A cartonnage funerary mask with gilded face and painted detailing; eyes depicted wide open with black pupils and outlines, arched black brows; the brow with circular red-painted ribbon, an ankh to the rear; above the brow a gold disc surmounted by a winged scarab; over the head a painted vulture with outstretched wings, each supporting a feather of the goddess Ma'at, and holding a baton in each of its outstretched claws; the face flanked by lateral pairs of winged ba (soul) birds with raised hands, behind each ba bird a pair of winged goddesses flanking a squatting figure wearing Atef crown, each flanked by the sign nb for gold; below, four panels of a recumbent Anubis surmount panels each with a winged falcon, themselves above a robed figure (the deceased) standing in adoration before a seated Osiris, God of the Dead, the other side with a similar figure worshipping the seated god Ra with sun-disc on his head; panels of roundels, geometric designs, wedjat eyes and other motifs; mounted on a custom-made stand.

A very fine fragment of statue of a hero, athlete, god or emperor, formed as the lower part of the belly and pelvis; very fine modelling of the anatomy; the central part with the navel is still well preserved, as well as part of the right thigh and the genitals; a melting vent for the bronze fusion is visible at the height of the attachment of the right thigh; the upper and lower parts, at the upper part of the left thigh, are cut in a very regular way, with a saw edge, probably conceived for the assemblage of the missing parts; good green patina.

A gold finger ring comprising a large ellipsoid bezel and tapering shoulders; the underside with ribbed section and twisted wire borders extending along the whole hoop and continuing along the edges of the bezel; the shoulders each with two sets of opposed S-scrolled filigree appliqués ornamented with granules between and to the centre of each spiral; replaced ellipsoid plaque with central inset panel, reserved with beaded rim and 'clasped-hands' motif.

An exceptional administrative pictographic text tablet with complex series of numbers and symbols in six registers, pictorams above and to the reverse; supplied with a signed handwritten scholarly note by W.G. Lambert, late Professor of Assyriology, University of Birmingham, 1970-1993, stating '5 Sumerian clay tablet, Pictographic signs, Jemdet Nasr period, c. 3000 B.C. All of administrative content.'

A hollow ceramic bulla envelope containing tokens, decorated with reserved figures of animals and plants.

A carved sandstone figure of a crouching Yaksha, or Tree Guardian, wearing a pleated kilt and braided headdress with loop above; long pierced earlobes extending to the shoulders; left hand resting on the thigh, right hand gripping a fruit(?); mounted on a custom-made stand.

Depicted in meditation with a contemplative expression, seated above a figural pedestal, this schist sculpture may have formed the centrepiece of an ensemble depicting one of Buddha's miracles; the Buddha sits nimbate with his hands placed palm-upwards in his lap; his ushnisha bears a miniature seated figure above a decorative band; the loosely draped robe reveals his slender torso strung with beaded necklaces and other ornaments; a lozengiform censer hangs from his fingers in front of his crossed legs; the pedestal base displays a scene of worship between tiered pillars; mounted on a custom-made stand.

A polished irregular ellipsoid ruby of vibrant rose colour, set in a later gold ring with open underside to the bezel mounted on openwork shoulders with crouching lionesses.

An exceptionally well preserved bronze combat helmet of Archaic Corinthian type, with only three similar examples published worldwide, all found in museums; with high bowl made from two separate metal sheets with a protruding neck protection; large eye openings, and arched enveloping cheek pieces; with a long, rivetted, slightly outward projecting nose protection; around the edges of the eyebrows and nose-guard are regularly spaced holes with decorative round-headed rivets for the attachment of the inner padding; an ancient repair hole visible over the left eyebrow; trace of a battle blow on the back of the skull; mounted on a custom-made display stand.

A double-edged Viking sword of Petersen Type L, variant Wheeler type VI, with complete blade, pattern-welded and tapered with a width of about 5.7cm at the cross-guard; the point is well preserved; traces of corrosion are evident all along the blade; both cutting edges show strong traces of employment on the battlefield, with battle-nicks along their length; the blade is straight and carries a hefty tang; the tapered fullers, 3cm at their origin adjacent to the cross-guard, are slightly marked, although they are still visible and going from their largest width (2.9cm) to 2cm of lower width at the extreme end where they run to about 5.9cm of the point; over the last 10cm the blade enters straight into the cross-guard; the oppositely curved guards are 2.7cm wide; highly decorated with silver inlay: on the sides are two lines of chequered pattern, originally lacquered in red colour over silver, are running the whole guard’s length; on the upper part of the guard the same pattern is enclosing, in two different squares, one left and one right of the grip, a lozenge pattern; the massive pommel has a curved base-element and three lobes, with bands of separation between the lobes very well marked by the same chequered inlaid visible on the lower guard; the pommel knob is attached to the pommel guard.

An iconic Pagan sculpture securely dated to the Irish Celtic Period of 200 BC-200 AD, this large and imposing carved sandstone head was modelled from a substantial hemispherical boulder; the elegantly simplistic facial features comprise convex lentoid eyes flanking a rectangular flat nose, above a horizontal slit mouth with a suggestion of cheeks; the current owner, James Moore, has written about the various scholars that viewed it prior to his acquisition at auction: 'the head was viewed prior to the auction by many people experienced in these matters. They included Dr Patrick Wallace, director of the National Museum of Ireland and his staff; Dr Richard Warner former director of the Ulster Museum; eminent archaeologist and author Dr Peter Harrison; Professor Etienne Rynne, author of Celtic Stone Idols in Ireland in the Iron Age in the Irish Sea Province (available on the web). All of the above gave favourable opinions, concurring with Dr Lacy's view. I have in my possession an exhibition catalogue of Celtic stone sculpture with an introduction by Martin Retch held by Karsten Schubert & Rupert Wace Ancient Art Ltd. in London 1989. There were eleven stone heads in this exhibition but in my opinion none of them had the qualities / provenance of the Ballyarton Head'; provided with a custom-made iron hoop stand for display.

A superb florid cruciform brooch with highly decorative openwork border to the headplate formed as a rectangular median plate with lateral wings, enhanced with punched-pellet detail to the sides and top edge of each; raised central square panel; to the middle of each edge a Style I human mask in plan, formed as a T-shaped brow-and-nasal with two pellet eyes, with pairs of Style I profile bird-heads with curved beaks; the bow deep with facetting at each end; the footplate rectangular with Style I lappets and punched-pellet border; the transverse collar with two rows of punched-pellet detail; the finial a Style I human mask with two columns of punched-pellet detail extending to the peltoid terminal; the overall decorative effect forming a triangular band of Style I openwork ornament broken only at the bow and terminal; to the reverse pin-lugs, ferrous stain from the pin and base of the catchplate.

A substantial and important gold signet ring comprising a D-section hoop, facetted shoulders and octagonal bezel; the underside with cable detailing, the shoulders with three swept flutes, each with a band of cinquefoil and foliage ornament; the bezel with intaglio ropework border enclosing an olive branch set horizontally above a heater shield depicting thereon an enigmatic merchant's mark comprising a central cross with crescent ends to top and side limbs, with lateral spur to the foot; the cross flanked to left by the a crescent with six-pointed star below and a larger six-pointed star to right; the six-pointed star appears as a mintmark on the coins of Henry VIII of the York mint for the period 1514-1526 AD and the crescent also at York mint (and Durham) similarly for the period 1526-1529 AD.

A gold finger ring with hatched and scrolled detailing to the hoop, ellipsoid bezel with claw setting and sunburst to the underside, inset large table-cut emerald.

A terracotta rhyton with flanged and stepped rim, tapering curved body, figural finial of the goddess Anahita with diadem; bands of red and cream geometric detail to the rim and upper body, red wave patterns to the inner face; the goddess modelled with carefully dressed hair and floral diadem, ringlets cascading to her collar bone, alert facial expression with almond-shaped eyes and prominent nose, with C-shaped billetted collar and chiton, cupping her left breast in her right hand; mounted on a custom-made stand.

A substantial bronze statuette of a horse, head turned to the left, bridle and harness; legs bent in the act of galloping; mounted on a custom-made stand.