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A FINE PAIR OF JAPANESE BRONZE FIGURES Each signed Miyao and Miyao Chuzo The first cast as a man carrying a basket of fish on his shoulder, the seconds a bijin holding a kitten with a cat with a rat in it's mouth at her feet, the robes of each richly decorated with gilt mon, raised on lacquered wood bases. 21cm Literature: For a similar example by Miyao, see Bordignon (Laura), The Golden Age of Japanese Okimono, Dr A.M. Kanter's Collection, ACC, pg. 240 and 241.

Gunner Robert Wrennall (died age 39) circular bronze death plaque.

A Safavid bronze divining bowl, 16th/17th century, decorated with faded panel of script, 15cm wide. CONDITION REPORT: wear to engraved work, slightly mis-shapen with dings and dents, overall in fair condition for age

After Auguste Rodin, French 1840-1917, late 20th century/early 21st century- "The Age of Bronze", originally executed 1876; bronze with green and brown patina on a marble plinth, bears signature and date, 90cm high excluding plinth CONDITION REPORT: appears in overall good condition with no noticeable signs of defects

A COLLECTION OF BRONZE AGE MARVEL 'THE SUPER-HEROES' COMIC BOOKS, complete run from issues 1 to 50 Buyers - for shipping pricing on this lot, visit www.cuttlestones.co.uk/shipping

A COLLECTION OF BRONZE AGE COMIC BOOKS, consisting mainly of 'Monster Fun', also including 'Dandy', 'Beano', 'Buster' etc. (approx. 70) Buyers - for shipping pricing on this lot, visit www.cuttlestones.co.uk/shipping

A COLLECTION OF BRONZE AGE COMIC BOOKS, mainly 'Bullett', also including 'Target' and 'Tornado' (approx. 70) Buyers - for shipping pricing on this lot, visit www.cuttlestones.co.uk/shipping

A COLLECTION OF BRONZE AGE COMIC BOOKS, mainly 'Dracula Lives' to include issue 1, also including 'Planet of the Apes', 'Star Wars Weekly', 'Hulk Comic', some Walt Disney examples etc. (approx. 50) Buyers - for shipping pricing on this lot, visit www.cuttlestones.co.uk/shipping

Bronze Age, 2000-900 BC. A group of three items comprising: one half of a circular Bronze Age stone metal casting mould for a circular mount or object, with casting channel in a coarse stone (with inked reference 'OXON'), dating to circa 1200 BC; a ground stone Bronze Age archer's wrist guard in a grey shale with two full and one partial perforations for tying thongs, chipped at two corners (with inked reference 'Feltwell'), dating to circa 600 BC; and a shard of Bronze Age ceramic Beaker vessel showing 'fingernail' impressed ornament (with inked reference 'Icklingham, Suffolk'), dating to circa 900 BC. 270 grams total, 50-70 mm (2-3"). Ex Michael Nellist collection; acquired from Keith Lloyd (with list extract), one from Bonhams 13/04/2011, lot 224 (ex Ancient Relics with certificate, ex R. S. Murray collection) and one Keith Lloyd; findspots as stated. The Mike Nellist Collection. His interest in antiquity was piqued when, during the 1970s, he spent some time working in Israel and had the opportunity to visit Roman-period locations including Lake Galilee and Masada, the site of the famous Judaean revolt and subsequent massacre. He made his first purchases at that time and was soon building an enviable collection of artefacts. While studying at university, he was able to study human remains at first hand in conjunction with archaeological research and from there his passion for the human aspects of historical research was kindled. Now retired, Mike indulges one of his other passions – wildlife and nature photography [3, No Reserve] Fine condition, the guard chipped at two corners.

Roman 2nd century AD gilded bronze toe ring, the bezel with cast seal depicting a profile bust of a female deity CONDITION REPORT Fair condition commensurate with age. Two modern? white metal repairs to shank. Length 38mm x 13mm wide x 20mm high. Total gross weight 16.5 grams

Late Medieval Bronze trader's seal ring with an intaglio device depicting a crozier CONDITION REPORT Good condition commensurate with age. Surface verdigris. Ring size very approximately G. Bezel measures approximately 13mm x 11.5mm. Total gross weight 5.4 grams

A Safavid bronze rose bowl, 16th/17th century, decorated with faded panel of script, 15cm wide. CONDITION REPORT: wear to engraved work, slightly mis-shapen with dings and dents, overall in fair condition for age

After Auguste Rodin, French 1840-1917, late 20th century/early 21st century- "The Age of Bronze", originally executed 1876; bronze with green and brown patina on a marble plinth, bears signature and date, 90cm high excluding plinth CONDITION REPORT: appears in overall good condition with no noticeable signs of defects

A model cannon, the bronze barrel mounted on a wooden carriage, marked 1819, 48cm long/see illustration Condition Report: Lot 941 Barrel of indeterminate age and carriage 19th Century.

An unusual Japanese Bronze figure of a grasshopper, Taisho period (1912-1926) or Showa Period (1926-1989) The finely modelled figure modelled as an abstract form of a grasshopper, unsigned, 12cm long. CONDITION REPORT: minor wear indicative of age please note there are no visible signatures the figure is not articulated and the legs are fixed one antenna missing to the head area

A quantity of Corgi. 2 ‘Collection Heritage’ – Bernard type 110 Fourgon ‘Calberson-Flageul’ and a Berliet TLR8 semi-citerne ‘Chambourcy’. A Huey Iroquois helicopter ‘Los Angeles Fire Dept’. An Austin Healey 3000 in unpainted polished finish. A ‘Millennium Collection’ plated Q1 Trolley Bus. ‘The Bronze Age Collection’ Batman 2 vehicle set. 2x Scammell Scarab – ‘Tate & Lyle’ and ‘Eskimo Foods’. Bedford O Series artic dropside ‘H.E. Musgrove’. 3x Bedford O series Pantechnicons – ‘Slumberland’, ‘Howells’ and ‘Wylie & Lochhead’. ‘The Beatles’ Taxi, example in white. Etc. All boxed, minor wear. Contents Mint. (28

A 17th Century Bronze Mortar, possibly Whitechapel, London, inverted bell shaped with a band of scroll and shell decoration below the rim and to the waist, on a spreading foot, 19cm wide, 15cm high For a similar mortar see Finlay (Michael) English Decorated Bronze Mortars, pg 66-70. John Clifton (fl.1632-1640) and Anthony Bartlet (fl.1640- 675) used similar motifs. Typical knocks and scuffs associated with age and use.

Franz Bergman, a large Austrian cold painted bronze model of a rabbit, stamped '1273 Depose Geschutzt', late 19th century, 13.5cm high, 16cm long. Condition Report: -Good condition overall, with minor wear commensurate with age. -Needs a good clean!

3300-1700 BC. A mixed group of terracotta vessels comprising: a jar with frieze of polychrome fish; a bulbous jar with horizontal banding; a goblet with polychrome fish; a jar with polychrome birds. 994 grams total, 6.5-12.5cm (2 1/2 - 5). From an important London collection of Bronze Age pottery; formed 1970s-1980. See Satyawadi, S. Proto-Historic Pottery of Indus Valley Civilisation: Study of Painted Motifs, Perspectives in Indian Art and Archaeology vol.2, New Delhi, 1994. [4] Fine condition.

Two Late Neolithic / Bronze Age stone axe hammers, 19cm and 20cm long, Condition report: chips to the edges, one has a large loss to one side.

A Cantonese, cylindrical vase, decorated with calligraphy and bronze vessels, height 29cm. Condition Report: good condition, commensurate with age

A Chinese bronze censer, a wood stand, the wood cover with Japanese figural finial As you would expect. No age.

A Chinese bronze censer, wood cover and stand As you would expect. No age.

A late Bronze Age double edge blade short sword with turned conical finial, length 43cm

*Italy, Carmagnola, Ludovico II di Saluzzo (1475-1504) and Margarita de Foix, 10 scudi d’oro, 1503, lvdovicvs marchio et margarita d fois m s, confronting busts of Ludovico, wearing a hat and the collar of the Order of St. Michael, and Margarita wearing a veil; below, 1503, rev., si devs pro nobis qvis contra nos – followed by j and jc monogram, shield of Saluzzo and Foix superimposed on crowned eagle with spread wings, 43.5mm, 34.33g (CNI II, 135, this piece; Ravegnani Morosini 13, this piece; Bellesia 1, this piece noted; Forrer, BDM I, 442, this piece noted; Armand II, 122, 13; MIR 134; F. 157), some edge smoothing and with a few scratches, some double striking, very fine to extremely fine and of the highest rarity. Ex collection of the Teutonic Order, Vienna; ex Prince Montenuovo collection, Vienna; ex Cav. Giancarlo Rossi collection, Dura & Sambon auction, Rome, 6 December 1880, lot 771; ex Alfred Morrison collection, Christie’s, 23 July 1965, lot 60; and ex Christie’s, 23 November 1971, lot 90. Details of the coin collection of the Teutonic Order (the Deutscher Orden) can be found in Des Hohen Deutschen Ritterordens Münz-Sammlung in Wien (Vienna, 1858) by Dr. B. Dudik who devoted the first chapter (pp. 1-16) to its background. Wide ranging in its scope, in the late 18th century it seems that it was decided to concentrate the collection only on coins that related directly to the Order and in August 1843 Dudik noted that 999 coins (205 in gold, 724 in silver and 70 in copper) were sold to the Viennese coin dealer Anton Promber. While it has not been possible to locate a precise listing of the coins sold in this transaction it is possible that the present coin formed part of this group. If this was the case it was presumably Promber who sold the coin to Prince Montenuovo, the celebrated Viennese coin collector from whom it passed into the equally celebrated Rossi collection of Italian coins in Rome. At the Rossi sale it was described as unique and realised the second highest price in the auction – 2,300 gold lire. Thereafter its whereabouts seems to have been lost until it appeared for sale at Christie’s in 1965 as part of the renowned collection of Alfred Morrison of Fonthill House, Wiltshire. In the sale catalogue no mention of its earlier provenance to Rossi etc. was made and it was described as “cast and chased, very fine and very rare”. Under these circumstances it remained unsold and was subsequently offered for sale, unillustrated, in the Christie’s 1971 auction where it was purchased by Alan Thomas, the London book seller and antiquarian, now deceased. Alfred Morrison (1821-97) was a major collector of paintings, works of art, manuscripts and autographs as well as coins and medals. He inherited a large fortune from his millionaire father James Morrison (1790-1857) who was a textile merchant, Member of Parliament and early investor in railways on the Continent and in America. Alfred Morrison’s residencies were at Fonthill House, Wiltshire and at Carlton House Terrace in London and he was High Sheriff of Wiltshire in 1857. His numismatic collection was exceptional with Christie’s staging a single auction devoted to 98 important European gold coins and medals, from which the present piece emanates. A second sale on 1 March 1966 was mainly devoted to European medals in silver and bronze and both sales were held on the instructions of his grandson, Lord Margadale of Islay, T.D. Some confusion arose after the Rossi sale of 1880 when Leonard Forrer wrote an article in Spink’s Numismatic Circular of November 1897 entitled “A 10 Zecchini Piece of Louis II, Marquis of Saluzzo, and his Consort, Marguerite de Foix, dated 1503”. The article announced the discovery of a second example of the coin in gold, comparing it to the Rossi coin but, uncharacteristically for Forrer, it contained a number of errors (by coincidence the article appeared one month before the death of Alfred Morrison in December 1897, at the age of 76). Firstly, Forrer stated that the Rossi coin was bought at the 1880 sale for the Royal collection in Turin (but this was not the case and no gold coin of this type exists in Turin). Secondly, he gave the weight of his new coin as 41g but this would indicate a coin to the weight of 12 zecchini not 10, or more correctly 12 scudi d’oro. Thirdly, he misread the end of the reverse legend as an n rather than a j followed by a jc monogram. Forrer returned to the subject in his Biographical Dictionary of Medallists (vol. 1, London, 1904, p. 442). As regards this so-called second example, G.F. Hill in A Corpus of Italian Medals of the Renaissance before Cellini (London, 1930) stated in a footnote to medal no. 711 on page 181, where he regards the issue as a coin and not a medal, that “the gold piece…..weighs 40.93g, and appears to me to be a cast” (Hill mistakenly thought the heavier coin was ex Montenuovo but went on to mention three English collectors who owned it). The current whereabouts of this heavier coin, said by Hill to be a cast, is unknown. The present coin is struck from the same dies as an example in silver in the Numismatica Ars Classica auction (Asta 85) of the Ravegnani Morosini collection, 24th May 2015, lot 11. On the obverse the same die flaw beneath the d of d fois appears clearly on both coins. However, one alteration has been made on the obverse die between the striking of the silver coin and the present gold coin in that the stop appearing between the m and the s on the silver coin has been altered to a rosette on the gold version. This would tend to indicate that the gold coin was struck after the silver one and yet the freshness of the reverse die suggests that it was not struck very much later. Much has been written about the significance of the letters at the end of the reverse legend which appear as a j followed by a jc monogram and they have been interpreted as the initials of the die engraver. These same letters appear on the reverse of the rare silver talleros of 1516 featuring the bust of Margarita de Foix in a widow’s veil (Hill 711; CNI II, p. 71, 1; Ravegnani Morosini p. 107, 1). Armand in 1883 (vol. III, 204, c) suggested a German medallist so the initials would stand for Januae Johannes Clot (“John Clot of Genoa”) who evidently worked briefly at the mint in Genoa in the early 16th century. This attribution was followed by Forrer in 1904 (BDM I, 442). Others however have linked the initials to members of the da Clivate family who were involved with the Carmagnola mint, with Revegnani Morosini and, more recently, Travaini and Prokisch (Quaderni Ticinesi di Numismatica e Antichità Classische XXXIX, 2010, pp. 414-15 and pl. II, 7a) suggesting that the die engraver was Gianluca da Clivate, the brother of Francesco who was master of the mint at Carmagnola at the time of Ludovico’s death in 1504 and again in 1510. For other overviews on the subject see Scher in Currency of Fame, p. 116 and the forthcoming volume 12 of Medieval European Coinage, chapter 3, section (s). If indeed the reverse die is engraved by Gianluca da Clivate one wonders whether the obverse die is also by him or by a different artist because the style between the two sides of the coin is markedly different. In particular the lettering on the obverse has a somewhat squat appearance compared to the more elegant style found on the reverse where the letters fill the gap perfectly between the inner and outer borders in a way that is hardly the case on the obverse. The letter a on the obverse appears flat-topped whereas on the reverse it is engraved with a pointed top. CNI listed ten varieties of the silver version of this issue, the so-called tallero of 40 grossi (CNI 135-145; Ravegnani Morosini 14-15)

A WWI bronze memorial plaque / death penny named to HARRY SABIN SAUNDERS MM 325071 Cambs Regiment. Died Wednesday 26th September 1917, age 25. With document

A group of four Neo-lithic / Bronze Age stone axe-hammers, largest 15 cm

A late bronze age arrowhead from Urnfield culture of East Germany and 2 ancient Persian arrowheads with thick mid-rip and round section tang, circa 800BC

A RARE SOUTH GERMAN HEAVY BRONZE WALLGUN (DOPPELHAKEN), CIRCA 1520-40, PROBABLY NUREMBERG 3.1cm calibre. Cast in five stages separated by raised beaded mouldings, their inner edges punched and engraved with gothic brattished ornament and the leading edges decorated with engraved raised scalloped bands, tapering towards a flared rounded muzzle with shaped standing sight, the forward section rounded also and with large recoil-stop at its rear, the two rearward stages faceted and successively off-set in section, with rectangular breech with bevelled leading corners, standing back-sight cast with further beaded mouldings, and a pair of posts positioned centrally and originally intended for fitting a cover over the countersunk vent: on an early wooden beam-shaped stock secured by three transverse bolts, the stock possibly the original (the section of the barrel immediately fronting the breech has been defaced by filing, presumably the removal of the arms or an inscription relating to a previous owner, and evidently within the early working life of this gun. A portion of the stock has chipped off immediately behind the breech, the rear of the stock shows heavy age-related wear and some inactive worm damage). 148.4cm; 58 3/8 in barrel 211.8cm; 83 3/8 in overall length The superior quality of the casting and finishing is indicative of a Nuremberg foundry, perhaps that of Endres Pegnitzer (the Elder, d. 1554), or his son of the same name (d. prior to 1549). Compare for example, a bronze falkonett cast in 1522 by Pegnitzer the Elder for Graf Balthasar von Schwarzburg-Leutenburg, in the Staatliche Museen Heidecksburg Rudolstadt: see Müller 1968, no. 58, pp. 69 and 74. Also see Henkel 2011, for the same gun attributed to Pegnitzer the Younger (Inv. no. oss. 857), pp. 28-9. For a brief account of the three generations of the Pegnitzer family of gun-founders see Kennard 1986, p.124. Hakenbüchsen of this large size are correctly known as doppelhäken and were intended to be fired from a stand or tripod carriage and served by two men as a piece of light artillery. The term bronze widely used in modern reference to ordnance is referred to as brass (Messing) within historical accounts and contemporary manuscripts.

A fine Chinese bronze archaistic Hu form arrowhead vase, Song-Yuan dynasty, 12th - 14th century, of oval section supported on a slightly splayed foot, the neck with a pair of tubular lug handles, decorated with a band of Taotie abstract archaistic motifs, 23.5cm high approx., provenance available upon request * For similar examples, see Sydney L. Moss, The Second Bronze Age Later Chinese Metalwork, London, 1991, no.72 & 73. Sotheby's New York, 21 March 2015, lot 713; Sotheby's Hong Kong, 8 October 2014, lot 3384.

French Medal for the Franco-Prussian War (Médaille de 1870-1871) signed with monogram ‘GL’, with Paris Mint cornucopia bronze hallmarks; age-toned. VF

French Medal for the Franco-Prussian War (Médaille de 1870-1871) With 'Engage Volontaire' Clasp (Scarce) signed with monogram ‘GL’, with Paris Mint cornucopia bronze hallmarks; age-toned. VF

Medal for the Franco-Prussian War (Médaille de 1870-1871) signed with monogram ‘GL’, with Paris Mint cornucopia bronze hallmarks; age-toned. VF

Garden Sculpture:Ernst Eisenmeyer Abstract figure Sheet copper Unique 1963 370cm.; 146ins high Born in 1920, Ernst Eisenmayer was the eldest son of Austro-Hungarian Jewish parents. He tried to escape Vienna after the Anschluss; the annexation of Austria by Hitler in March 1938. As Eisenmayer recounts in A Strange Haircut - an autobiographical account about leaving Austria written in 2008 - on his second attempt he was caught on the French border, transported to Saarbrücken prison and from there to Dachau Concentration Camp. Through his younger brother Paul, who arrived in Britain by Kindertransport in 1939, his brother~s guardian Professor J. L. Brierley acted as Eisenmayer~s sponsor securing him his trainee post and hence his release from Dachau. As such he was possibly one of the last prisoners to have been released from Dachau prior to the war. Following his arrival in England he was subsequently imprisoned in five different British Internment camps, including Onchan on the Isle of Man, where he produced sculpture for exhibitions and wrote for the camp newspaper. His drawing |Violinist at Onchan| was later published as a motif of a postage stamp of the Isle of Man. He later worked as a toolmaker and from 1944 he exhibited for the first time in an exhibition on Austrian art in exile before studying from 1946-47 at the Camberwell College of Arts. His paintings and graphic work of the 1940s and 1950s explore the cityscapes and inhabitants of war-time and post-war London; at which time he became friendly with Oskar Kokoschka (1886-1980) and his friendship with Victor Pasmore (1908-1998) who he first met at Camberwell School of Arts and Crafts. In 1962 Eisenmayer turned to sculpture with a series of carved serpentine and stone heads which were first shown at the Mercury Gallery in 1963. Developed from his earlier representations of the brutal features of a camp guard in Dachau and working in hard, textured stone, the heads explore themes of the conqueror and the hostage. Eisenmayer~s welded, carved and cast sculptures of the 1960s and 1970s, produced during the continuing climate of the Cold War, investigate the potentialities for individual and group personages to withstand the pressure of external forces and to act as markers of resistance, particularly in an uncertain age of nuclear capability. In this sense Eisenmayer~s works act as witness to some of the most tragic events of the twentieth-century, alongside capturing the excitement of post-war reconstruction, and overlooked aspects of modernity. This figure dates to this period and was constructed by Eisenmayer himself at Elizabeth Frink~s studio in Chelsea in 1963, then installed in the grounds of the house ~Long Wall~ belonging to and designed by the well-known architect Leslie Gooday, where it has remained until the present day. In the 1970s Eisenmayer was commissioned to undertake a number of large public sculptures including The Family Group for the Nottingham Carlton Forum and the complex steel and bronze sculpture for the British Pavilion at Expo~ 70 in Osaka, Japan. Eisenmayer~s work has recently undergone a revival of interest. Some of his works were exhibited in 2009 at the London Jewish Museum of Art as part of the exhibition |Forced Journeys, Artists in Exile in Britain 1933-45|. This was followed by a major retrospective exhibition of his work |Art beyond Exile| at the Sayle Gallery, Douglas, Isle of Man, followed by The Austrian Cultural Forum, London, both in 2012. Recipient of the Medal of Honour from the City of Vienna in recognition of his artistic work, Ernst Eisenmayer has exhibited in the UK, Austria, France, Italy, Israel, Japan, Slovenia, and the USA. He currently resides in Vienna. Photo captions; Eisenmayer constructing the figure at Elizabeth Frink~s studio in 1963~~ taken from the catalogue ~About the Dignity of Man~ - Ernst Eisenmayer - Life and Work - exhibition at the Jewish Museum in Vienna 2002. Eisenmayer maintained a long friendship with the architect Leslie Gooday. This shows him standing beside the sculpture in the garden of ~Long Wall~ in 1997, over 30 years after he had made it.

Antique Chinese bronze censor of waisted form with temple lion head handles, six character mark to base CONDITION REPORT In good original condition with minor dents, marks commensurate with age

A Bronze Age unlooped palstave, with crescentic cutting edge A Bronze Age unlooped palstave, with crescentic cutting edge, narrow butt and raised flanges, Middle Bronze Age, circa 1500-1000 B.C., 16cm long Provenance: Acquired by the late Sir Harry Secombe in the 1960s-70s.

A Large Collection of Archaeological Finds from an amateur Collector: mostly labeled with dates and locations to include; a green stone age axe head, other Paleolithic axe heads, arrow heads, flint cutting tools and knives, also bronze age and Roman pottery shards, fossils and stone samples, all housed in three wooden cases together with a 19th century mahogany cased brass & iron microscope by Newton, Temple Bar, London.

A Bronze Age short sword - 1200 BC - length 35cm

An Ancient Bronze Age terracotta pot - 2000BC - diameter 12.5cm, height 7cm

A Bronze Age wide flanged Axe head - circa 2000 BC - length 11cm, depth at tip 5.6cm

An Ancient Bronze Age axe head 1200 BV

An Ancient Bronze Age axe head with stylized bird 1200 BC

An Ancient Bronze Age Zoomorphic axe head 1200 BC

An Ancient Bronze Age terracotta bowl 2000 BC

An Ancient Bronze Age terracotta bowl 2000 BC

A Bronze Age socketed axe head 2000 BC

Ancient Bronze Age arrow head group

A large Bronze Age arrow head 1200 BC

A large Bronze Age arrow head 1200 BC

A Bronze Age Palstave Axe Head circa 1200-800 BC, copper alloy with flared convex cutting edge Common in the middle Bronze Age, this axe would have been cast in a two part stone mould. It would have been fixed to a forked bone or wooden handle by means of a loop on axe (now lost). Slightly pitted and some oxidisation

A 19th century French white marble and ormolu mantle clock, surmounted by a bronze dog and sleeping child above 8cm enamel dial, with moon hands, Roman numerals and bell striking movement marked for Ch.Pickard and Ad.Punant, Paris 771, upon a breakfront base on four gilt feet 33cm (13in) some age marks to marble, untested

ENGLISH AND CONTINENTAL OBJECTS, BRONZES AND STATUES REFERENCE BOOKS (7)Nicholas Goodison, 'Matthew Bolton: Ormolu', published by Christie's 2002,'L’Heure Le Feu Lumiere Les Bronzes du Mobiler National 1800-1870',éditions faton 2010,Pierre Verlet, 'Les Bronzes Dores Français du Xviii Siecle', published by Grands Manuels Picard 1987,'Bronzi Decorativi in Italia, Bronzisti E Fonditori Italiani Dal Seicento All’Ottocento', published by Lector 2001,Pierre Kjellberg, 'Objects Montes du Moyen Age a Nos Jours', published by le Éditions de la Amateur 2000,'Gli Splendori del Bronzo, mobili e oggetti d’arredo tra Francia e Italia 1750-1850', published by Omega Arte 2002,Anthony Ratcliffe, 'European Bronze Statuettes', published by the Connoisseur and Michael Joseph 1966 (7)

An Art Deco-style silvered bronze figure, raised on a stepped onyx plinth CONDITION REPORT; Surface wear throughout the figure consistent with age. No visible damage or repair. Onyx base appears to be ok Height 165 mm approx.

Bronze antique postal and mortar, the mortar measures 9.1/4" base with Chinese style design, impressed mark G, probably Oriental origin age un-known

Ferdinand Lugerth (Austrian 1885-1915) - A Roman Gladiator, bronze, raised upon marble plinth, signed to base and with foundry mark for Arthur Rubenstein, h.27.5cm Condition Report / Extra Information Sword in right hand missing blade. Some age wear. Appears unpolished. Marble plinth with some minor frits to extremities.

A Nepalese bronze shrine deity figure of Padmapani 'The Lotus Bearer', in bhumisparsha mudra, with painted head, raised upon loaded lotus base, h.21cm Condition Report / Extra Information Some paint losses to back of head and headpiece. Mount to left arm broken (but mostly present). Some age and handling wear.

An Indian bronze shrine deity figure of Krishna/Shiva, in standing pose bearing weapons and shield, h.22.5cm Condition Report / Extra Information Appears complete. Some age wear and weathering.

An Indian bronze shrine deity figure of Garuda, in kneeling pose before a pedestal on four pillars and plinth, h.12.5cm Condition Report / Extra Information Lacking prabha but with insert holes. Plinth with hole to front. Rear right foot bent but complete. With age wear and weathering.

An Indian bronze shrine deity figure of Mahadevi, on circular plinth with prabhi, her four arms bearing sword and bowl, with three skulls at her feet, h.19cm Condition Report / Extra Information Two prabhi missing (out of five). Otherwise appears complete. With age wear and weathering.

An Indian bronze shrine deity figure of Durga, bearing weapons in her arms and with Mahishasura at her feet, on plinth h.18cm; and one other smaller example of Durga, with prabha, h.12cm (2) Condition Report / Extra Information Larger - loss to base front right, with significant weathering and age wear all over. Smaller - with holes to plinth at back, significant age wear and weathering.