C. 2nd-1st millennium BC. A spectacular ram-shaped bronze oil lamp. The ramp stands foursquare, looking forward. Large, curved horns, project from its head. On its back is a large filling hole with an out-turned rim and the remains of a hinge for the lid. The ram's long legs terminate in carefully modelled feet. A length cylindrical spout with an upturned end juts out from its chest. Bactra was the Greek name for the area of modern Balkh, in what is now northern Afghanistan and Margiana was the Greek name for the Persian satrapy of Margu, the capital of which was Merv, in today's Turkmenistan. This civilisation was contemporary with the European Bronze Age, and was characterised by monumental architecture, social complexity and extremely distinctive cultural artefacts that vanish from the record a few centuries after they first appear. Trade appears to have been important, as Bactrian artefacts appear all over the Persian Gulf as well as in the Iranian Plateau and the Indus Valley. Excellent condition; beautiful patina. Provenance: Important London collection of Ancient art; formed in 1970s then passed by descent. Size: L:205mm / W:240mm ; 1.6kg
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C. 3rd millennium BC. A pair of light reddish-brown coloured handmade terracotta idols of characteristically abstract form with wide hips, carefully delineated legs, curved arms, broad shoulders and voluptuous breasts situated beneath an incised pectoral collar. Their highly stylized faces present with impressed circular eyes, a narrow nose, slender lips, and tall forehead topped with a neatly arranged coiffure. The figures have been made in two different scales, with that on the left far larger than that on the right, underlining the fact that each of these pieces were made individually. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which these ceramic figures belong, was in the 3rd millennium BC. These fertility figures are common in the Indus Valley, and likely represent offerings to a deity in exchange for fertility and a healthy pregnancy. Excellent condition. Provenance: Private London collection, formed since the 1980s on the UK and European art market. Size: L:Set of 2: 85 - 130mm / W:33 - 37mm ; 60g
C. 206 BC-220 AD. Han Dynasty. A bronze and iron tripod, generally known as a ding. The object comprises a hemispherical bronze body with an in-stepped rim, and a raised horizontal rib below the rim. Three iron legs attach just below this rib, while shelved rim and two rectangular handles; two sub-rectangular lug handles attach to just above it the same rib. A domed lid serves to seal the vessel. This beautiful Ding may have been used for ritual banqueting among the aristocracy of the Han Dynasty. The Han Dynasty, which ruled between 202 BC-220 AD, brought great prosperity and stability to China, reigning over a golden age of classical Chinese civilisation during which China saw major advances including the widespread development of a monetary economy and the invention of paper, as well as much progress in the decorative arts. Good condition. Provenance: Important estate collection from Oxfordshire; formed in the 1970s-2000. Size: L:235mm / W:260mm ; 2.15kg
100-300 AD. Gandharan bronze frieze plaque with Buddha. Depicted are four standing figures wearing simple monastic robes, with their right hands raised in the air. Gandhara was an ancient region in the Peshawar basin in the north-west of the ancient Indian subcontinent (modern north-west Pakistan and South-east Afghanistan). The Kushan period (c. 75-451 AD) of Gandharan art, to which this figure belongs, was the golden age of artistic production in the area. Provenance: Private London collection, formed since the 1980s on the UK and European art market. Size: L:145mm / W:210mm ; 735g
100-300 AD. Gandharan bronze frieze plaque with Buddha and his followers. Buddha, standing in the centre and wearing a simple monastic robe, is flanked by a group of followers. Gandhara was an ancient region in the Peshawar basin in the north-west of the ancient Indian subcontinent (modern north-west Pakistan and South-east Afghanistan). The Kushan period (c. 75-451 AD) of Gandharan art, to which this figure belongs, was the golden age of artistic production in the area. Provenance: Private London collection, formed since the 1980s on the UK and European art market. Size: L:105mm / W:205mm ; 441g
ca. 1800 - 1900 AD Islamic. Beautiful flat Islamic silvered bronze bowl. The decoration, which covers the whole of the outer surface, consists of a floral band and geometric patterns. The bottom of the inside of the bowl bears a particularly interesting motif made up of a series of geometric patterns. Similar bowls can be found all over the Islamic world and were used for different purposes. Sometimes in the mosque as a bowl for traditional food to eat in the mosque or for washing in the hammam. Provenance: From an old British collection formed in the 1990s, formerly acquired in the UK and European Art Market. Size: L:57mm / W:167mm ; 466g
100-300 AD. Gandharan (or later) bronze sculpture of Buddha. He sits high upon a throne, holding the palm of his left hand in the air and the right one resting on his leg. He wears a simple monastic robe that clings to his legs, showing his bare chest. Incised lines has been added to suggest the folds of the cloth. The head is topped by an elaborate crown. Gandhara was an ancient region in the Peshawar basin in the north-west of the ancient Indian subcontinent (modern north-west Pakistan and South-east Afghanistan). The Kushan period (c. 75-451 AD) of Gandharan art, to which this figure belongs, was the golden age of artistic production in the area. Provenance: From the private collection of Mr. R. Unger; previously with a London gallery; acquired in before 2000 on the UK art market. Size: L:145mm / W:88mm ; 440g
c. 1200 to 800 BC. Western Asiatic, Luristan culture. Attractive cast bronze figure of a four-legged, two-headed animal with flattened ears, large eyes and stylised muzzle, with strong, stocky legs. A collar around the animal's neck probably identifies it as a beast of burden. A ring on its back served to hang the piece on a string. This object may have served as an amulet to summon the animal's physical strength. Good condition; beautiful patina. Provenance: From an old British collection formed in the 1990s, formerly acquired in the UK and European Art Market.; Size: L:67mm / W:92mm ; 152g
c.10th-12th century AD. Seljuk. A beautiful cast bronze figure depicting a feline standing in profile, its captivating visage comprised of a large nose, rounded perky ears. Its dramatic countenance is enhanced by incised diagonal lines to represent fur surrounding the mouth. Its body stands with strong posture connoting pride, and its tail wraps over his back. An outstanding example of Seljuk metalwork. The Seljuks were a Turkic dynasty of Central Asian nomadic origins. Having defeated the Ghaznavids in the eleventh century they took over Baghdad in 1055 A.D. At one point the empire stretched across Iran, Iraq and much of Anatolia, which led to the creation of countless works of art. By the end of the eleventh century however dynastic disputes led to the division of these lands. The main branch- the so-called Great Seljuks- maintained control over Iran. This was a golden age for Islamic art typified by innovation and experimentation. In metalwork one of the most important developments was the practice of inlaying bronze or brass objects with precious metals such as copper, silver or gold. Bronze casting flourished and famous workshops were established in Khorasan and the surrounding area. Good condition; beautiful patina. Provenance: From an old British collection formed in the 1990s, formerly acquired in the UK and European Art Market. Size: L:75mm / W:70mm ; 151g
Ca. 206 BC - 220 AD. Han dynasty. Beautiful decorated bronze mirror. The small fluted loop is framed by a concave square border from which four heart-shaped leaves radiate, each supporting short straight stems terminating in further leaves, divided by four large grooved 'T' motifs converging from the raised rim, all on a fine ground of hooks, wings and feathers. The Han Dynasty, which ruled between 202 BC-220 AD, brought great prosperity and stability to China, reigning over a golden age of classical Chinese civilisation during which China saw major advances including the widespread development of a monetary economy and the invention of paper, as well as much progress in the decorative arts. As early as 2000 B.C., bronze technology was highly developed in China, and objects made from this alloy of copper, tin, and lead were considered luxury items, reserved for the aristocratic class. Among these coveted pieces were small bronze mirrors. Usually cast from clay molds, they were highly polished on one side, offering a reflective surface, while the other side was decorated with intricate patterns and designs that reveal an astonishing level of skill and artistry in their craftsmanship. Birds, dragons, and serpents were common motifs in the earliest mirrors. Later, more sophisticated and intricate designs included mythological figures, deities, animals of the Chinese zodiac, abstract patterns, background textures, inscriptions, enamelwork, and inlays of jade, turquoise, and mother-of-pearl. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: L:190mm / W:190mm ; 810g
C. AD 618-907. Tang Dynasty. Astonishing flower shaped bronze mirror. The center showcases an interesting scene with mythical creatures running around on either side of the perforated central lug. The rim is also finely decorated. The octofoil shape of this mirror is typical of the Tang Dynasty. Centre suspension lugs, a chord would have been wound through this hole to serve as a handle. The Chinese magic mirror is an ancient art that can be traced back to the Chinese Han dynasty (206 BC-24 AD). The mirrors were made out of solid bronze. The front is a shiny polished surface and could be used as a mirror, while the back has a design cast in the bronze. When bright sunlight or other bright light reflects onto the mirror, the mirror seems to become transparent. If that light is reflected from the mirror towards a wall, the pattern on the back of the mirror is then projected onto the wall. They were used not only as functional artifacts, but also as sacred objects. The Chinese believed mirrors not only reflected light, but also had the ability to radiate it and thus illuminate the tomb for eternity. Often multiple mirrors were entombed close to the body of the deceased. They were also considered powerful talismans that would let you see into the spirit world. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: L:185mm / W:184mm ; 820g
Ca. 206 BC - 220 AD. Han dynasty. Beautiful decorated square bronze mirror. Square shape with decorated rim enclosing the main field, which is decorated with geometric patterns. The Han Dynasty, which ruled between 202 BC-220 AD, brought great prosperity and stability to China, reigning over a golden age of classical Chinese civilisation during which China saw major advances including the widespread development of a monetary economy and the invention of paper, as well as much progress in the decorative arts. As early as 2000 B.C., bronze technology was highly developed in China, and objects made from this alloy of copper, tin, and lead were considered luxury items, reserved for the aristocratic class. Among these coveted pieces were small bronze mirrors. Usually cast from clay molds, they were highly polished on one side, offering a reflective surface, while the other side was decorated with intricate patterns and designs that reveal an astonishing level of skill and artistry in their craftsmanship. Birds, dragons, and serpents were common motifs in the earliest mirrors. Later, more sophisticated and intricate designs included mythological figures, deities, animals of the Chinese zodiac, abstract patterns, background textures, inscriptions, enamelwork, and inlays of jade, turquoise, and mother-of-pearl. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: L:170mm / W:170mm ; 780g
Ca. 206 BC - 220 AD. Han dynasty. Bronze Mirror decorated with facing dragon and other animals. The central hemispherical boss framed by a concave square frame set with seven small bosses alternating with animal figures, the broad rim is decorated with a linear relief. The Han Dynasty, which ruled between 202 BC-220 AD, brought great prosperity and stability to China, reigning over a golden age of classical Chinese civilisation during which China saw major advances including the widespread development of a monetary economy and the invention of paper, as well as much progress in the decorative arts. As early as 2000 B.C., bronze technology was highly developed in China, and objects made from this alloy of copper, tin, and lead were considered luxury items, reserved for the aristocratic class. Among these coveted pieces were small bronze mirrors. Usually cast from clay moulds, they were highly polished on one side, offering a reflective surface, while the other side was decorated with intricate patterns and designs that reveal an astonishing level of skill and artistry in their craftsmanship. Birds, dragons, and serpents were common motifs in the earliest mirrors. Later, more sophisticated and intricate designs included mythological figures, deities, animals of the Chinese zodiac, abstract patterns, background textures, inscriptions, enamelwork, and inlays of jade, turquoise, and mother-of-pearl. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: L:180mm / W:180mm ; 800g
C. 3rd millennium BC. Indus Valley Civilisation. Beautiful terracotta coloured bowl with 5 black painted running ibexes. The centre shows a five-pointed star with a flower motif. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which these kind of ceramic vessels belong, was in the 3rd millennium BC. Large numbers of ceramic vessels decorated with black slip have been found among the sophisticated urban settlements of South Asia's protohistoric Indus Valley civilization. The walls of this jar are so thin that it must have been created on a potter's wheel. The ibex is one of the most popular zoomorphic motifs present in the Indus Valley production. Provenance: From an old British collection, acquired on the UK art market in the 1990s. Size: L:85mm / W:222mm ; 700g
C. 3rd millennium BC. Indus Valley Civilisation. Beautiful terracotta coloured bowl decorated with black concentric circles showing geometric patterns. The outer wall is decorated with asymmetric notches. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which these kind of ceramic vessels belong, was in the 3rd millennium BC. Large numbers of ceramic vessels decorated with black slip have been found among the sophisticated urban settlements of South Asia's protohistoric Indus Valley civilization. The walls of this jar are so thin that it must have been created on a potter's wheel Provenance: From an old British collection, acquired on the UK art market in the 1990s. Size: L:130mm / W:350mm ; 1.9kg
C. 3rd millennium BC. Indus Valley Civilisation. Beautiful terracotta coloured hemispherical bowl with high foot and black painted fowl design. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which these kind of ceramic vessels belong, was in the 3rd millennium BC. Large numbers of ceramic vessels decorated with black slip have been found among the sophisticated urban settlements of South Asia's protohistoric Indus Valley civilization. The walls of this jar are so thin that it must have been created on a potter's wheel. The ibex is one of the most popular zoomorphic motifs present in the Indus Valley production. Provenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1990s. Size: L:210mm / W:370mm ; 2.3kg
C. 3rd millennium BC. Indus Valley Civilisation. Beautiful terracotta coloured hemispherical bowl with high foot and black painted design. The outside wall is decorated with 4 felines with protruding tongues, walking forward. The neck shows geometric patterns. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which these kind of ceramic vessels belong, was in the 3rd millennium BC. Large numbers of ceramic vessels decorated with black slip have been found among the sophisticated urban settlements of South Asia's protohistoric Indus Valley civilization. The walls of this jar are so thin that it must have been created on a potter's wheel. The ibex is one of the most popular zoomorphic motifs present in the Indus Valley production. Provenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1990s. Size: L:150mm / W:275mm ; 2.1kg
C.3000-2000 BC. Bactrian. Beautiful, large alabaster vessel with amber-coloured slip and dark bands swirling around its body. Clearly, the craftsman knew how to take advantage of the swirling bands of colour of the alabaster to give a sense of movement as a decorative element on the vessel. The shoulder are presented with knobs and topped with a flared rim. Alabaster was a precious material, widely traded in the region from the 4th millennium BCE onward.The purpose of such a vessel is not known. Pieces like this one often came from burials and votive offerings. Along with others that make up the typology of stone vessels, together with the well-known column or circular idols, these are all characteristic of the Bactrian material culture. This piece relates to an ancient culture referred to both as the Bactria-Margiana Archaeological Complex (BCAM) or as the Oxus Civilisation. The Bactria-Margiana culture spread across an area encompassing the modern nations of Turkmenistan, Tajikistan, Uzbekistan and Northern Afghanistan. Flourishing between about 2100 and 1700 BC, it was contemporary with the European Bronze Age, and was characterised by monumental architecture, social complexity and extremely distinctive cultural artefacts that vanish from the record a few centuries after they first appear. Pictographs on seals have been argued to indicate an independently-developed writing system.It was one of many economic and social entities in the vicinity, and was a powerful country due to the exceptional fertility and wealth of its agricultural lands. This in turn gave rise to a complex and multifaceted set of societies with specialist craftsmen who produced luxury materials such as this for the ruling and aristocratic elites. Trade appears to have been important, as Bactrian artefacts appear all over the Persian Gulf as well as in the Iranian Plateau and the Indus Valley. For this reason, the area was fought over from deep prehistory until the Mediaeval period, by the armies of Asia Minor, Greece (Macedonia), India and the Arab States, amongst others.Through local stone carvers inhabiting the regions of Margiana and Bactria experienced no shortage in material; the main raw material was soft steatite or a dark soapstone, but also various kinds of marble and white-veined alabaster. The main source for these stones, including semi- precious lapis-lazuli, was in Bactria, at Badakhshan in north-western Afghanistan, which provided material not only for the Bactrian and Margian carvers but also farther to the west into Mesopotamia, for the Assyrian kings. 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. Size: L:200mm / W:165mm ; 3.9g
C. 3000-2000 BC. Bactrian. A large and impressive stone jar with a lid. The vessel has a round flat body and the lid shows traces of incisions, probably intended as a decorative element by the maker. Bactrian vessels were commonly made from this grey stone, made of a type of stone widely available in Oman that was traded north through Arabia, the Gulf, Iran, Baluchistan, and Pakistan. Archaeologists believe that these objects were traded not just as vessels, but for what they held.This piece relates to an ancient culture referred to both as the Bactria-Margiana Archaeological Complex (BCAM) or as the Oxus Civilisation. The Bactria-Margiana culture spread across an area encompassing the modern nations of Turkmenistan, Tajikistan, Uzbekistan and Northern Afghanistan. Flourishing between about 2100 and 1700 BC, it was contemporary with the European Bronze Age, and was characterised by monumental architecture, social complexity and extremely distinctive cultural artefacts that vanish from the record a few centuries after they first appear. Pictographs on seals have been argued to indicate an independently-developed writing system.It was one of many economic and social entities in the vicinity, and was a powerful country due to the exceptional fertility and wealth of its agricultural lands. This in turn gave rise to a complex and multifaceted set of societies with specialist craftsmen who produced luxury materials such as this for the ruling and aristocratic elites. Trade appears to have been important, as Bactrian artefacts appear all over the Persian Gulf as well as in the Iranian Plateau and the Indus Valley. For this reason, the area was fought over from deep prehistory until the Mediaeval period, by the armies of Asia Minor, Greece (Macedonia), India and the Arab States, amongst others.Through local stone carvers inhabiting the regions of Margiana and Bactria experienced no shortage in material; the main raw material was soft steatite or a dark soapstone, but also various kinds of marble and white-veined alabaster. The main source for these stones, including semi- precious lapis-lazuli, was in Bactria, at Badakhshan in north-western Afghanistan, which provided material not only for the Bactrian and Margian carvers but also farther to the west into Mesopotamia, for the Assyrian kingsProvenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: L:80mm / W:145mm ; 800g
c.10th-12th century AD. Seljuk. Beautiful Medieval Seljuk terracotta pouring jug with handle, decorated with a low relief of flowers on the shoulder. The neck and bottom are decorated with geometric patterns. The Seljuks were a Turkic dynasty of Central Asian nomadic origins. Having defeated the Ghaznavids in the eleventh century they took over Baghdad in 1055 A.D. At one point the empire stretched across Iran, Iraq and much of Anatolia, which led to the creation of countless works of art. By the end of the eleventh century however dynastic disputes led to the division of these lands. The main branch- the so-called Great Seljuks- maintained control over Iran. This was a golden age for Islamic art typified by innovation and experimentation. In metalwork one of the most important developments was the practice of inlaying bronze or brass objects with precious metals such as copper, silver or gold. Bronze casting flourished and famous workshops were established in Khorasan and the surrounding area. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: L:290mm / W:230mm ; 1.2kg
c.10th-12th century AD. Seljuk. Beautiful Medieval Seljuk terracotta pouring jug with handle, decorated with a low relief of geometric patterns. The neck is shaped in asymmetrical waves. The Seljuks were a Turkic dynasty of Central Asian nomadic origins. Having defeated the Ghaznavids in the eleventh century they took over Baghdad in 1055 A.D. At one point the empire stretched across Iran, Iraq and much of Anatolia, which led to the creation of countless works of art. By the end of the eleventh century however dynastic disputes led to the division of these lands. The main branch- the so-called Great Seljuks- maintained control over Iran. This was a golden age for Islamic art typified by innovation and experimentation. In metalwork one of the most important developments was the practice of inlaying bronze or brass objects with precious metals such as copper, silver or gold. Bronze casting flourished and famous workshops were established in Khorasan and the surrounding area. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: L:195mm / W:135mm ; 400g
c.10th-12th century AD. Seljuk. Beautiful Medieval Seljuk terracotta pouring jug with handle and spout. The body is decorated with a low relief of geometric patterns. The neck is topped with a lid. The Seljuks were a Turkic dynasty of Central Asian nomadic origins. Having defeated the Ghaznavids in the eleventh century they took over Baghdad in 1055 A.D. At one point the empire stretched across Iran, Iraq and much of Anatolia, which led to the creation of countless works of art. By the end of the eleventh century however dynastic disputes led to the division of these lands. The main branch- the so-called Great Seljuks- maintained control over Iran. This was a golden age for Islamic art typified by innovation and experimentation. In metalwork one of the most important developments was the practice of inlaying bronze or brass objects with precious metals such as copper, silver or gold. Bronze casting flourished and famous workshops were established in Khorasan and the surrounding area. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: L:125mm / W:100mm ; 300g
c.10th-12th century AD. Seljuk. Bronze lamp from the Seljuk Empire with a hinged lid and a joined loop handle. The body is incised with various Islamic motifs and symbols. The Seljuks were a Turkic dynasty of Central Asian nomadic origins. Having defeated the Ghaznavids in the eleventh century they took over Baghdad in 1055 A.D. At one point the empire stretched across Iran, Iraq and much of Anatolia, which led to the creation of countless works of art. By the end of the eleventh century however dynastic disputes led to the division of these lands. The main branch- the so-called Great Seljuks- maintained control over Iran. This was a golden age for Islamic art typified by innovation and experimentation. In metalwork one of the most important developments was the practice of inlaying bronze or brass objects with precious metals such as copper, silver or gold. Bronze casting flourished and famous workshops were established in Khorasan and the surrounding area. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: L:120mm / W:125mm ; 300g
c.10th-12th century AD. Seljuk. Heavy cast bronze mortar with broad flange base, tubular body, and flared rim, elaborate decoration to the body. The Seljuks were a Turkic dynasty of Central Asian nomadic origins. Having defeated the Ghaznavids in the eleventh century they took over Baghdad in 1055 A.D. At one point the empire stretched across Iran, Iraq and much of Anatolia, which led to the creation of countless works of art. By the end of the eleventh century however dynastic disputes led to the division of these lands. The main branch- the so-called Great Seljuks- maintained control over Iran. This was a golden age for Islamic art typified by innovation and experimentation. In metalwork one of the most important developments was the practice of inlaying bronze or brass objects with precious metals such as copper, silver or gold. Bronze casting flourished and famous workshops were established in Khorasan and the surrounding area. 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. Size: L:105mm / W:122mm ; 2.9kg
c. 1100- 7th century BC. Western Asiatic. Large bulbous bronze vessel with flat base and a long spout. Decorated with hemispherical rivets encircling the base of the spout where it is attached to the vessel and on top of the spout. Similar examples were excavated at sites in northern and western Iran (e.g., Tappe Marlik, Tappe Guran, and Tappe Sialk), judging from the evidence this type of vessel was in use from about 1100 to 700 BCE. Metal vessels such as this one inspired also larger ceramic versions, as well as stone vessels with long narrow metal spouts. Provenance: Property of a professional London art expert; obtained from an old British collection formed before 2000. Size: L:195mm / W:315mm ; 1.1kg
c. 224-651 AD. Early Persian, possibly Sassanian. Beautiful shallow bronze plate with an extended rim. The outside is decorated with ribbed bands. The Sassanian empire which ruled from Afghanistan to Iraq during the third to seventh centuries AD is famed for the high quality of its ceremonial metalware, which was used both during banqueting and during religious rituals. Under the Sasanians Iranian art experienced a general renaissance. Artistically, this period witnessed some of the highest achievements of Iranian civilization. Metalwork and gem engraving became highly sophisticated. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: L:20mm / W:265mm ; 1kg
c. 2000- 7th century BC. Western Asiatic. Beautiful bronze vase featuring a flat foot with the sides of the body slightly flaring outwards terminating at a flared rim. The shoulder is decorated with a wavy band all around. Good condition; beautiful patina. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: L:125mm / W:140mm ; 600g
C. 3000-2000 BC. Bactrian. A stunning stone vessel shaped like a six-pointed star. Each spike has an opening. The rim of the round centre is decorated with notches. Bactrian vessels were commonly made from this grey stone, widely available in Oman that was traded north through Arabia, the Gulf, Iran, Baluchistan, and Pakistan. This piece relates to an ancient culture referred to both as the Bactria-Margiana Archaeological Complex (BCAM) or as the Oxus Civilisation. The Bactria-Margiana culture spread across an area encompassing the modern nations of Turkmenistan, Tajikistan, Uzbekistan and Northern Afghanistan. Flourishing between about 2100 and 1700 BC, it was contemporary with the European Bronze Age, and was characterised by monumental architecture, social complexity and extremely distinctive cultural artefacts that vanish from the record a few centuries after they first appear. Pictographs on seals have been argued to indicate an independently-developed writing system.It was one of many economic and social entities in the vicinity, and was a powerful country due to the exceptional fertility and wealth of its agricultural lands. This in turn gave rise to a complex and multifaceted set of societies with specialist craftsmen who produced luxury materials such as this for the ruling and aristocratic elites. Trade appears to have been important, as Bactrian artefacts appear all over the Persian Gulf as well as in the Iranian Plateau and the Indus Valley. For this reason, the area was fought over from deep prehistory until the Mediaeval period, by the armies of Asia Minor, Greece (Macedonia), India and the Arab States, amongst others.Through local stone carvers inhabiting the regions of Margiana and Bactria experienced no shortage in material; the main raw material was soft steatite or a dark soapstone, but also various kinds of marble and white-veined alabaster. The main source for these stones, including semi- precious lapis-lazuli, was in Bactria, at Badakhshan in north-western Afghanistan, which provided material not only for the Bactrian and Margian carvers but also farther to the west into Mesopotamia, for the Assyrian kings.Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: L:35mm / W:115mm ; 250g
C. 3000-2000 BC. Bactrian. Beautiful square stone palette. Decorated with geometric patterns on the outside and the rim. The four compartments inside suggest that it was used to hold cosmetics. Bactrian vessels were commonly made from this grey stone, widely available in Oman that was traded north through Arabia, the Gulf, Iran, Baluchistan, and Pakistan. This piece relates to an ancient culture referred to both as the Bactria-Margiana Archaeological Complex (BCAM) or as the Oxus Civilisation. The Bactria-Margiana culture spread across an area encompassing the modern nations of Turkmenistan, Tajikistan, Uzbekistan and Northern Afghanistan. Flourishing between about 2100 and 1700 BC, it was contemporary with the European Bronze Age, and was characterised by monumental architecture, social complexity and extremely distinctive cultural artefacts that vanish from the record a few centuries after they first appear. Pictographs on seals have been argued to indicate an independently-developed writing system.It was one of many economic and social entities in the vicinity, and was a powerful country due to the exceptional fertility and wealth of its agricultural lands. This in turn gave rise to a complex and multifaceted set of societies with specialist craftsmen who produced luxury materials such as this for the ruling and aristocratic elites. Trade appears to have been important, as Bactrian artefacts appear all over the Persian Gulf as well as in the Iranian Plateau and the Indus Valley. For this reason, the area was fought over from deep prehistory until the Mediaeval period, by the armies of Asia Minor, Greece (Macedonia), India and the Arab States, amongst others.Through local stone carvers inhabiting the regions of Margiana and Bactria experienced no shortage in material; the main raw material was soft steatite or a dark soapstone, but also various kinds of marble and white-veined alabaster. The main source for these stones, including semi- precious lapis-lazuli, was in Bactria, at Badakhshan in north-western Afghanistan, which provided material not only for the Bactrian and Margian carvers but also farther to the west into Mesopotamia, for the Assyrian kings.Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: L:50mm / W:98mm ; 450g
C. 3rd millennium BC. Indus Valley Civilisation. Painted terracotta vessel. Spherical shaped body with corseted spout and nicely painted with traditional geometric motifs in black, yellow and orange. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which these kind of ceramic vessels belong, was in the 3rd millennium BC. Large numbers of ceramic decorated vessels have been found among the sophisticated urban settlements of South Asia's protohistoric Indus Valley civilization. Provenance: From an old British collection formed in the 1990s, formerly acquired in the UK and European Art Market. Size: L:160mm / W:170mm ; 1.2kg
A mirrored pair of Japanese Meiji period bronze vases, of shouldered tapering cylindrical form, inlaid with further metals depicting a cockerel sitting in a cherry blossom tree, with inscribed signatures '??? koku' (Houzan-koku), 6.5 by 18cm high. (2)Colour a little faded, some small dents to rim of shoulder.
A French Empire ebonised portico clock, circa 1870, the fluted columns with brass stringing and gilt bronze capitals and bases, the white enamelled face with Roman numerals, the eight day movement striking the hours on a bell, signed Bonnet & Pottier, numbered 045339, with winder key and pendulum, 26.5 by 15.5 by 50cm high.
A mixed group of collectables, including a Victorian table gong formed of a pair of horns, with silver plated mount and oval oak base, 32cm high, a silver plated coffee pot, a bronze medallion for the Royal Agricultural Society of England, His Majesty King George V Patron, in John Pinches, London, presentation box, and various small ornaments and trinkets. (17)
A Bronze By Larry Braun Of Alberto AscariMake: Contact AuctioneerModel: Contact AuctioneerYear: 0Mileage: 0VIN: Contact AuctioneerConfiguration: Right Hand DriveRegistration: Contact AucitoneerTransmission: Contact AuctioneerA Bronze By Larry Braun Of Alberto Ascari, Limited Edition 2/21 With A Cast Signature And Dated 1985. The buyers premium for automobilia items, including registration numbers is 15% plus VAT (18% in total)
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