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6th century AD. A rectangular bronze die with beaded edge, chip-carved chamfered border with an addorsed pair of Style I Tiermensch figures with three-strand bodies. 4.87 grams, 29mm (1 1/4"). Ex Kelway collection; formed between 1975 and 2015; found Lincolnshire, UK, prior to a Time Team dig on an important Iron Age and Roman site. Cf. MacGregor, A. & Bolick, E. A Summary Catalogue of the Anglo-Saxon Collections (Non-Ferrous Metals), Oxford, 1993, item 36.4 for type. [No Reserve] Very fine condition.

3rd-5th century AD. A bronze mount in a form of a standing male and a female couple, each with a right hand holding a stretched left hand touching each other's genitals, a female figure decorated with incised belt decoration; lower part of male legs missing. 6.07 grams, 42mm (1 3/4"). Property of a London businessman, from his grandfather's collection formed after World War II; thence by descent 1972. Supplied with a positive X-Ray Fluorescence metal analysis certificate. See Oldtidens Ansigt, Det kongelige Nordiske Oldskiftselska og Jysk Arkaeologisk Selskab, 1990, p.134, 138, for the gesture and design. Accompanied by an Art Loss Register certificate. A parallel to the style and pose of this 'couple' can be seen on several small bronzes inspired by Roman statuettes representing gods. However, similar bronze statues were already known in Scandinavia since the Bronze Age and were most likely of a ritual significance. The specific crossed hand on a chest is a puzzling symbol, possibly symbolising a gesture of a specific god, ritual act or blessing. Some facial similarities can be seen on the Broddenbjerg man, a wooden statue with a strong phallic symbolism, most likely pointing to fertility. Another similarity can be observed on rock art in Scandinavia, especially the long neck features and the image of a 'divine couple', a strong motif found extensively in the late Iron Age on many golden sheets, known as guldgubbers. Several scholars argue that this image represents the marriage of god Frey and giantess Gerd; however it may also represent a union of Frey with his sister Freyja. From later sources, it is known that the Vanir, an ancient race of gods, had a custom to marry or have intercourse with their siblings. Njord, the father of Frey and Freya was from this tribe, and sources suggest that they were conceived with his sister-wife. She might have been the mysterious Suebi goddess Nerthus, which Roman historian Tacitus wrote about in Germania. Her statue was kept in a sacred grove on an unknown island, drawn in a holy cart and only priests could touch her. Everywhere the goddess came she was met with celebration of peace and hospitality. After she returned to the temple, everything was washed by slaves, who were drowned short after. Her connection with fertility, peace, and water, definitely points to the Vanir race; and she shares several similarities with the later worshipping of Frey. This mount probably represents either Njord and Nerthus, or Frey and Freya, and may had been used as a votive offering or worn as an amulet to invoke the fertile powers of those gods. Fine condition. Excessively rare.

9th-11th century AD. A restrung necklace of graduated irregular crystal and carnelian beads with seven silver pelta-shaped dangles; modern clasp. 65 grams, 44cm (17 1/4").bFine condition. Property of a London businessman, from his grandfather's collection formed after World War II; thence by descent 1972. Cf. Gelling, P. and Ellis Davidson, H. The Chariot of the Sun, London, 1972, pp. 145-147, for a discussion on the use of the axe in Scandinavian paganism. In northern Europe the cult of axes played an important role from the Bronze Age until the conversion of the Vikings. This is most evident in the axe shaped amulets that have been found and which are closely associated with the hammer of Thor known as Mjolnir. Axes are found carved into rocks at a number of sites in Scandinavia and it is believed that they had some sort of fertility symbolism as they are often carried by an ithyphallic figure that has been identified as a deity. Miniature axes used as amulets are documented from the late Iron Age and also in the Viking period. During the Viking period the axe probably lost its fertility associations of the Bronze Age and would probably have been a protective symbol, as seen in the role of the weapon wielded by Thor in his battles with the giants.

1st century BC-1st century AD. A bronze rectangular section handle with ribbed bolster, transverse pins to affix scales, bull-head finial with frontal knop. 36 grams, 71mm (2 3/4"). [No Reserve] Fine condition. Ex Kelway collection; formed between 1975 and 2015; found Lincolnshire, UK, prior to a Time Team dig on an important Iron Age and Roman site. Recorded with the Portable Antiquities Scheme with reference number NLM-E9E846; accompanied by a print out of the PAS report.

1st century BC-1st century AD. A bronze garment fastener comprising a rectangular plaque with enamelled cells and slider to the reverse, L-shaped shank, teardrop finial with eccentric raised boss. 23 grams, 49mm (2").  [No Reserve] Fine condition. Ex Kelway collection; formed between 1975 and 2015; found Lincolnshire, UK, prior to a Time Team dig on an important Iron Age and Roman site. Cf. MacGregor, M. Early Celtic Art in North Britain, vol.2, Leicester, 1976, item 41. 

1st century BC-1st century AD. A bronze cosmetic mortar, scaphoid in plan with lobed finials, serrated flange to the underside and two loops. 38 grams, 95mm (3 3/4"). [No Reserve] Fine condition; found in two sections. Ex Kelway collection; formed between 1975 and 2015; found Lincolnshire, UK, prior to a Time Team dig on an important Iron Age and Roman site. Cf. Mills, N. Celtic & Roman Artefacts, Witham, 2000, item C290. 

2nd century AD. A mixed group of bronze plate brooches with polychrome enamel detailing, one with loop to the lower edge. 24 grams total, 27-45mm (1 - 1 3/4"). [3] Very fine condition. Property of a Surrey collector; acquired in the early 1970s. Cf. Hattatt, R. Iron Age and Roman Brooches, Oxford, 1985, item 600; Hattatt, R. Ancient Brooches and Other Artefacts, Oxford, 1989, item 1611.

2nd century AD. A mixed group of blue and white enamelled bronze plate brooches comprising: a disc with four satellite roundels, each with enamel fill and incised saltire, hinged pin and pierced catch to the reverse; a larger similar example with smaller satellite roundels, hinged pin and pierced catch to the reverse; a rectangular bar with arch to one long edge and lateral lobes, bands of enamel squares and triangles, hinged pin and pierced catch to the reverse. 36 grams total, 33-42mm (1 1/4 - 1 3/4").[3] Very fine condition. Property of a Surrey collector; acquired in the early 1970s. Cf. Hattatt, R. Iron Age and Roman Brooches, Oxford, 1985, item 545. 

2nd century AD. A pair of tinned-bronze plate brooches comprising: ovoid plaque with radiating green and yellow enamel bars, raised centre with red enamel fill, pin-lug and catchplate to the reverse; one similar with blue and white enamel to the plaque. 16 grams total, 27mm (1").[2, No Reserve] Fine condition. Property of a Suffolk lady; acquired on the UK art market. Cf. Mackreth, D.F. Brooches in Late Iron Age and Roman Britain, Oxford, 2011, vol.2, item 10842. 

2nd century AD. A mixed group of bronze knee brooches, one with hinged pin and transverse tubular headplate, one similar with spring inside the housing, four with spring and chord. 50 grams total, 28-37mm (1 - 1 1/2").[6] Fine condition. Property of a London collector, acquired before 1980. Cf. Hattatt, R. Brooches of Antiquity, Oxford, 1987, items 1241, 1242; Hattatt, R. Iron Age and Roman Brooches, Oxford, 1985, item 475. 

2nd millennium BC. A penannular expanding hoop with twisted flanges to the middle, butted round-section ends. 5.02 grams, 28mm overall, 20.04mm internal diameter (approximate size British U, USA 10 1/4, Europe 23.0, Japan 22) (1"). Property of a Surrey, UK, gentleman; formerly from the collection of a noble Russian family, by descent. Cf. Taylor, J.T. Bronze Age Goldwork of the British Isles, Cambridge, 1980, plate 33(b"). Very fine condition.

2nd millennium BC. A penannular round-section gold bracelet with tapering ends. 35 grams, 74mm (3"). Property of a Surrey, UK, gentleman; formerly the property of a London gentleman; acquired in the late 1970s and 1980s. Cf. Clarke, D., Cowie, T., and Foxon, A. Symbols of Power at the Time of Stonehenge, Edinburgh, 1985, pp. 182-192 for a discussion on gold in the Bronze Age. The use of gold appeared at different times across Europe but was prolific by the early Bronze Age. Gold was used to demonstrate the power of particular persons, both male and female. Many finds from burials clearly show the symbolic power invested in this unmistakable material. In Western Europe the first gold objects appear in association with the warrior graves of the Beaker culture. The predominant belief system at this time would seem to be a solar cult and it is possible that gold reflected socio-religious concepts held by the elite owners. Very fine condition.

Mid-1st millennium BC. A substantial bronze composite brooch formed as two S-coiled rods held in a cruciform arrangement by a central lozengiform plaque and two cross-straps to the reverse; the plaque with pointille borders and motif of leaves and roundels; to the reverse, a transverse bar with integral coil and pin to one end, catchplate to the other. 209 grams, 14cm (5 1/2"). Property of a German collector; acquired in the 1980s and 1990s. Cf. Hattatt, R. Brooches of Antiquity, Oxford, 1987, item 1348; and see Gelling, P. and Ellis Davidson, H. The Chariot of the Sun and Other Rites and Symbols of the Northern Bronze Age, London, 1969. The swirl is a common motif in the Bronze Age and seems to be associated with solar symbolism. It is often found carved onto outcrops of rock on a number of sites across the British Isles as well as decorating the kerb stones at the burial mounds of Newgrange and Knowth in Ireland. Here, the swirls have been formed into a swastika, again a solar symbol representing the beneficent power of the sun. Fine condition.

10th-8th century BC. The bronze blade of slender rapier form with incurving tapered sides and pronounced central ribs from a tapered socket with rectangular lozenge side loops; with a custom-made Georgian-period bog oak turned stand. 61 grams (spearhead), 248 grams total, 16cm (32cm on stand) (6 1/4 (12 1/2)"). Ex Evans collection; formerly in an old Suffolk collection; acquired in the 1960s; thence by descent; reputed to have been found in the north of Ireland before 1825. See Wilde, W. R., Catalogue of the Antiquities of Animal Materials and Bronze, Royal Irish Academy, 1861, p.496, fig.364, no.26 for a very similar but larger example; see also Coffey, George, The Bronze Age in Ireland, 1913, p.31, fig.27. [No Reserve] Extremely fine condition, small chip to one lower edge. Very rare.

1st millennium BC. A large and ornate openwork cast bronze plaque or mount depicting, to the centre, an anthropomorphic figure with shoulder-length hair and downturned mouth, wearing a tunic and trousers; above the head, a disc with human facial features, flanked by small anthropomorphs; the central figure's feet claw-like, standing on the bodies of two long-necked dragons; the arms outstretched, with fringed sleeves, a staff in each hand; to the reverse, two loops for attachment. 181 grams, 17cm (6 1/2"). Very fine condition [No Reserve] Property of a Salisbury, Wiltshire, UK collector; formerly in a Russian private collection, formed in the 1950s. See Rieff Anawalt, P. Shamanic Regalia in the Far North, London, 2014. Objects such as these were created by the Finno-Ugric peoples who inhabited the north-east of Russia during the Iron Age. The culture is notable for its metal sculptures from the Kama valley, dated to the first millennium BC, and on the basis of the zoomorphic motifs used on these sculptures all the artefacts in the collection are classified as Perm or Kama Animal Style. The pieces were created for use by shamans who acted as healers and wise men, and women, for the community. The iconography of the pieces relate to the spirit world that the shaman entered during ceremonies.

13th-7th century BC. A bifacial bronze sceptre finial formed as a waisted tube with flared collars, and another with three facing masks, two lateral opposed beasts; mounted on a custom-made stand. 566 grams, 43cm including stand (17"). Private collection, acquired by descent 1970s. Cf. Legrain, L. Luristan Bronzes in the University Museum, Pennsylvania, 1934, item 2. The sceptres, or so called standards, epitomize bronzes from Luristan. They are characterised by a high degree of stylisation and conservative iconographical traditions. The major theme on them is that of a male or female figure grasping snarling beasts; subsidiary motifs, especially animal heads, are often appended. The central image of the Master/Mistress of the Beats has a lengthy Mesopotamian and Elamite history, as well as appearing in Bronze Age Greece. The sceptres seem to have acted as insignia of authority for the elite and one example found in a tomb at Tattulban, Iran, lay next to the head of a male warrior equipped with iron dagger, quiver, arrows and shield. 

13th-6th century BC. A bronze flange-hilted dagger with slender leaf-shaped two-edged blade, hollow grip with socket to each face to accept an insert and lateral flanges to retain it. 154 grams, 26.9cm (10 3/4").Fine condition. From an old English collection; acquired on the UK art market before 1970. Cf. Khorasani, M.M. Arms and Armour from Iran - The Bronze Age to the End of the Qajar Period, Tübingen, 2006, p.381, Cat.13. 

13th-6th century BC. A bronze flange-hilted dagger with slender leaf-shaped two-edged blade, hollow grip with socket to each face to accept an insert and lateral flanges to retain it. 122 grams, 32cm (12 3/4").Fine condition. From an old English collection; acquired on the UK art market before 1970. Cf. Khorasani, M.M. Arms and Armour from Iran - The Bronze Age to the End of the Qajar Period, Tübingen, 2006, p.381, Cat.13. 

Late 4th-late 3rd century BC. A gold diadem consisting of a twisted rope border with a series of heart shaped scrolls with applied acanthus leaves and flowers with gold wire detail and tear drop shaped settings with blue enamel, flowers recessed for red enamel inlay; central wire motif in the form of a Hercules knot with applied flowers and acanthus leaves with tear drop shaped setting with blue enamel; in the centre a amethyst cameo with the bust of a woman wearing a diadem and robes held at the shoulder by a brooch; one small flower element present but detached. 84 grams, 16cm (6 1/4").  Fine condition. Property of a Mayfair, London, UK, businessman; previously in an important South German collection since the beginning of the 20th century. Supplied with a positive X-Ray Fluorescence metal analysis certificate. Cf. for another diadem of similar design and construction see an example in the Athens National Archaeological Museum, ex Helene Stathatos collection and said to be from Thessaly. Ref. Aikaterini Despini, Greek Art: Ancient Gold Jewellery, Athens, 2006 (text in English), pl.29-30, dated to the last quarter of the 4th century BC, and with further bibliography. There is a diadem of similar technique from Canosa, Southern Italy in the Tarentum Museo Archelogico Nationale, inventory number: 22.437, ref. Despini, Op. Cit. No.38, dated to circa 200 BC, and with further bibliography; for another example of similar design and construction refer to the example of a fragment of a diadem (about a third) from the Erotes Tomb, Eretria, Northern Greece, dated to the late 3d century BC, now in the Museum of Fine Arts, Boston (Inv. No. 98.798), ref. Herbert Hoffmann & Patricia F. Davidson, Greek Gold: Jewellery from the Age of Alexander, Brooklyn, 1965, p.60, no.3. Accompanied by an Art Loss Register certificate. Ancient Greek colonisation began at an early date, during the so-called Geometric period of about 900 to 700 BC, when many seminal elements of ancient Greek society were also established, such as city-states, major sanctuaries, and the Panhellenic festivals. The ancient Greeks were active seafarers seeking opportunities for trade and founding new independent cities at coastal sites across the Mediterranean Sea. By the seventh and sixth centuries BC, Greek colonies and settlements stretched all the way from western Asia Minor to southern Italy, Sicily, North Africa, and even to the coasts of southern France and Spain. Regional schools of artists exhibited a rich variety of styles and preferences at this time. Trading stations played an important role as the furthest outposts of Greek culture. Here, Greek goods, such as pottery, bronze, silver and gold vessels, olive oil, wine, and textiles, were exchanged for luxury items and exotic raw materials that were in turn worked by Greek craftsmen. After the unprecedented military campaign of Alexander the Great, more extensive trade routes were opened across Asia, extending as far as Afghanistan and the Indus River Valley. These new trade routes introduced Greek art to cultures in the East, and also exposed Greek artists to a host of artistic styles and techniques, as well as precious stones. Garnets, emeralds, rubies, and amethysts were incorporated into new types of Hellenistic jewellery, more stunning than ever before. The most important of the Black Sea colonies were Kyzikos, Sinope, Pantikapaion, and Olbia. The colonies along the shores of the northern Black Sea interacted with the local Scythian and Sarmatian peoples who prized the workmanship of the Greek goldsmiths with many examples having been found in the kurgans, or burial mounds, of the aristocracy. This diadem shows many similarities to work found in the Pontic region, as well as the diadem found with the female buried in the tomb of Philip II, father of Alexander the Great, at Vergina in Greece. The gold pectoral from Thick Barrow, Dnipropetrovsk Region, Ukraine, now in the Hermitage Museum, shares many similarities in style and technique with this diadem, particularly the use of fine wires and the scrolling flowers. The closest parallel to this piece is a gold diadem from Thessaly and dating to the fourth century BC, which is now in the Getty Museum, Malibu. The use of cameos on the front of diadems seems to be particularly associated with the eastern Greek craftsmen and their patrons, with the best known example being the Sarmatian crown from Khokhlach kurgan, now in the Hermitage. The image on this cameo could well be a portrait of the original owner, a highly important individual of the Pontic aristocracy.

A silver book marker in the form of a trowel, Birmingham 1905, a 19th century ivory inlaid ivory calling card case, a yellow metal Etruscan style bar brooch, an 18th century style steel seal ring, a flint arrow head possibly Bronze Age, a selection of decorative boxes etc (Qty)

A bronze skillet, John Fathers, Montacute, 15 cm high Condition report Report by GH No obvious damage, restoration or loss. Wear to the handle from use. Minor dents and scratches commensurate with age.

JAPANESE PATINATED BRONZE LIDDED BOX in the form of a temple bell overall decorated in relief with gilded dragons writhing amongst clouds above waves, with two sixteen petal chrysanthemum flower heads, geometric patterns to the cover and gilded petal band to the base. Signed to the base. 14.5cm high. CONDITION REPORT: General surface wear with age. Tarnishing to interior. Noticeable dent to rim of jar.

A LARGE CHINESE BRONZE ARCHAISTIC VASE AND COVER, YOU, 17TH/18TH CENTURY The pear-shaped body raised on a tall flaring foot and cast with flanges, damascened in gold and silver and decorated in relief with taotie masks reserved on a key fret ground, the bail handle formed as twisted rope with animal mask terminals, 35cm. (2) Cf. S L Moss Ltd., The Second Bronze Age, Later Chinese Metalwork, no.58, for another very similar example dated to the 18th century. 十七/十八世紀 銅錯金銀仿古饕餮紋卣

A KHMER BRONZE-MOUNTED BAYON-STYLE RITUAL CONCH SHELL, LATE 12TH/EARLY 13TH CENTURY The shell mounted as a ritual vessel, a Garuda forming the neck, its open beak the spout, the base with a panel depicting a dancing Hevajra, raised on a three-legged stand, each foot formed as a sinuous naga, 31.7cm overall. (2) Cf. E Bunker and D Latchford, Adoration and Glory: The Age of Khmer Art, no.153, where a similar example attributed to Northeast Thailand is illustrated.

A good old Malaysian heavy bronze cannon, lantaka, 2 stage barrel 60” overall, the muzzle end of round section with swelling scalloped muzzle having three raised mouldings and block fore sight, the rear half being octagonal with lotus breech and raised vent with lug on either side to take a pan cover, the centre section with two raised mouldings and lifting loops in the form of sea monsters, with characteristic hollow cascabel to take a wooden tiller, and stout bronze swivel mount. Good Condition, with good age patina. Plate 61

†Items relating to Eduard Knapp, former Gebirgsjager Feldwebel and Heeresgebirgsfuhrer, who served on the Karelian front, and which were given by him to the vendor, a relative by marriage: M42 steel helmet, with textured dark grey finish and no decals, with original leather lining and chinstrap, the inside of the crown with illegible stamp (age wear to the lining); leather belt with aluminium buckle, dated 1937; Gebirgsjager canvas rucksack with leather straps; unmarked Infantry Assault badge in silver (slightly worn); Tyrolean bronze and enamel shooting award, 1939; edelweiss cloth sleeve insignia; and 2 edelweiss metal cap insignia. Average GC

Approx. Five Hundred Comics (Bronze & Modern Age) Predominately Sci-Fi includes DC and Marvel, UK and US issues, Various years 1970s-Present. Included amongst is approx. one hundred and eighty '2000AD' UK issues feat. 'Judge Dredd' and 'Zenith', approx. one hundred and twenty 'Star Wars' various issues inc. US Marvel Vol.1 No.4 and 5, various 'Dr Who' issues inc. Marvel, approx. fifty 'Star Trek' issues includes No.1, 4 and 23, others from 'Thunderbirds', 'Stingray' and 'Eagle'.Conditions Vary Overall Fairly Clean.

GARUDA BRONZE, Hindu god, well-cast and patinated with age, 16.5cm H.

OBE, 1915 Star Trio, RSPCA Bronze Life Saving Medal (with miniature medals mounted for wear) to Lt. Colonel Alfred Stanley Henry 15th Battalion (Transport Workers) South Lancashire Regiment. Pte on 1915 Star, Major on War and Victory and Lt Col on RSPCA (rank also noted on MIC) Previous Service as 25953 Pte 14th Canadian Infantry. Arrived France February 1915 (M.I.C), noted as age 50 on return to Canada in 1920, died St Agnes, Conrnwall 1951.

*Mr & Mrs Maymore. A pair of character mascots for mounting on 'his' and 'hers' motor-cars, both mascots are well-detailed in solid bronze and both with an excellent patina that only age can impose, both mounted on turned wooden bases, 3 1/4 ins (8 cm) high Mr Maymore (with his pipe, which is often missing) was the first to be created by May & Padmore Ltd of Birmingham, as a Christmas gift in 1923, and named after the founder of the company. Mrs Maymore was similarly produced for Christmas 1925. Both scripted under their bases. Both mascots are rare in the market today, particularly as a pair. (2)

Approx. Five Hundred Marvel Comics (Bronze & Modern Age) Various years 1970-Present. Included amongst is approx thirty UK issues of 'Planet of the Apes' together with two Ltd Edition Story Book Records, approx fifty UK issues 'The Incredible Hulk' inc. US issue No.72 & 304, twelve US issues 'Captain America' No.232, 236, 237, 243, 253, 285 & 303, approx. twenty five UK issues 'The Avengers', five US issues of 'The Mighty Thor' No.286, 290, 291, 336 & 349, 'The Thing' US issues No.17, 19 & 20, 'Darkman' No.4 & 5, 'Conan The Barbarian' No.67 US issue, 'Captain Marvel 'No.37 US issue , 'Arrgh' No.1 US issue, 'Invisible Man' US issue No,2 , 'Iron Man' US issues No.107 & 188, 'Night Rider' US issue No.5, approx twenty five UK issues of 'Secret Wars', five US issues of 'Robocop' No.3, 5, 6, 8 & 10, 'Indiana Jones' US issues No.4, 6, 7 & 21, 'Master of Kung-Fu' US issue No.118, 'Omega The Unknown' US issues No.1 & 4, 'Logans Run' US issue No.4, 'Sub-Mariner' US issue No.65, 'Wolverine' US issue No.133, 'Skull the Slayer' US issues No.3 & 4, includes many other titles. Conditions Vary Overall Fairly Clean.

Approx. Two Hundred DC Comics (Bronze & Modern Age) US issues Various years 1970-Present. Included amongst is 'Joker' No.1, 'Karate Kid' No.1, 2 & 5, 'Kung Fu Fighter' No.1, 2, 3 & 5, 'Weird Mystery Tales' No.8, 'Suicide Squad' No.4, 'Beware the Creeper' No.6, 'Green Lantern' No.181 & 195, 'The Shadow' No.10, 'Justice Inc' No.2 & 3, 'Metal Men' No.44, 'Weird War Tales' No.38, 'Secret Origins' No.3, 'Arak Son of Thunder' No.1, 'Atlas' No.1, 'Rawhide Kid' No.151, includes many other titles. Conditions Vary Overall Fairly Clean.

A large 19th century Chinese bronze and gilt heightened figure of Shakyamuni modelled cross-legged and raised on an angled triple-sectioned spreading base, overall mounted on an associated rectangular rosewood base, height of 78cm, width of stand 56cm. *Provenance: Professor B. Lofts. CONDITION REPORT In weathered condition, wear commensurate with age.

An Art Deco style hot cast bronze, a female dancer on a marble plinth, signed D.H. Chiparus, height 29cm. CONDITION REPORT Wear commensurate with age.

An Art Deco style hot cast bronze of a female dance on a marble plinth, signed D.H. Chiparus, height 40cm. CONDITION REPORT Wear commensurate with age.

Laurie Cunningham's blue England international debut cap v Wales 23rd May 1979, sold with the match programme, and various papers relating to the project to erect a Celebration Statue at New Square in West Bromwich town centre commemorating the club's ground breaking black players Cyrille Regis, Brendon Batson & Laurie Cunningham (2) The proceeds from this lot will go towards the funding of the 8 feet high bronze Celebration Statue by the internationally renowned sculptor Graham Ibbeson. West Bromwich Albion's Laurie Cunningham was the second black player to be capped for England, following Viv Anderson's debut six months earlier in a friendly fixture. Cunningham was the first black footballer to play for England in a competitive match, the Home International Championship fixture v Wales at Wembley 23rd May 1979. It was a 0-0 draw. In the summer of 1979 Cunningham, historically, became the first British black player to transfer to Real Madrid in a £950,000 move from WBA. Tragically, Laurie Cunningham was killed in a car crash in Madrid 15th July 1989 at the age of 33. This cap has been gifted by Laurie's mother to help fund the Celebration Statue which is due to be unveiled this coming summer.

A pair of gilt metal and painted cherubic two branch wall sconces, the ribbon tied pediment above cherubic figures holding the C-scroll branches, dished sconces, height 56cm. CONDITION REPORT: Age: mid-20th century. Condition is OK. Cherubs are not bronze.

Greco-Baktrian Kingdom, Eukratides I 'the Great' AR Tetradrachm. Circa 171-145 BC. Diademed and draped heroic bust left, holding spear, wearing helmet adorned with bull's horn and ear / The Dioskouroi on horseback right, each holding spear and palm; BAΣIΛEΩΣ MEΓAΛOY EYKPATIΔOY around, monogram to lower right. Bopearachchi 8B; SNG ANS 485; Mitchiner 179a. 16.99g, 34mm, 11h. Near Extremely Fine. A superb example of this iconic type. This remarkable tetradrachm of Eukratides I represents a pinnacle of Hellenistic numismatic portraiture. Depicting him in an unprecedented way as a helmeted warrior with a nude and muscular back, diadem ties flowing down it, and in a posture of preparing to strike with a spear or javelin. This image succeeds marvellously in evoking the romantic spirit of the by-gone golden age of Greek glory as embodied by heroes such as Leonidas and Epaminondas, who as tradition dictated, would fight in the front rank alongside their soldiers to lead and inspire by example. Such a posture was well known in Greek art and sculpture, being not only the typical stance of the Greek hoplite warrior, but also of the gods Zeus, Poseidon and Athena, most famously preserved in the form of the Artemision Bronze statue now in the National Archaeological Museum of Athens. Eukratides' stance is also reminiscent of the coins of Demetrios Poliorketes and Diodotos I, who both issued tetradrachms featuring a naked Poseidon and Zeus, respectively, wielding their weapons in a similar overarm stance; there however, the whole bodies were shown. Eukratides' use of this classic form to depict himself was an innovation that clearly made a lasting impression - the portrait type would be copied by successive Greek kings in India, and would later be adopted by several Roman emperors from the time of Septimius Severus onwards, as the role of the emperor became increasingly militarized in nature.

Central Italy, uncertain mint Æ Currency Bar. Circa 6th-4th centuries BC. ‘Ramo secco’ pattern on each side. ICC pp. 26-7, 3; Garrucci pp. 5-8, pls. 7-11; Haeberlin pp.10-19, pls. 6-8; ERC III pp. 207- 212; CMRR p. 4, 2; Craddock, P.T. and Meeks, N. ‘Italian currency bars’, in Italian Iron Age Artefacts, J. Swaddling (ed.), London 1986, pp. 127-130; D. Neri. ‘Aspetti premonetali e monetali nell'Emilia centrale, aes signatum e moneta greca da Castelfranco Emilia’, in QAER 1, Bologna 1998; E. Pellegrini and R. Macellari, I lingotti con il segno ramo secco, considerazioni su alcuni aspetti socio-economici nell'area etrusco-italica durante il periodo tardo arcaico, Biblioteca di ‘Studi Etruschi’ 38, Pisa-Roma 2002. 1865.00g, 148 x 74 x 30mm. One of the finest known examples. Extremely Rare. Ex Artemide 28, 10 April 2010, lot 1121; Published in The Collector’s International Magazine 12, Turin 1956, p. 59. From about the 6th century flat cast copper currency bars or ingots with a high ferruginous content appear, often bearing a cross-section design called by Italian numismatists ‘ramo secco’ (dry branch or twig). They appear in hoards throughout Italy and Sicily, with a concentration of finds in Etruria and the Padana, often together with aes rude lumps. They do not equate to a set weight standard and are usually found broken into subdivisions. Before denominated round coins were introduced in the early third century, all bronze transactions had to be weighed, and not counted, by dispensatoris (dispensers or cashiers). This manner of exchange necessitated the use of a balance and has left a rich legacy to the Latin language, e.g., expensa, inpendia, dependere, stipendia, aerarium, aestimare. Most striking of all was the formula per aes et libram (with bronze and balance), which was used to designate the formal ceremony of emancipatory contracts. All these terms lasted well beyond the introduction of struck coinage and have passed into modern languages. The Latin term aes signatum (signed or marked bronze) was used by Pliny (HN 33.13.43) for the cast currency bars supposedly issued by king Servius Tullius. These bars were frequently converted to aes rude. The term was misused by 19th and 20th century numismatists and has been avoided in this catalogue.

Severus Alexander and Julia Mamaea Æ Bimetallic Medallion. Rome, special emission of AD 228-230. IMP SEVERVS ALEXANDER AVG IVLIA MAMAEA AVG, laureate, draped and cuirassed bust of Alexander facing draped bust of Mamaea, wearing stephane; MATER AVG below / FELICITAS TEMPORVM, Severus Alexander, draped, holding globe and mappa, seated left on curule chair and being crowned by Victory; Felicitas standing right, facing female standing left, in front. Gnecchi II, p. 84, 2. For an analogous issue of smaller module see the following references: Gnecchi III, pp. 44-5, 16 and pl. 153, 4-5; BMC, Roman Medallions p. 41, 1 pl. 40; BMC VI, 540; Toynbee cf. p. 147 note 5 and pl. 27, 2 (gold); RIC IV.II, 661. 42.27g, 37mm, 12h. Near Extremely Fine. Some very minor corrosion and encrustation, but otherwise pleasing patina. Of excellent style, obv. well struck in extremely high relief. Robert Carson attributed this type to the special issues of 228 (RIC IV pp. 69-70), but the engraving style and composition is similar to the securely VOT X dated medallions of AD 230, cf. Gnecchi III, p. 45, no. 20. Roman bimetallic medallions were donative by nature on behalf of the emperor or the senate and commemorated events, presentation pieces and diplomatic presents. From Antonine times they were produced in two metals, a central portion of soft copper and an outer rim of harder bronze which provided a large area for striking complex designs with oversized dies engraved by master die cutters. The present piece is an example of the work of just such a master die cutter, being of pleasing style and composition. Repeatedly criticised for being under the sway of women whist emperor, Severus Alexander was raised to the purple after his cousin Elagabalus was killed by his guards and his remains desecrated by being thown into the Tiber. Elagabalus had ruled in Rome for a scandalous four years, and after the excesses of his predecessor the peace time reign of Alexander was properous and settled. The reverse type used on this medallion marks just that, with FELICITAS TEMPORVM (Prosperity of the Times) marking a ‘Golden Age’ mentality that the young emperor and his mother were keen to promote. However, the peace was not to last as the Sasanian Persian army rose in the east under Ardashir I, giving cause for Alexander to lead the Roman army against them. Although some successes were achieved and the Sasanids checked for a time, it was during his Germanic campaigns in 235 that the peace built by Alexander and Mamaea finally broke completely when the emperor was murdered by his own troops, leading to nearly fifty years of civil wars, foreign invasion, and collapse of the monetary system.

Hughes (G. Bernard). Small Antique Silverware, 1st edition, Batsford, 1957, black and white plates, original cloth in rubbed and worn dust jacket, together with Michaelis (Ronald F.), Old Domestic Base-Metal Candlesticks from the 13th to 19th Century, Produced in Bronze, Brass, Paktong and Pewter, reprint, 1937, black and white illustrations, original cloth in dust jacket, plus Crosby (Deborah), Victorian Pencils: Tools to Jewels, 1st edition, 1998, colour illustrated throughout, original cloth in dust jacket, plus Silver Novelties in the Gilded Age: 1870-1910, 1st edition, 2001, colour illustrated throughout, original cloth in dust jacket, all 4to, plus other silver and collecting reference including some paperbacks (approx. 60)

A Bronze Age socketed axe head, cast with parallel lines and with an attachment loop, 9.8cm long, a Bronze Age socketed axe head with attachment loop and parallel cast ridges to the interior, 10.4cm long and a European socketed axe head with twin attachment loops, inscribed Carillo Jean Spain B.C.11, 13cm long. (3)

A Bronze Age axe head, with a crescent shape tip, 11.2cm long, a Bronze Axe head with painted collection number, a bronze spur, a bronze horse bit, an African bronze manila currency bangle, a middle Eastern bronze bangle, cast with animal masks, a bronze globular weight and a pair of pliers. (8)

A Bronze Age axe head, each side cast with three parallel lines, with an attachment loop and with a hand written label A British celt found at Crefsbrooke Derby, 15cm long, a Bronze Age axe head with a printed label from Fenton & Sons Ltd, 11 New Oxford St, London, inscribed Pyon House, Herefordshire, 17cm long, and a European bronze axe head with green patina, 16cm long. (3)

An early 20th century Japanese bronze Okimono of a Koi Carp, signature and butterfly motif to underside (28cm). Condition Report: Small areas of loss to the fins, with cracks appearing. Plus, oxidisation in places. General wear commensurate with age.

AFTER CHIPARUS, POLYCHROME BRONZE & MARBLE SCULPTURE, H 29", W 20"Two art deco style dancers, each with an arm raised. Signed, on a marble base.Normal Age cracks on arms and faces, one head is loose. TW 10-2-15- For High Resolution Photos visit Dumouchelles website.

A Sino-Tibetan gilded-bronze figure of Shakyamuni Buddha, 18th/ 19th Century Seated in dhyanasana with hands cast in bhumisparsha mudra, raised on a high lotus base his head surmounted by an ushnisha, and seated before a mandala, surmounted by a temple bell, 14cm high. (illustrated) CONDITION REPORT: Small visible holes to the bronze at the hand area. Small dents to the feet at the base of the throne. Good overall patination. Small area of loss to the bronze at the back. Overall wear due to age.

A Sino-Tibetan bronze figure of TsongKhapa, 18th / 19th Century The figure seated in dhyanasana, holding instruments, dressed in robes and seated on a stepped lotus base, inscribed lotus mark to base, 12cm high. (illustrated) CONDITION REPORT: Good overall patination and wear indicative of age. No structural damage or visible signs of repair.

A pair of French Empire style bronze and brass figural candlesticks CONDITION REPORTS Both candelabras appear to be missing a branch. There is pitting and patination to the bronze and gilt work. There is some significant scratching to the middle of the column on one. On both candelabra the two arms have been attached with contemporary flathead screws. One arm of the candelabra has a hole in it. Both base plates have cracks where the top is coming away. There is a scratch to one figure on her breast. Otherwise both have general wear and tear to include wear to gilding, patination, pitting, etc, conducive with age and use. See images for further details. Approx 42.5 cm high

Edgar Brandt - A bronze circular two handled dish, the handles each formed from a pair of intertwined serpents, stamped E. Brandt, 24.5cm diameter excluding handles Condition: Some light scratches allover and the bowl has been over polished resulting in loss of definition to the decoration - **General condition consistent with age

Two 19th Century Austrian miniature cold painted bronze figures of Pugs, 2cm and 4cm long together with a similar figure of a Fox, 6.5cm long Condition: Some loss of paint to all figures and some areas of old re-painting - **General condition consistent with age

Heikki Nieminen (Finnish b.1926) - Bronze figure - Study of the young baker Heikki Huhtamaki, 57cm high A.R. Condition: **General condition consistent with age

AN INDIAN BRONZE KENDI, 18TH C with pointed nozzle, 14.5cm h ++Wear and light scratches consistent with age but not fractured or repaired and complete

British Bronze age bronze tools, to include axe heads shards and gouge shard (4)

A set of six Royal Doulton champagne flutes, a Baccarat Crystal seated cat ornament, a box containing various wooden and stone eggs, cold cast bronze of a seated girl, solitaire board and marbles and an oil on board landscape by CHARLES ERNEST GENGE CONDITION REPORTS All items have general wear and tear conducive with age and use. The solitaire board has scuffs and knocks conducive with use. Marbles have internal flaws and have knocks and bumps conducive with age and use. Several have cracks running through them. Painting has some flaking to the oil. All items have general wear and tear conducive with age and use.

A pair of modern bronze figures of hooded cranes upon the backs of qilin turtles CONDITION REPORTS Approx 128 cm high. Modern examples. Have various patches of patination and general wear and tear conducive with age and use. See images for more details.

2nd century AD. A bronze plate brooch of a fish in profile with pellet eye, notched dorsal fin, bifid tail; spring, chord, pin and catchplate to the reverse. Property of a London collector, acquired before 1980. See discussion in Mackreth, D.F. Brooches in Late Iron Age and Roman Britain, Oxford, 2011, p.184. 7.64 grams, 36mm (1 1/2"). [No Reserve] Fine condition.

6th-early 5th century BC. A carved amber pendant representing a female face, simplistically carved, in frontal view, bearing some resemblance to the contemporary Greek korai sculptures; with small, almond-shaped eyes and full, pursed lips; wearing a short, rounded cap or hat, perhaps the ‘rounded hat’ discussed by Bonfante in Etruscan Dress, p.76; and also seen on contemporary sculpture, such as on the sarcophagus of the reclining couple in the Villa Giulia Museum Rome, inv. 6646 (Bonfante, fig.144"). Property of London collector, by descent 1950s. See Causey, F. Amber and the Ancient World for a detailed general discussion. Most amber used in the ancient world came from the Baltic region, though ancient authors do mention sources from Sicily as well as the east. That from the Baltic sea was traded along the amber route south to the shores of the Adriatic and then distributed to peoples in Italy, the Balkans and beyond. Baltic amber was imported to Greece during the Bronze Age and has been found in the shaft graves of Mycenae, and it is mentioned in the Homeric Poems where it is called elektron due to its electrostatic properties when rubbed. In ancient Greek mythology amber was believed to be the solidified tears of the Heliades, the daughters of the sun god Helios, who wept at the death of their brother Phaeton. It was the Roman author Pliny who first described it as the resin of trees, and he places it after rock crystal as a luxury item. 12 grams, 41mm (1 1/2"). Fine condition. This lot displays the characteristic dark patina of ancient amber, a result of millennia of oxidation.

Neolithic to Early Bronze Age, 2nd-1st millennium BC. A finely knapped, fully bifacial lentoid-section flint lance head of delicate proportions; in a transluscent brown flint. Property of a German collector; acquired in the 1990s. A most finely worked piece, only some 7mm thick at centre, the parallel pressure flaking to the body and delicate retouching to the edges of the highest quality workmanship; possibly Early Bronze Age period. 34 grams, 11.5cm (4 1/2"). [No Reserve] Fine condition, tip absent.

2nd millennium BC. A penannular bracelet formed as two hollow silver coils enclosing a c-section gold fillet. From an important private London collection; formed in the 1970s and 1980s. As the warrior elite began to grow in importance during the Bronze Age, gold was used as a means to demonstrate their power, and these individuals would have had access to, and control of, limited supplies of gold and craftsmen who were able to produce prestige items. These objects would be a means of conveying their political, tribal and religious functions through a display of personal adornment that would hold significant, symbolic meaning to the viewer. A similar gold bracelet to this one was found in the burial mound of an aristocratic individual in 1884, in Segeberg, Schleswig-Holstein, Germany. 44 grams, 70mm (2 3/4"). Fine condition.