A green schist heart scarab with detailed carapace, the suture of the elytra indicated by three lines and the division of the pronotum from the elytra by double line, humeral callosities indicated on the elytra by concentric triangles, the fan-shaped clypeus with four lobes; the underside inscribed with ten lines of hieroglyphic text, an abbreviated variant of Spell 30B from the Book of the Dead, translating to: 1) 'Osiris is strong' 2) my heart of my mother, my heart of my mother, my heart 3) of my transformations. Do not stand against me as witness 4) Do not oppose me before the tribunal 5) of Osiris. Do not make your opposition against me in the presence of the keeper of the balance 6) of the balance. You are my ka which is in my body 7) Khnum makes my limbs sound. 8) (When you go forth) to the Perfect Place which is prepared for us, do not make 9) my name stink to the courtiers. 10) You have determined that I am (one justified); the name of the owner 'Wsir-nḫt' (Osiris is strong) has been added in the first register, possibly in a different hand, mounted on a custom-made display stand.

A white marble table support formed as a standing sphinx with erect body, prominent chest pushed gracefully forward, the female head with delicate chin and curly hair, elegantly dressed and falling on the shoulders in thick locks, the raised wings beautifully arranged with grooved plumage, ending with three large curving feathers at the top; the waist with hanging elements separating the human body from the lower section that originally would have been in the form of a lion's leg; rectangular supporting pillar above the head with profiled mouldings, traces of pigment to the hair, waist and wings.

The central part of an aegis from a marble statue of Athena, depicting a brutal gorgoneion with triangular head, prominent cheek bones and wide protruding ears, defined Attic-shaped eyes, wrinkled nose with flaring nostrils, the oversized mouth with typical protruding tongue and exposed canines, spiky hair with wavy fringe; parts of the scale armour visible above the head; mounted on a custom-made display stand.

A substantial bronze figurine, finely modelled as the god Mars, bearded and clothed in a military tunic and muscled cuirass; the right arm raised and the left draped with a military cloak, held down at the side; the now lost right hand may have once held a spear and the left hand was originally placed upon a circular shield; wearing a tipped-back Corinthian helmet with a large crest; detailed facial features, the eyes forming pointed ovals with distinct pupils, the nose flat and the lips full; the cloak wrapped around the body with deeply moulded folds; the muscled cuirass decorated with opposed gryphons, fitted with shoulder clasps and worn over a padded under-armour garment (subarmalis) from which finely moulded detailed lappets (pteryges) hang, at the waist a double row of hanging cymation; below the cuirass a short, vertically segmented kilt over the skirt (zoma) of the tunic; the legs dressed in greaves with moulded lacing to the back; the underside of the feet with remains of pins which may have held the figurine to a base.

A large wood tabula fragment with three holes to the sulcius to accept binding strips: Side A featuring a recessed panel incised with cursive text following the grain of the wood; Side B with approximately twenty-five lines of inked cursive text running against the grain of the wood, also nine lines of inked cursive text following the grain; the text comprises of legal formulae and the description of land bought by a Pomponius Valerianus: 'Pomponius Valerianus emit ex culturis agribusque Iulii Cassiani in fundo Thalciano sitis ... - Pomponius Valerianus buys from the cultivated land of Iulius Cassianus on the fundus Thalcianus ... what follows is the description of the land by giving the names of neighboring proprietors or ways.', the contract is dated to the 4th February of an unknown year approximately in the first decades of the 4th century, separated from the text the signatures of the witnesses.

A large fragment of a Proconnesian marble altar screen, incised outer border and incuse equal-armed cross; band of script to the lower edge.

An alabaster jar set on a broad circular blackstone base; the jar with tapering walls, steep shoulder and everted rim, the body decorated with three rows of white and dark red inlaid stones roundels with central black dots, and two rows of white and indigo inlaid circles; the neck decorated with similar alternate white and dark red inlaid roundels with central black dots and indigo and red inlaid circles; the flat blackstone base with eight alternate rows of black and white lines, with circular recesses set with inlaid circlets; the white inlays are a calcium phosphate material, which may be bone or ivory.

A double-edged iron sword of Petersen Type L or O variant with straight tapering blade and rounded point, the blade with tapering fullers showing evidence of employment on the battlefield, boat-shaped cross guard with highly-polished surfaces curving towards the blade, straight upper guard with a massive five-lobed pommel divided by thick vertical lines, the central lobe with incised 'stirrup' symbols to both sides.

A torso of Venus carved from veined marble, the goddess depicted standing nude with flat reverse, the voluptuous body with naturalistic detailing and slightly bent forwards with the weight carried on the left leg; the torso believed to have been reworked from a Roman original; mounted on a custom-made display stand.

A painted glass composite panel with bust-length figure of a bearded saint wearing a travelling hat; French workmanship.

A superb gold posy ring with band of shallow D-section form, the exterior with alternating diagonal bands of raised pellets and raised panels with incuse lines, these panels appearing to be in a paler gold than the background, between raised beaded circumference edges; the interior engraved with Black Letter 'amour leyell' French inscription for 'Loyal Love'.

A gold memento mori ring with reserved skeleton on a black enamelled field; the inner face inscribed with a skull representing 'death' and incised italic text 'is no partyng A.F 1702'.

A superb quality gold signet ring with slender hoop and ellipsoid bezel; the shoulders modelled in relief with black enamelled scrolled detailing continuing to the scooped sides of the bezel and onto a scrolled cross motif to the underside; the bezel a cell with raised rim and inset Roman, 2nd century AD, nicolo intaglio of a horse advancing on a baseline with head lowered.

A powerful three-quarter life-size oak statue of Christ depicted as 'Man of Sorrows', the nearly life-sized Jesus seated on a rock awaiting his immediate crucifixion, the head turned slightly to the left with crown of thorns on his head, suffering expression on his gaunt face, linen cloth covering his hips, hands and legs tied with a heavy rope; detailed carving of the hair and face, muscles with visible veins; traces of polychrome paint.

Light coinage. Obv: profile bust right with +OFFA REX legend. Rev: small cross within circle and piles with + V D D legend separated by pellet rosettes for the moneyer Udd at Canterbury mint.

BMC type VI. Obv: profile bust left with sceptre and +STIEFNE: legend. Rev: cross fleury with pile and triple annulets in angles and +RODBERT:ON:RIS legend for the moneyer Rodbert at Castle Rising mint.