A late Hellenistic bust of a young Ptolemaic queen, possibly Cleopatra VII, her head turned slightly to the right side, oval face, traces of a mole on her left cheek, her convex lidded eyes beneath modelled brows, small mouth with protruding lips arranged in a slight smile, rounded chin, the hair bound in a broad diadem, taenia, with ringlets below the diadem along the forehead covering the upper half of both ears; top and back of the head summarily sculpted, the original possibly completed in plaster; a small driller mortice at the crown for insertion of an attribute, trace of a small knot at the front of the diadem; mounted on a custom-made display stand.

A substantial red-figure krater with figural scene to both sides; one side with the winged goddess and Titaness Eos (Roman Aurora) dressed in sakkos, pursuing the prince Kephalos of Phokis who is depicted as a hunter, wearing a chlamys and holding a pair of javelins; behind Eos two standing draped male figures, one obscured by her outstretched wings, the other bearded and holding a staff; the other side with Eos with outstretched wings, obscuring two further male figures, each dressed in himation and holding a staff, the scene framed by decorated double columns, decorative band above; the neck and the top of the rim with a band of finely linked lotus buds, a double row of dots on the outside rim.

A shallow silver phiale with chamfered thickened rim; narrow band of gilding beneath the rim, broad parcel-gilt decorative band with wave borders framing reserved tendrils and foliage; to the centre a parcel-gilt panel with keystone border and quatrefoil motif.

A finely-fashioned, large banded alabaster hydria vessel formed in one piece, incorporating a foot ring, everted rim and a single handle extending from rim to body, with two shallow lugs to shoulders.

A gold ellipsoid brooch with inset central gemstone; the shield with concentric bands of beaded filigree enclosing a band of triangular granule clusters and granule collar to the central cell; applied pin-loop and carrier to the reverse, scrolled catch to the rim opposite; central garnet cabochon with intaglio standing figure of Tyche (Roman Fortuna) wearing a floor-length robe and modius headdress, cornucopia in one hand and rudder in the other.

A substantial blue glass amphoriskos with inverted ovoid body, broad shoulder, cylindrical neck and everted rim flanked by two applied handles and globular foot; decorated with concentric bands of geometric motifs in white and yellow glass; accompanied by a custom-made display stand.

An Imperial marble stele of a Patrician (aristocrat), of rectangular shape with gables and acroterion with foliage, the gable with two birds eating grapes from the vine, the two side pillars with vine tendrils; the centre with various items including a wool ring with spindle terminal, knuckle bones, a comb, a bread stamp seal, an incense burner, three writing tablets, one with a name Maximos in genitive case 'ΜΑΞΙΜΟΥ'; the lower panel with Greek inscription: 'ΕΤΟΥC CqΑ ΜΗ ΑΥΔΝΑΙΟΥ Ε ΜΑΞΙΜΟC Ο ΠΑΤΗΡ ΚΕ ΕΥΤΥΧΙΑΝΗ Η CΥΜΒΙΟC ΑΥΤΟΥ ΚΕ Ο ΥΙΟC ΑΥΤΟΥ ΤΑΤΙΑΝΟC ΚΕ ΤΑΤΙΑΝΟC ΚΕ ΜΑΡΚΕΛΛΑ ΟΙ ΑΔΕΛΦΟΙ ΜΑΞΙΜΟ ΚΕ ΤΏ ΥΙΏ ΑΥΤΟΥ ΖΏCΙΜΏ ΜΝΗΜΗC ΧΑΡΙΝ' 'In the year 291, day 5 of the month Audnaios (December 206 AD), his father Maximos, his wife Eutychiane, his son Tatianos and his brothers Tatianos and Markella (set this up) for Maximos and his son Zosimos in remembrance.'

A marble fountain support depicting the head of a lion, the narrow face carved in high-relief with full, wavy mane, the gaping jaws with detailed teeth; a hole to the top for attachment, another hole through the mouth; mounted on a custom-made base.

A fine alabaster statue of Venus (Greek Aphrodite) of Medici type, the nude goddess of love shown standing, leaning slightly forward with her weight on her left leg, right leg slightly bent and advanced, the arms would have originally covered her modesty, head turned to left with idealised soft facial features and serene expression, a fillet to her wavy hair tied in chignon at the nape of the neck, the hairstyle resembling closely that of the Capitoline Venus; behind her Cupid standing next to a small tree trunk, tail of a dolphin above his head; mounted on a custom-made display stand.

A substantial cut glass bowl with ring of seven large disc studs below the rim and seven smaller beneath, disc base.

A substantial bronze, square-shaped openwork buckle with three stylised stags, the larger central stag with antlers formed as two volutes, galloping right, smaller stags above, smaller animal bounding left below, scrolls in field; all set within a border comprising two rows of scrollwork motifs; rounded bosses in each of the four rounded corners; integral 'hook' and 'eye' to reverse for attachment.

A silvered finger ring with heraldic design; accompanied by a museum-quality impression and typed and signed scholarly note issued by W.G. Lambert, late Professor of Assyriology at the University of Birmingham, 1970-1993, which states: 'Ancient Silver Finger Ring. This was made from a strip of sheet silver, bent to a circle and embossed and engraved. It deepens away from the join. In the centre of the design is a stylized sacred tree with central stem, two cotyledons and seven buds around the crown, and other details. To each side of the tree is an approaching bull, the one on the separated by a maltese cross, the one on the left separated by a rhomb. At each end of the strip is a kind of trefoil. The whole design is enclosed within upper and lower rulings. This is a Middle Assyrian ring, c.1400-1100 B.C. It is deeply and finely engraved and in remarkably good condition for ancient silver. Rings of this kind and quality are rare. It was probably used as a ring-seal.'

A substantial bronze helmet of domed form, raised from a single sheet, large eye openings and arched cheek protection, the long nose guard with rounded end and two rivets from an ancient repair; a decorative band of incised lines around the edge of the opening, a single row of holes around the eyes, cheeks and nose guard for the attachment of inner padding, some holes with rivets still in situ; flaring neck guard, the crown of the helmet pierced for the attachment of a crest.

A bronze helmet of Chalcidian typology, the bowl forged from one piece with carination to the skull, long nasal with flared rim, flared edges above the eyes and ear openings; the D-shaped and contoured cheekpieces connected to the bowl by a six-part hinge, attachment hole to each for a chin-strap.

A highly tinned 'silvered' helmet of Chalcidian type, the bowl forged in one piece with strong ridge and horizontal neck protection, cut-outs for ears with flared edges, later nose guard flanked by raised thick eyebrows; articulated cheekpieces with six-part hinges and contoured edges, hole for the attachment of a chin-strap; mounted on a custom-made stand.

A relatively heavy bronze legionary helmet, consisting of embossed skull and wide neck-guard with flanged ear-guards, traced eyebrows to the front; the flat brow band with rivets a later addition; a copper rivet below the neck-guard for fastening an eyelet for the attachment of chin-guard straps, a rare feature; a battle sign derived from the blow of a stone or sling-shot bullet (glanda) is visible on the left upper rear part of the skull.

A relatively light bronze legionary helmet with bulbous domed bowl, small crest knob with flattened top, pierced at the centre for insertion of a crest pin; narrow neck guard with thickened rim; fastening clasps for the cheek-guards inside the bowl.

A double-edged sword with broad pointed tip, battle nicks to both cutting edges and traces of scabbard to blade; the gilt lower guard with inset cloisonné garnets and four cut malachite inserts; the bronze guard extending over the tang, a silver rivet to the upper part of the tang, remains of wooden grip; mounted on a custom-made stand.

A superb Anglo-Scandinavian double-edged cutting sword of Petersen Type L or O variant, straight tapering blade with rounded point and battle nicks to the cutting edges, tapering fullers and strong tang; boat-shaped cross guard decorated with crosses and vertical segments within a double border, the upper guard decorated in a similar way; massive five-lobed pommel carved from nephrite with thick vertical lines.

A matched trio of bronze disc appliqués, each a plaque with trilinear border surrounding a pattern of La Tène whirls and tendrils reserved against a red enamel field.

A gold ring with slender D-section hoop engraved with scrollwork design and 'AMA' (love) 'DIO' (possibly Amadeus or God?) lettering in two sections around the hoop; scooped shoulders and calyx-shaped bezel set with stunning natural diamond.

A substantial gold finger ring with D-section hoop, high-relief scrolled foliage on a pounced field to the bezel and shoulders; cell with contemporary inset carnelian intaglio profile male bust possibly of Edward de Vere, the 17th Earl of Oxford, with radiate crown of an emperor in the classical style, of Italian workmanship.

A stained leaded window glass roundel depicting Mary Magdalene in rich blue and ermine robe, in downcast pose; the upper surround in pale blue and lower in deep red; with later attached suspension loops for hanging.

First reign, light coinage, type VII. Obv: king standing in ship with rose on side holding sword and shield, large E in standard, B in waves for Bristol mint with EDWARD' DI GRA REX AnGL Z FRAnC DNS IB legend with trefoil stops. Rev: rose on radiate sun at centre on floriate cross with crowned lions in angles with IhC AVT' TRAnSIEnS PER MEDIVM ILLORVM IBAT legend with trefoil stops and 'crown' mintmark.