A CHINESE 'SHI SOU' SILVER INLAID BRONZE TRIPOD INCENSE BURNER 18TH CENTURY The compressed body decorated with eleven characters reserved on a geometric ground, with two upright loop handles rising from the flat everted rim, all raised on three feet inlaid with floral motifs, the base with a two character mark reading Shi Sou, with a paper label for the Prof and Mrs P H Plesch Collections, no.Bh13hl, the mouth 12.1cm, 12.6cm max, 802g. Provenance: from the collection of Professor Peter Hariolf Plesch (14th February 1918-5th March 2013) and Gerta Regina "Traudi" Plesch OBE (4th December 1921-10th August 2013), collection no.Bh13hl, purchased from Crichton, London, in February 1970.Peter and Traudi were important collectors of Chinese, Japanese and Korean Art. Their vast collection grew exponentially after their wedding in 1963 and also included many examples of Chinese, Roman and English glass, thus reflecting their eclectic taste. Peter and Traudi both came to the UK after fleeing the rise of Nazism in the 1930s. Peter left Berlin in 1933 with his father Janos Plesch, Albert Einstein’s personal doctor and friend. Traudi emigrated from Vienna with her family in 1938. Peter became Professor of Chemistry at Keele University and gained international recognition for his lifelong studies of cationic polymerisation, publishing several books and more than 150 research papers, the last just after his 90th birthday. Traudi received her OBE in 2000 for charitable services to the community in Staffordshire. In March 1959 at Sotheby’s London, Peter purchased a Ruyao narcissus bowl for £2,200 against the dealer J T Tai. It was reoffered at the same saleroom in February 1970 where it sold for £46,000 and subsequently made the front page of a UK national newspaper. On both occasions the hammer price entered the Guinness Book of Records as the highest price ever paid for any ceramic. Several pieces from the collection were lent to Oriental Ceramic Society exhibitions, including this bowl in 1960. Peter published many articles relating to Asian arts, bringing his own scientific approach to collecting, including formulating a new cataloguing system. Peter and Traudi’s collection was admired by many fellow collectors and academics. Their passion for the collection was matched by the enthusiasm of their guests, and they were known to be very welcoming to all visitors.十八世紀 錯銀銅香爐《石叟》款。來源：Peter Hariolf Plesch教授（1918年2月14日-2013年3月5日）和Gerta Regina ‘Traudi’ Plesch OBE （1921年12月4日-2013年8月10日）收藏·編號Bh13hl。1970年2月購於倫敦Crichton。附收藏標籤。
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A CHINESE 'SHI SOU' SILVER INLAID BRONZE BRUSH REST AND A BRUSH WASHER 18TH CENTURY The brush rest formed as a mountain range with five peaks, decorated to one side with a bat amongst swirling clouds, the brush washer with a compressed body, decorated with a geometric band and small circles encircling the rim, each with a mark reading Shi Sou, with paper labels for the Prof and Mrs P H Plesch Collections, nos.BM9A and Bh8A, 8.6cm and 7.7cm, 125g and 193g. (2) Provenance: from the collection of Professor Peter Hariolf Plesch (14th February 1918-5th March 2013) and Gerta Regina "Traudi" Plesch OBE (4th December 1921-10th August 2013), collection nos.BM9A and Bh8A. The brush washer purchased from Ushida Woodblock Printing Co, Kyoto in October 1967. The brush rest bought in Cat Street, Hong Kong. Exhibited: the brush washer exhibited in the Oriental Ceramic Society's exhibition The Chinese Scholar's Desk, 17th to 18th century, the Ashmolean Museum, Oxford, 1st October-31st October 1979, no.32. Cf. R Kerr, Later Chinese Bronzes, pp.64-65, no.50 and P Moss, In Scholar's Taste, p.214, no.150 for comparable brush rests.Peter and Traudi were important collectors of Chinese, Japanese and Korean Art. Their vast collection grew exponentially after their wedding in 1963 and also included many examples of Chinese, Roman and English glass, thus reflecting their eclectic taste. Peter and Traudi both came to the UK after fleeing the rise of Nazism in the 1930s. Peter left Berlin in 1933 with his father Janos Plesch, Albert Einstein’s personal doctor and friend. Traudi emigrated from Vienna with her family in 1938. Peter became Professor of Chemistry at Keele University and gained international recognition for his lifelong studies of cationic polymerisation, publishing several books and more than 150 research papers, the last just after his 90th birthday. Traudi received her OBE in 2000 for charitable services to the community in Staffordshire. In March 1959 at Sotheby’s London, Peter purchased a Ruyao narcissus bowl for £2,200 against the dealer J T Tai. It was reoffered at the same saleroom in February 1970 where it sold for £46,000 and subsequently made the front page of a UK national newspaper. On both occasions the hammer price entered the Guinness Book of Records as the highest price ever paid for any ceramic. Several pieces from the collection were lent to Oriental Ceramic Society exhibitions, including this bowl in 1960. Peter published many articles relating to Asian arts, bringing his own scientific approach to collecting, including formulating a new cataloguing system. Peter and Traudi’s collection was admired by many fellow collectors and academics. Their passion for the collection was matched by the enthusiasm of their guests, and they were known to be very welcoming to all visitors.十八世紀 錯銀筆山及筆洗 一組兩件《石叟》款。來源：Peter Hariolf Plesch教授（1918年2月14日-2013年3月5日）和Gerta Regina ‘Traudi’ Plesch OBE （1921年12月4日-2013年8月10日）收藏·編號Bm9A及Bh8A。筆洗1967年購於京都，筆山購於香港摩羅街。附收藏標籤。展覽：東方瓷器協會，中國文房：十七至十八世紀。牛津阿什莫林博物館，1979年10月1-10月31日·編號32。
French Empire gilt bronze figural mantel clock by Leroy, Paris, C.1810 the silk thread count wheel movement striking bell in a bronze and gilt case surmounted by two figures, the silvered dial raised on a naturalistic rockface, overall H: 49 cm. This lot does not fall into our P&P groups, and as such would incur a charge of £35+VAT for in-house postage on THIS LOT ONLY.
Medals, Great Britain, Edward VII (1901-1910), Bronze Coronation Medal,1902, Royal Mint issue, 55mm, by G.W. de Saulles, crowned and draped bust of Edward r., crowned, draped and veiled bust of Queen Consort Alexandra r., (BHM 3737, Eimer 1871), together with another identical medal, both AUNC in original cases of issue, together with a silver and bronze George V coronation medal, 1911, both AUNC in cases of issue Provenance - The property of a gentleman collector
Coins, Great Britain and World, a collection comprising Her Majesty Queen Elizabeth The Queen Mother The 80th Birthday Coin Collection (7 Crowns and Crown like coins) VF or better, an assortment of commemorative Crowns, assorted Pennies and Twopences, with toning and lustre etc and a bronze medallion obv. with bust of young Victoria and the legend 'Victoria by the grace of God Queen MDCCCLVI' and to the reverse with the inscription 'National medal for success in art awarded by the Science and Art Department' and stamped to edge 'Charles S. White, Stage 23A, 1887', EF and two George V Silver Jubilee silver commemorative medallions, both NVF
Ca. 300-700 AD. Byzantine. A polycandelon (a round flat hanging lamp) with a bronze ring with decorative lozenges alternating with loops which would receive the oil receptacles; suspended by chains and a hanging hook on the top. Good condition. Byzantines churches were lit by polycandela, an early type of candelabra that held glass oil lamps rather than candles. The lamps were either conical or shaped like round bowls with an elongated stem attached beneath. Polycandela like this one were originally from churches, but they also came to be used in secular contexts. An effective and very atmospheric source of lighting, polycandela required considerable skill in casting and glasswork. For a similar polycandelon, see https://www.penn.museum/collections/object/56022. For more information on Byzantine polycandela, see Nesbitt, J. W. & Demirjian, T. (eds)(1988). Byzantium, the Light in the Age of Darkness, Ariadne Galleries, 53ff. Size: L:235mm / W:210mm ; 670g. Provenance: Ex: Nevada Private Collection; formerly acquired on the German Art Market, 2015.
Ca. 100-300 AD. Roman. A rare early Roman bronze circular double mirror. This two-part mirror consists of two circular discs with raised lips, which nest together when the mirror is closed to protect the reflecting surface. Both halves are well preserved and the exterior surfaces are decorated with incised concentric rings, while the interiors were polished to function as mirrors. Mirrors in the Graeco-Roman world were made of various materials - mostly copper alloy, but silver and iron examples have also been found. Mirrors were personal items, often owned by women. The earliest surviving pieces date to the Mycenaean period ca. 1200-1100 BC, with bone and ivory handles carved with animal motifs. Greek hand mirrors were made in one piece from the 7th cent. BC and became more elaborate with time. Roman mirrors from the Augustan period onwards have been found in most provinces of the empire and, like this item, they displayed applied engravings, decorative plaques on the reverse, or figurative ornament. For a comprehensive study of Roman mirrors, see Zahlhaas, G. (1975). Römische Relief Spiegel. Lassleben. Size: L: set of 2: 7mm / W:115mm ; 280g. Provenance: Property of a London gentleman, part of his family collection formed in the 1980s.
Ca. 100-200 AD. Roman. Fine bronze tweezers featuring slightly curved flat rectangular rods, balustered handle, and knop finial with ribbed decoration. Such tweezers would have been used in everyday life for medical or cosmetic purposes, and were probably part of a larger medical set, including other instruments, like probes or spatulae. Beautiful patina; excellent condition. Size: L:127mm / W:15mm ; 27g. Provenance: From the private collection of an Essex gentleman; previously in an old British Collection, formed before 2000.
Ca. 300 BC-100 AD. Celtic. Western European. A rare and superbly preserved Celtic iron and bronze helmet. The helmet has a hemispherical one-piece bowl of cast, hammered, chased, and engraved iron, which is surmounted by a bronze low crest that bifurcates at the rear and front in two crescents that used to extend around the whole bowl. The bowl is decorated with further bronze double crescents, flanked by two circular inserts. The rim is also made of bronze and displays a perforation at each side to secure cheek pieces. Good condition; the item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Helmets like this one are found in small numbers throughout the Celtic world. Neither the Britons nor the Germans had helmets, writes Tacitus, but the Cimbri had helmets like the maws of frightful beasts or the heads of animals, with crests that made them look larger than they were (Plutarch, Marius XXV.2). Only in Italy, in the region of the Senones, have helmets similar to this one been found in great numbers, in a style named after the burial ground of Montefortino and characterized by a back peak to protect the neck and a top knob (Aldhouse-Green 1995, 43) - see, for instance, https://www.metmuseum.org/art/collection/search/684492?searchField=All&sortBy=Relevance&ft=celtic+helmet&offset=0&rpp=20&pos=1. Montefortino helmets were produced in the late 4th-early 3rd century BC in Etruria, and there is general scholarly consensus on the fact that they were probably inspired by Celtic prototypes such as our item. Aspects of the Celtic helmet designs were adopted in the Roman legionary helmet of the first century AD (Aldhouse-Green 1995, 44). To find out more about Celtic helmets and their evolution, see Aldhouse-Green, M. J. (1995). The Celtic world. London; New York: Routledge, 43-44.Size: L:140mm / W:245mm ; 1.7kg. Provenance: Property of a European collector, formerly acquired from Mr. J. Salz in 2014 in Dortmund, Germany.
Ca. 664-30 BC. Late Period - Ptolemaic Dynasty. A bronze statuette of Osiris on a modern stand. He wears an atef crown, plumed on each side with ostrich feathers and decorated on the front with a uraeus cobra. The modelled face also wears a false beard, and his mummiform body holds the signature crook and flail, crossed over his torso. This would have been given as a votive offering to a shrine or temple of the god in exchange for his favour. Osiris was the god of the underworld and renewal after death, but also of renewal in the physical world, like the regeneration of the crops after winter. Osiris' cult boomed in the 1st millennium BC, and this period saw a rapid increase in the number of bronze votives like this one given in exchange for anything from a fertile harvest to a pleasant afterlife. Size: L:140mm / W:35mm ; 91g. Provenance: From the important collection of a London doctor A.R; passed by descent to his son; formerly acquired before 2000 on the UK art market.
Ca. 860-650 BC. Urartian. A beautiful pair of gold bracelets made of gold wires tightly twisted around a copper core. The terminals are in the shape of snake heads decorated with elaborate coiled and circular motifs. Excellent condition. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. It also comes with a gemological and historical report by an independent specialist Anna Rogers. This analysis will accompany the purchase. Urartu was an ancient kingdom of southwest Asia centred in the mountainous region southeast of the Black Sea and southwest of the Caspian Sea. Mentioned in Assyrian sources from the early 13th century BC, Urartu enjoyed considerable political power in the Middle East in the 9th and 8th centuries BC. From early in the kingdom's history, very characteristic artefacts were manufactured, including bronze belts along with shields, quivers, helmets, bells, jewellery, and ceramic and metal vessels of many forms. Many of these artefacts bear royal inscriptions and are decorated with characteristic motifs and scenes, which consist of various deities and composite otherworldly creatures, royal rituals, hunts, battles, and genre scenes. Urartu continued to produce beautiful works of art until it was destroyed in the second half of the seventh century BC by the Medes or the Scythians. To find out more about Urartu and its art production, see Merhav, R. (1991). Urartu: A Metalworking Center in the First Millennium B.C.E. Jerusalem: Israel Museum.Size: L: set of 2: 58mm, 59mm / W:72mm,75mm ; 76.5g. Provenance: Property of a London gentleman, part of his family collection formed in the 1980s-2000.
Ca. 800-600 BC. Celtic Bronze Age. A heavy, cast bronze bracelet with a curved section and sheer terminals exhibiting a stunning turquoise green patina. Excellent condition; wearable. In the Bronze Age, bracelets such as this one were used not only as jewellery but also allowed their owners to store wealth before the invention of coinage. For more information on Bronze Age bracelets, see Stead, I. M. (1997). Celtic Art. Harvard University Press, 42-44. Size: L:57mm / W:67mm ; 68.5g. Provenance: Obtained on the London art market in the early 2000s; formerly from the collection of an English Family, by descents form the 1970s.
Ca. 600 BC. Koban culture. A beautiful bronze sword-shaped pendant with interlaced decoration; circular loop in the sword's hilt; fully wearable condition. The Koban culture was a tribal culture in the Central Caucasus during the transitional period from the Bronze Age to the Iron Age which produced high levels of applied art. Koban findings confirm that the Koban culture was in constant communication and exchange not only with Caucasian neighbours, but also with the tribes of the Crimea, the Northern Black Sea, Asia Minor, and especially with other important centres of bronze metallurgy - Luristan (Western Iran) and the Carpathian-Danube area (Austria, Bohemia, Bavaria). Size: L:100mm / W:23mm ; 28g. Provenance: From an old British collection of Asian Art formed in the 1990s on the UK and European art market.
Ca. 1000-1300 AD. Medieval Europe. A finely modelled cast bronze reliquary cross composed of three parts: two crosses that fit together, a large loop for suspension, and a hinged base. Made of bronze, it is decorated with the image of Christ with his arms outstretched on one side; the other side is decorated with a standing human figure. Good condition. This type of cross could open and was made to hold a small relic or a prayer document. Relics, as the physical remains of saints or objects associated with Christ, held tremendous power in medieval Christianity. Such crosses were worn by the knights who fought in the Holy Lands. For more information on reliquary crosses, see Boas, A. J. (2016). Crusader Archaeology - The Material Culture of the Latin East. Taylor & Francis, 158. Size: L:87mm / W:50mm ; 45g. Provenance: From an old British collection, acquired on the UK art market in the 1980s.
Ca. 1000 BC. Central European/Hallstatt Culture. An openwork pendant in the shape of a voided triangle decorated with two ribbed raised bands and two coils; two loops for suspension; a small ram head is attached perpendicularly to the lower part of the triangle. Excellent condition; beautiful patina. The Hallstatt Culture, named for the village in Austria where it was first identified, is a Bronze Age culture that flourished in much of Western and Central Europe between the 12th and 8th centuries BC; it is commonly associated with Proto-Celtic societies and is known for the richness of its metalworking traditions. For more information on Hallstatt Culture, see Morton, F. (1995). Hallstatt und die Hallstattzeit- Viertausend Jahre Salzkultur, Verlag des Musealvereines. Size: L:25mm / W:40mm ; 28g. Provenance: From the collection of a gentleman based in London; formerly with a British gallery; acquired in the 1990s.
Ca. 1000-800 BC. Celtic. A stunning bronze leaf-shaped dagger with a rounded handle. The bronze has blued with age and has a superb patina. Bronze weaponry production flourished from the 2nd millennium BC to about 700 BC when it was gradually replaced by iron. Swords, axe heads, spears and arrows were exchanged via trade and war and were discovered in both civic and ritual context. Mounted on a custom-made stand. Excellent condition, superb patina. For more information on Celtic daggers, see Stead, I. M. (1997). Celtic Art. Harvard University Press, 62-64 and Harding, D.W. (2007). The Archaeology of Celtic Art. Routledge, London, 107, 141, 195. Size: L:310mm / W:65mm ; 180g. Provenance: Property of a European gentleman, formerly acquired on the UK Art Market in the 1990s.
Ca. 1000-600 BC. Bronze Age. A large bronze cloak pin with integral loop, a tripartite head, each section comprising two side protruding semicircular attachments, atop a slim neck with dotted decoration and a tapering pin shaft. Good condition, attractive patina. Cloak pins were an important part of Bronze Age cultures and were worn by both men and women in much the same fashion as a brooch. These items were multifunctional: their main purpose was to fasten clothing but wearing elaborate pins such as this one also served as a display of wealth and as tradable goods in lieu of currency. Size: L:175mm / W:33mm ; 87g. Provenance: From the collection of a gentleman based in London; formerly in an old British collection; acquired in the 1980s.
Ca. 600 BC. Koban culture. A beautiful bronze sword-shaped pendant with interlaced decoration; circular loop in the sword's hilt; fully wearable condition. The Koban culture was a tribal culture in the Central Caucasus during the transitional period from the Bronze Age to the Iron Age which produced high levels of applied art. Koban findings confirm that the Koban culture was in constant communication and exchange not only with Caucasian neighbours, but also with the tribes of the Crimea, the Northern Black Sea, Asia Minor, and especially with other important centres of bronze metallurgy - Luristan (Western Iran) and the Carpathian-Danube area (Austria, Bohemia, Bavaria). Size: L:100mm / W:25mm ; 43g. Provenance: Property of a London gentleman, part of his family collection formed in the 1980s-2000.
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