudolf Belling, (German, 1886-1972), Cubist Composition, bronze, signed in the bronze and dated 1950, Noack, Berlin foundry stamp 50cm (20in) Other Notes: One of the most eminent German sculptors of classical modernism and a pioneer of sculptural abstraction, Rudolf Belling originally started out as a stage and costume designer. He produced sculptures and props for the theatre and films, notably receiving commissions from Max Reinhardt (1873-1943). A prolific and eclectic artist, Belling did not limit his work to sculpture alone, working also as scenographer, designer and architectural sculptor. Belling was much influenced by Expressionism, particularly by the painter and architect Hans Poelzig (1869-1936), however, he had the talent to move between styles. His artistic development was shaped by a variety of styles including futurism, constructivism, abstraction and naturalism. In 1919, he produced the first non-figurative abstract sculpture in the German-speaking world - 'Dreiklang' (Triad) - an iconic and pioneering example of abstract sculpture in Germany. Against the predominant theories of his time, put forward by the German sculptor Adolf von Hildebrand (1847-1921), Belling conceived his sculptures in space, adopting the so-called 'Belling System'. The present sculpture, which can be viewed from different perspectives, is an example of this then revolutionary approach to sculpture, as it encourages the observer to circle around it. One of the founding members of the artists' association, 'Novembergruppe', in Berlin, his political views did not conform with the Nazi ideology. Shortly after being elected a member of the Prussian Academy of Arts in 1931, he was forced to resign and he was banned from working in Germany, with his works being labelled as 'degenerate'. Unable to stay in his home country, Belling emigrated to Istanbul, where he lived for thirty years before being allowed to return to Germany at the age of 80. In the year before he died, Belling created the bronze sculpture, 'Blütenmotiv als Friedenssymbol' (Flower Motif as a Peace Symbol), which became the international landmark of the 1972 Olympic Games in Munich.

§ Michael Ayrton (British, 1921–1975), Siren, 1963, bronze, etched no. 0/9 to underside, unsigned 22.50cm (9in) Provenance: Acquired by the vendor directly from the artist's estate Literature: Michael Ayrton, Drawings and Sculpture, Michael Ayrton, Cory, Adams and Mackay, London, 1962, (ill. b&w pl.158) Michael Ayrton: An Illustrated Commentary, Peter Cannon-Brookes, City Museums and Art Gallery, Birmingham, 1978 (ill. b&w pl.180) Other Notes: An eclectic artist and writer, Michael Ayrton established his reputation as a distinguished painter, printmaker, sculptor, designer, illustrator and critic. Starting out as a painter alongside the Neo-Romantics including Paul Nash, John Piper and Graham Sutherland, Ayrton did not discover his interest in sculpture until 1948 when he visited Pisa and came across the sculptures of Giovanni Pisano (c. 1250-1315). Turning to sculpture in 1953 without any previous training, Ayrton mostly relied on the advice given to him by Henry Moore and his own study of Donatello, Rodin and Degas. Ayrton's versatile production of sculptures, illustrations and poems reflect his interest in mythological themes. Trips to Cumae, Greece and Crete immersed Ayrton in the world of Ancient Greek mythology. In 1956, his first visit to the ancient site of Cumae, near Naples, had a profound effect on his art. From the early 1960s onwards, Ayrton created and wrote numerous works drawing upon the myths of the Minotaur and Daedalus and Icarus, which pervaded his art for the rest of his career. In the present work, Ayrton certainly took inspiration from his travels. According to Peter Cannon-Brookes, the figure was inspired by the Cumaen Sibyl from Ovid's 'Metamorphoses'. In the story recounted by Ovid, the Sibyl asked the god Apollo for eternal life - taking a handful of sand and asking to live for as many years as the grains of sand she held. Later, when the Sibyl rejected the god's love, Apollo tricked her and let her wither away, claiming she should have asked for eternal youth instead. Eventually, she grew thinner and more decrepit with age and after a thousand years, only her voice was left. In the present sculpture, the emaciated figure, stripped to the bone, is highly reminiscent of the fate of the Cumaen Sibyl and illustrates the capriciousness of divine intervention.

6x Assorted Antique Bullet Moulds, comprising 4 x pincer type iron moulds for 300, 84, 60 and 16 bores; another for a long approx. 60-bore bullet with steel cut-off (expertly restored) and Indian markings; and a twin cavity bronze mould for 2 approx. 50-bore flat nosed bullets. Average good condition, with some age wear and a little damage.

Mid-Victorian Bronze Model Cannon, barrel 31cms, turned reinforces, flared muzzle, spherical cascabel with brass capstan screw elevating mechanism, on its bronze split trail, the cheeks pierced with quatrefoils and painted red, cap squares both stamped 11, brass spoked wheels, baluster turned crossbar. Barrel 31cms, overall 52cms. Good condition with excellent age patina overall.

Good Quality Contemporary Scale Model of a Waterloo Period Cannon and Limber, early 19th Century, comprising bronze barrel with turned reinforces, swollen muzzle, vent platform cut and pierced with adjustable bronze rearsight, on its iron shod mahogany block trail with elevating screw, port fire cutter, iron framed side seat with foot bar and chains, hinged iron T-bar and stay; complete with matching limber with a pair of ammunition boxes, dished spoked wheels, wooden trace. Barrel length 24cms, overall on trail 48cms, and with limber 62cms (excluding removable trace). Good condition and patina overall, some age wear; ammunition box lids, cap squares and some small pieces missing.

Great War 10th Battalion Royal West Kent Regiment First Day of the Battle of Passchendale Casualty Medal Group, group consists of British War and Victory medals awarded to “G-24506 PTE G F FROUD R W KENT R”, Bronze Memorial plaque “GEORGE FREDERICK FROUD”. Mounted into a period wooden glazed frame with regimental cap badge and photograph of George Frederick Froud. Private Froud was killed in action on the 31st July 1917 whilst serving with the 10th Battalion Royal West Kent Regiment. He is commemorated on the Ypres Menin Gate memorial. He was 23 at the age of his death. He was the son of Horace and Sally Froud of 200 Wheeler Street, Maidstone, Kent. The war diary for the 10th Battalion Royal West Kent states, 31st July 1917 (First day of the Battle of Passchendale), “(Second Army) X Corps attacked with the 41st Division, on either side of the Comines canal, captured Hollebeke village and dug in 500–1,000 yards (460–910 m) east of Battle Wood. Much of the X Corps artillery was used to help the Fifth Army by counter-battery fire on the German artillery concentration behind Zandvoorde. The 41st Division attack was hampered by frequent German artillery bombardments in the days before the attack and the officers laying out markings for the assembly tapes during the night of 30 July, exchanged fire with a German patrol. High explosive and gas shelling never stopped and one battalion lost 100 casualties in the last few days before the attack. At zero hour the attack began and the division advanced down the hill to the first German outposts. At one part of the battlefield German pillboxes had been built in lines from the front-line to the rear, from which machine-gunners kept up a steady fire. The strongpoints on the left were quickly suppressed but those on the right held out for longer and caused many casualties, before German infantry sallied from shelters, between the front and support lines on the right, before being repulsed by British small arms fire and that of a Vickers machine-gun fired by the Colonel in command of the battalion. Mopping-up the remaining pillboxes failed due to the number of casualties and a shortage of ammunition. It began to and at 4:00 a.m. many Germans were seen massing for a counter-attack. Reinforcements were called for and rapid fire opened on the German infantry but the attack succeeded in reaching the pillboxes still holding out on the right. The British artillery began firing as reinforcements arrived, the Germans were forced back and the last pillboxes captured. The front line had been advanced about 600–650 yards (550–590 m) on a front of 2,500 yards (2,300 m), from south of Hollebeke north to the area east of Klein Zillebeke”.

CANAANITE AXE BLADELEVANT, MIDDLE BRONZE AGE, 1750 - 1550 BC cast bronze, long, slender blade with recessed notch12cm longProvenance:Private collection, Scotland

1. Pigs 3301S, from The Doulton Bronze Menagerie Country Collection. Hand painted. 2.75"H x 2.25"W 2. Piglet HN2648, Style One, pink piglet on a grassy mound, designed by Peggy Davies.Artist: See descriptions.Issued: 1982, 1959Dimensions: 1.75"H x 2.5"LManufacturer: Royal DoultonCountry of Origin: England Condition: Overall good, age related wear.

IRON AGE BRONZE CHEEK PIECE, 1st Century BC/1st Century AD, from a horse's bridle, the upper side with three triangular panels filled with traces of enamel arranged in a rectangular panel

Collection of Bronze Age Hide Scrapers.This lot includes a small quantity of mineral formations.

A 19th century copper cooking pot and cover, each with twin bronze handles, the base stamped 'Temple & Crook Iron mongers, 34.5cm diam (size not including the handles) CONDITION REPORT: 23cm high. The lid fits ok. Highly grubby and tarnished throughout, general age wear surface scratches etc. There is an engraved 'W' to the top of the lid. The lug handles may be bronze.

A Chinese bronze two-handled censer, seal mark to base, on three feet, with stand 6 1/4" highCondition: Age approx 1900-1930, surface scratches and dings, otherwise good condition, 5" Diameter

A Chinese bronze censer, formed as a Buddha riding an elephant, 6 1/2" highCondition: Age approx 1900-1930, surface scratches and dings, otherwise good condition

A collection of metal detectorist finds to include Bronze age and later itemsWhich include late Bronze age brooch, Roman fibula, bronze bell, St James' Pilgrimage badge in the form of a bear, George III silver sixpence etc.

A French thuya wood and marquetry inlaid breakfront side cabinet with bronze mounts in the Empire Revival taste of Percier et Fontaine, the two central doors enclosing adjustable shleving flanked by two further doors also with adjustable shelving raised on a plinth base to turnd feet, 192cm x 171cm CONDITION REPORTS Numerous surface scratches, scuffs to the wood. Some knocks and chips to the wood mainly on the corners and hinges. Wear to the base where the doors have been rubbing. Brass has surface scratches and scuffs, aras of tarnishing. One of the brass friezes at the top of the door is loose. Some fading and discolouration. Overall general wear and tear commensurate with age and use, see photos for details.

λDenis Mitchell (British 1912-1993) St. Keverne Bronze Inscribed with initials, titled, dated 1971 and numbered 6/7 on the underside of base Height: 37.5cm (14 3/4in.) Provenance: Acquired directly from the artist by the present owner Denis Mitchell grew up in South Wales but moved to Cornwall in 1930 at the age of 18 where he was to remain for the rest of his life. He settled first in St. Ives where the heady artistic energy proved an enduring inspiration. Initially drawn to painting, he worked at a series of jobs whilst always pursuing his artistic ambitions. During the war years, Mitchell worked at the Geever tin mine near Land’s End and this experience of working with his hands and manipulating the stone was to change the course of his life. When the potter Bernard Leach suggested his name to Barbara Hepworth as a potential assistant, he was not only to become a trusted companion to one of the greatest sculptors of the twentieth century, but he would also develop his own successful career. Mitchell worked with Hepworth for ten years between 1949 and 1959 and under her mentorship, he grew in confidence. His first sculptures were in wood with his first bronze in 1959.Due to the high cost of working in bronze, Mitchell could only afford to use a sandcasting foundry in St. Just. The process allowed for only very simple shapes to be cast and resulted in an economy of form which, in hindsight, honed Mitchell’s skills and set him on a path to purity of form for which his work is known. Whatever the medium, Mitchell’s sculptures tend to incorporate just one principle form, stretching and curving upwards into the space. They are an expertly judged balance between space and form, between line and mass and their sleek polished exteriors belie their material weight.From his base in St. Ives, Mitchell was always at the centre of the Cornish abstract movement surrounded by artists that have since become icons of 20th century British Art - Barbara Hepworth, Ben Nicholson, Terry Frost, Wilhelmina Barns-Graham, Bryan Wynter, Peter Lanyon and Patrick Heron to name but a few. As Mitchell’s success grew, he found his St. Ives studio too small and opted instead to share a studio with another friend and artist, John Wells, across the Penwith peninsula in Newlyn. In 1969, he moved his family and settled permanently in the town and it was here that much of his most successful work was produced. Mitchell continued to work and exhibit right up until his death at the age of 80 in 1993. λ Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.

λDenis Mitchell (British 1912-1993) Zagcone Portland stone Height: 50cm.Executed in 1974, this work is unique and one of the only few works produced in Portland stone. Provenance: Acquired directly from the artist by the present owner in May 1975 Exhibited: London, Marjorie Parr gallery, October 1974 St. Ives, Tate Gallery, Ascending Forms (with Wilhelmina Barns-Graham), January-May 2005 St. Ives, Tate Gallery, Gabo - Hepworth - Mitchell, January-May 2010 Denis Mitchell grew up in South Wales but moved to Cornwall in 1930 at the age of 18 where he was to remain for the rest of his life. He settled first in St. Ives where the heady artistic energy proved an enduring inspiration. Initially drawn to painting, he worked at a series of jobs whilst always pursuing his artistic ambitions. During the war years, Mitchell worked at the Geever tin mine near Land’s End and this experience of working with his hands and manipulating the stone was to change the course of his life. When the potter Bernard Leach suggested his name to Barbara Hepworth as a potential assistant, he was not only to become a trusted companion to one of the greatest sculptors of the twentieth century, but he would also develop his own successful career. Mitchell worked with Hepworth for ten years between 1949 and 1959 and under her mentorship, he grew in confidence. His first sculptures were in wood with his first bronze in 1959. Due to the high cost of working in bronze, Mitchell could only afford to use a sand-casting foundry in St. Just. The process allowed for only very simple shapes to be cast and resulted in an economy of form which, in hindsight, honed Mitchell’s skills and set him on a path to purity of form for which his work is known. Whatever the medium, Mitchell’s sculptures tend to incorporate just one principle form, stretching and curving upwards into the space. They are an expertly judged balance between space and form, between line and mass and their sleek polished exteriors belie their material weight. From his base in St. Ives, Mitchell was always at the centre of the Cornish abstract movement surrounded by artists that have since become icons of 20th century British Art - Barbara Hepworth, Ben Nicholson, Terry Frost, Wilhelmina Barns-Graham, Bryan Wynter, Peter Lanyon and Patrick Heron to name but a few. As Mitchell’s success grew, he found his St. Ives studio too small and opted instead to share a studio with another friend and artist, John Wells, across the Penwith peninsula in Newlyn. In 1969, he moved his family and settled permanently in the town and it was here that much of his most successful work was produced. Mitchell continued to work and exhibit right up until his death at the age of 80 in 1993. Zagcone dates from 1974 and is one of a few unique works produced in Portland stone. λ Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.

λMichael Ayrton (British 1921-1975) Sleeping minotaur Bronze Inscribed with initials and numbered 4/12 4 x 7cm (1½ x 2¾ in.) Provenance: Sale, Sotheby's London, 10th July 1975, Lot 161 Acquired from the above by the present owner Michel Ayrton was a London born artist who excelled as an author, illustrator, sculptor, teacher, broadcaster and so much more. He was the son of poet and critic Gerald Gould and labour politician Barbara Ayrton whose name he assumed after his father’s death in 1936. Although, his studies were often disrupted by periods of illness, he attended the Heatherley’s School of Art and then St John’s School of Art where he met his long-time friend John Minton.At nineteen, he was commissioned to do stage and theatre set designs such as Gielgud's production of Macbeth, which he undertook with Minton. He illustrated several books such as Wyndham Lewis's The Human Age trilogy and Paul Verlain’s ‘Femmes’ and ‘Hombres’ in Lot 213. During the war, he was conscripted into the RAF before being discharged due to his poor health. In 1942, he held a joint exhibition with Minton which secured him a teaching role at the Camberwell School of Art from 1942 - 1944, where he taught life drawing. During the 1960s he travelled, making several trips to Greece where he was inspired by the Greek myths of Daedalus and Icarus, becoming obsessed with the concept of flight and freedom, of mazes and Minotaurs. Themes that would become central to his works of art, such as his sculptures, paintings, poems and his pseudo-autobiographical novel The Maze Maker. Ayrton considered himself very similar to Daedalus in his experiences, works of art and fascination with human flight. The myth inspired many paintings and sculptures such as Sleeping Minotaur depicted here and Maze Torso. λ Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.

SIR ALFRED GILBERT (1854-1934) 'VICTORY' silvered bronze, raised above an onyx sphere spacer on patinated bronze plinth base 18cm high Provenance: The Fine Art Society, London Literature: Dorment, Richard 'Alfred Gilbert: Sculptor and Goldsmith', Royal Academy of Arts, London, 1986, p.129 Note: After joining the Royal Academy in 1873 and studying at the École des Beaux-Arts in Paris, Alfred Gilbert went on to become one of the most influential sculptors of his generation and a leading figure in the New English Sculpture movement. 'Victory' was cast in 1887 and her dramatic pose, carefully balancing above an orb, encapsulates the New Sculpture preference to convey narrative through dynamic compositions. Whilst originally produced to surmount the orb held by the monarch in his 'Jubilee Memorial to Queen Victoria' at Winchester (1887), many reductions of this figure were subsequently made and Gilbert presented them to many of his friends, including John Singer Sargent and Seymour Lucas. Once described as "the Benvenuto Cellini of this age" by President of the Royal Academy Frederic, Lord Leighton, Gilbert's continual acclaim is a testament to his virtuoso skill as a bronze founder and goldsmith.

A pair of gilt bronze and brass figural candlesticks, modelled as women dressed in classical attire, each balancing an urn upon their head, 22 cm high (2)Remnants of wax. The tops are wonky. Scuffs and scratches to the exterior consistent with age and usage, areas of tarnishing. Top of one possibly re-attached. One figure loose at base.

Hammered copper with deep cobalt enamel decoration and profuse gilt floral designs. with turquoise interior.A monumental Qing Dynasty vase with stylized scrolled handles, large domed lid with celestial foo dog finial in bronze coloring. Enamel on metal body of rich cobalt base, profuse gilt floral designs and turquoise interior. Issued: 19th centuryDimensions: 13.5"L X 16"HCountry of Origin: China Condition: Age and use related wear.

Exquisitely sculpted and cast with rich dark bronze patina all over, Immortal divinity on lotus with one hand palm raised up, other hand gripping lotus flower. Surrounded by heavenly six attendants, standing on mountain. Total weight approximately 115.5 g.Issued: 19th centuryDimensions: 2.5"H x 1.5"WCountry of Origin: China / Southeast Asia Condition: Age related wear.

An early Ming Dynasty bronze depicting the Chinese immortal spirit of compassion, reclining and holding a set of I Ching divination sticks. Great detail in her delicate fingers and exposed foot, with a rich dark brown, black, and russet patination. Total weight approximately 568 g. Issued: Ming Dynasty (c. 14th century)Dimensions: 4.25"W x 6"HCountry of Origin: China Condition: Age related wear.

Deep relief impress and molding, handles, aged bronze.Of Chinese or Japanese make. Total weight approximately 508 g. Dimensions: 3"D X 6.25"HCountry of Origin: China Condition: Patina consistent with age. Small indent near base.

Blue body of cloisonne birds gilt wire channels enamel work highlights the spectrum of the colored wings and matches the polished bronze pierced base and taper fixture19th Century Dimensions: 5.5" W x8 7/8"HCountry of Origin: China / France Condition: Normal wear for age

Turquoise with floral patterns over heavy gilt bronze. Incised Chinese mark to base.Issued: 19th centuryDimensions: 2.75"D x 1.5"HCountry of Origin: China Condition: Age related wear.

An original signed edition of the artist's most famous sculpture. Signature to base. 6 pounds.Sculpted bronze, a nude female modeled as just having come out of a deep sleep. Signed to base P. PHILIPPE. The French sculptor Paul Philippe (1870 1930) worked primarily in bronze sculpted in Art Nouveau and Art Deco styles. He is best known for this circa-1925 sculpture. Artist: Paul PhilippeIssued: c. 1925Dimensions: 16"HCountry of Origin: France Condition: Age related wear.

Deco bronze titled Russian Dancer of well modeled male raising female in difficult pose on base.The delicate expression of this patinated bronze sculpture details brilliant emotion in the faces of the dancers and excellent execution in the eyes and hands. Artist signed in cast, and hand inscribed with the word "Austria" underneath the base, The pose is raised on a circular agate base measuring just under 5" The apex is of the ballerina's foot reaching 16" H. There is a .06 inch chip near the bottom of the base that is unnoticeable to an untrained eye. , , Artist: Bruno ZachIssued: c. 1920'sDimensions: 16" HProvenance: Private CollectionCountry of Origin: Austria Condition: Consistent with age.

Sliver inlay to bronze body creates a unique paring for the light reflection and decoration of this vase.In the style of old Chinese Dimensions: 10.75"H x 5"WCountry of Origin: China / Vietnam Condition: age related wear

Total weight approximately 1966 g.A heavy bronze Ikebana vase, with motifs of rabbits to each side, and decorations of stylized open work half-circles to the center sides. Rich brown patina overall. Ikebana, the Japanese art of flower arrangement, dates to 7th century religious floral offerings. Today Ikebana has over 1,000 different schools internationally and is counted as one of the three classical Japanese arts of refinement. Issued: 19th centuryDimensions: 4.1"D x 7.5"W handle-to-handle x 10.5"HCountry of Origin: Japan Condition: Age related wear.

Art deco French bronze nude figure on onyx base base measures approx 30cm dia fig measures approx 11cm tall age related edge wear and chips to bowl shown in images

Antique Japanese tanto knife and scabard handle set with skull and leaf and ivory fittings with small fitted bronze inlaid side knife ,scabbard has bronze frog and beetle attached measures approx 48cm long when together age related wear to one side of scabbard

A Palestinian Bronze Age pottery vase, with collection label to base, circa 13th Century BC. (Prov. Samy collection).

A substantial Louis XVI gilt and patinated bronze and white marble figural mantel clock, the movement by Laurent Ridel of Paris, the case possibly by Pierre-Philippe Thomire (French, 1751-1843), last quarter 18th century, with eight-day twin barrel movement and countwheel strike on bell; the circular enamelled Arabic dial in a drum case mounted with an amorino playing cymbals, above a classically inspired figural panel, the rounded rectangular section base mounted with two infant satyrs playing horns, and inset with engine milled panels and an openwork frieze cast with sphinges and masks, on six toupie feet; signed for clockmaker Ridel à Paris and enameller Coteau to the dial, circa 57cm high, 68cm wide Pierre-Philippe Thomire was one of the most important bronze casters of 18th century France, and was granted the title Ciseleur de l’Empereur (chaser to the Emperor) by Napoleon Bonaparte. His prolific firm not only produced bronze ornaments, but also created mounts for furniture and porcelain, collaborating for example with the renowned manufactory of Sèvres A near identical Louis XVI gilt bronze and marble clock modelled after Thomire with a movement by Molliens of Paris is illustrated in Pierre Kjelberg's Encyclopédie de la Pendule Francaise, du Moyen Age au XXe siècle, Les editions l'amateur, p. 259, fig c., and here it is also noted that a similar clock, only with a rouge griotte marble base, is in the permanent collection of the Musée du Louvre The classically inspired design with substantial figural mounts is typical of Thomire’s workshop, and the flaming altar to the figural panel below the dial might refer to the clock’s likely placement atop a chimneypiece As for Joseph Coteau (1740-1801), he was the most renowned enameller of his time, working with most of the best contemporary Parisian clockmakers. He was born in Geneva, where he was named master painter-enameler of the Académie de Saint Luc in 1766. Several years later he settled in Paris, and from 1772 to the end of his life, he was recorded in the rue Poupée. Coteau is known for a technique of relief enamel painting, which he perfected along with Parpette and which was used for certain Sèvres porcelain pieces, as well as for the dials of very fine clocks

A pair of mid-19th century French bronze figures of a young boy and girl, each seated and dressed in robes, raised on finely cast gilt bronze cylindrical plinths, cast with opposing musical putti, within classical form uprights to further cylindrical white marble bases, h.32cm. Both figures were probably holding something which is now missing.Her left arm and his right arm possibly replaced from elbow due to colour and patina differences.Modest age wear.Gilt slightly tarnished.

A pair of Japanese Meiji period bronze tigers, each naturalistically posed, each with seal marks to underside, length 30cm. One tail with small but deep scratch.Very light handling / age wear to both.Overall very good examples.

Charlotte Monginot (1872-1962) - an Art Deco period gilt bronze model of a dancer, modelled as a semi-nude young female wearing flowing dress with tambourine, raised on integral polished red variegated marble socle, to further brass plinth, etched signature Monginot to rear base of bronze, h.38.5cm. Some general age/surface wear.Ingrained dirt to low relief areas.Gilt losses to raised cabochon jewels to dress midriff.Marble base with some nicks to top edge.Overall a good decorative model.

Important, Bronze Age socketed and looped axe head with very fine olive-green patina. - 132mm, 425 grams - ca.800BC - From a private collection, acquired in London in the 1970s. - All items come with Free International postage, accompanied by a signed Certificate of Authenticity .

Late Bronze Age II, ca. 1450 – 1200 BC.A moulded terracotta duck with twin handled tall flared spout emerging out of the back. Head of duck as cylindrical spout, base of duck has three legs, two in the front, one in the back, a raised ridge for the back that finished with a flat flared tail. Intact with surface ware.Cf. Christies Sale, 2565, Lot 58.Ex. Private Collection , British Columbia, Canada Collection, acquired in the 1980’’s. Ex. Artemis Gallery, US, acquired in 2013. - 205mm,169gr - ca.1450-1300BC - Cf. Christies Sale, 2565, Lot 58.Ex. Private Collection , British Columbia, Canada Collection, acquired in the 1980’’s. Ex. Artemis Gallery, US, acquired in 2013. - All items come with Free International postage, accompanied by a signed Certificate of Authenticity .

This is a truly amazing bowl from Cyprus, dating to the Early Bronze Age around 3900-4700 years ago! It comes from the famous collection of Desmond Morris, was published and exhibited in a museum. The item was exhibited in the Ashmolean Museum in 1985.   This heavy mottled bowl belongs to the class of red polished ware; the clay was covered with red slip which was then burnished to produce a high polish. It is shallow and has a rounded base. There are two lugs on the rim and a third lug, pierce horizontally, below one of these; The rim lug on the opposite side was pierced vertically twice. And this extra feature is most wonderful; when you turn the bowl over, this third lug suddenly changes into a human face. The shape of the face and the nose are indicated in relief, the two piercings become the eyes, and two small incisions below become the nostrils! It is this type of extra that makes collecting antiquities so special and also so personal; more than 4000 years ago someone created this face and now, after all these years, it is still staring at us; it feels almost as if one can bridge the time gap and is in touch with the ancient artist, right across the ages. The bowl was published: Desmond Morris, The Art of Ancient Cyprus (1985), p.151, pl 184. Provenance: Ex. Collection Desmond Morris (DM-MRP/29= Desmond Morris; Mottled red polished ware 29 (Christies London 14 may 2002, Lot 4) then collection of collection Pietro Villari. - 255mm,938gr - ca.2700-1900BC - Provenance: Ex. Collection Desmond Morris (DM-MRP/29= Desmond Morris; Mottled red polished ware 29 (Christies London 14 may 2002, Lot 4) then collection of collection Pietro Villari.  All items come with Free International postage, accompanied by a signed Certificate of Authenticity .

Rare Bronze Age Sword-Shaped Amulet. 2nd-1st millennium BC. A bronze dagger-shaped pendant with pierced pommel, broad ribbed blade. Usually associated with cults to war gods. Worn by warriors as talismans. - 95mm, 29,5 grams - ca.800BC - From a private collection, acquired in London in the 1970s. - All items come with Free International postage, accompanied by a signed Certificate of Authenticity .

A Fine Bronze Age penannular bracelet, with open-ended terminals. The bronze now with an attractive light cuprous turquoise patination. - 107mm, 132 grams - ca.1000BC - From an important British collection, purchased in Europe in the 1980s. - All items come with Free International postage, accompanied by a signed Certificate of Authenticity .