A red glass insert of a profile face with remains of a pharaonic crown to the forehead.

A blue-glazed composition amulet in the form of an ibis (representing the god Thoth) seated on a wedge-shaped base, facing a figure of Maat appearing as a diminutive stooping female with an ostrich feather; some details to both figures rendered in a darker blue glaze; suspension loop to the rear of the bird's neck.

A white limestone figure of the god Ptah with false beard, wearing an enveloping cloak and a broad wesekh-collar, holding the shaft of a was sceptre; serene, oval face with almond-shaped eyes and fleshy lips; remnants of dorsal pillar to reverse; mounted on a custom-made display stand.

A spectacular bronze hydria composed of a tapering body, broad shoulder and waisted neck, the everted rim decorated with egg-and-dart motifs, three round-section handles and tiered, ogival foot; professionally restored.

A red-figure terracotta bell-krater displaying polychrome figural panels between a laurel wreath and a band of Greek key motifs; side a) two robed male figures holding staffs, wearing a taenia or a band around the head, standing facing a central altar; side b) a woman wearing a chiton and holding a casket and olive sprig in her outstretched hands, advancing right towards a nude man standing right, his head turned towards her, holding a bucket and olive sprig, a cloak draped over his arm, elaborate volute palmettes beneath both handles; restored.

A free-standing bronze imperial or military eagle terminal from a staff or a sceptre, modelled in the round in a dynamic pose standing on a globe, wings spread, head turned to the right, semi-naturalistic anatomical and feather detailing; the globe bearing an incised eight-armed stylised Macedonian star; sub-triangular lug to back of the neck; collar to globe with hollow underside.

The best example of only three examples of this type known, a copper-alloy knee brooch composed of a rectangular-section body, spring pin within bow plate and remains of catchplate to reverse; both sides of the body with two panels of Latin lettering moulded in relief: 'FIBUL[A] EX REG LAGITIENSE', translating to 'Brooch from the Regio Lagitiensis' (Roman Castleford); remains of blue glass enamelling to the recessed fields.

A large fired clay brick from the Wall of Babylon bearing six lines of stamped Babylonian cuneiform inscription to one face which reads: 'AG - ku -dur-ri-URU' / 'LUGAL ba-bi-lu' / 'za-ni-nu é-sag-ila' / 'u e-zi-da IBILA' / 'SAG.KAL. sa AG-IBILA-URU' / 'LUGAL ba-bi-lu ana-ku', which translates: 'Nebuchadnezzar, king of Babylon, who provides for Esagila and Ezida, the eldest son of Nabopolassar, king of Babylon, am I'; traces of bitumen on the blank side; accompanied by an old label which reads: 'Brick from the Wall of Babylon / Presented by W.Bro. Gentle-Cackett Secretary Bible Lands Mission / The impression records the fact that it was built by King Nebuchadnezzar [II]'.

A tinned sheet-bronze legionary helmet of Imperial Gallic Type A with deep rounded bowl, simple C-shaped cut-outs for the ears, integral flared neck-guard extending some way along the sides, corrugated ribs to the occipital area at the rear and corrugated 'wings' or eyebrows (Russel-Robinson's Type E) above the brow; small stud the rear of the neck-guard attaching suspension loops to the underside; hinged bracket at each temple for a deeply curved cheek-guard with gently flared rim, bearing a loop to the inner face to accept an vinculum fastening strap; accompanied by a custom-made display stand.

A gilt copper-alloy mount composed of a broad annular body with slightly domed profile, the body quartered with each cell displaying a chip-carved interlace motif configured A:B:A:B; rim, edges and central cell with raised rim; rivet and flat-section mounting bar to reverse.

A bronze bowl mount or escutcheon comprising a discoid panel with gently curved profile and zoomorphic hook; the panel with reserved La Tène comma-leaf decoration on a pounced field (intended to receive enamel fill); the hook with median gusset to the outer face, horse-head finial, bulbous La Tène ornament at the base.

A pair of large Early Anglo-Saxon gilt copper-alloy saucer brooches each comprising a broad (13mm+) angled flange surrounding a central disc with carinated border; outer zone comprising four arches subdivided by hatching to the inner edge and four C-shaped panels with triangular separators, inner zone separated by a carinated border, central disc with four radiating bilinear crescents; pin-lugs and catch to the reverse with traces of mineralised fabric.

A silver chessman-type seal matrix with pierced trefoil head and knop above; central motif of a leopard statant gardant before a tree, pelletted border and blackletter legend '* sigillum [lozenge] steffani [cinquefoil cinquefoil] ale [cinquefoil lozenge] lane' (for 'seal of Stephen [at?] ale lane').

An annular gold band with everted upper and lower lip, filigree ropework above and below each rim, with circumferential inscription to the recessed exterior face; of the five separate bands, the central one accommodating an applied strip of paler gold bearing a Medieval French blackletter inscription in relief, reading: '+loiautet (5 five cinquefoils) pas tout (5 five cinquefoils)', or 'Loyalty Passes All'; the inscription band may once have been enamelled; plain interior; the outer rim and twisted band on one edge are slightly bent; cleaned and repaired.

A substantial gold signet ring composed of a lentoid-section hoop, expanding capital style shaped shoulders and irregular octagonal bezel engraved with a skull, two flowers below separating the reversed initials in capitals: 'CL', framed by a beaded border.

A marble copy of the kneeling Venus (original in the Vatican Museums), crouching on an octagonal base; the arms raised in expressive pose, head tilted, hair drawn up in a chignon; lettering to base 'KNEELING VENUS' and 'ROME'.

A gold bifacial cruciform pendant comprising: outer frame of four lobes confining a cross moline with saltire to the centre, pierced lug to three arms each with a gold dangle, fourth with larger pierced tab for suspension. 1.59 grams, 21 mm



Acquired 1980-2015. Ex Abelita family collection.

A gilt silver chalice with bowl decorated with repoussé arcading, fluting and entwined motifs, balustered stem with ovoid centre adorned with pseud-architectural and leaf detailing, fluting below splaying out onto a circular foot bearing an applied oval armorial cartouche; interior base with foliate roundel in raised relief; dated 1589 in Roman numerals incised on the base. 309 grams, 13.5 cm high



English private collection.

A bronze discoid seal matrix with hinged flap to the reverse pierced near the edge; incuse heraldic design comprising a heater shield, helmet with foliage mantle and oak-tree crest; the shield with three fields (i) an empty tomb with cross potent emerging from the centre (ii) three cinquefoils (iii) two fish addorsed; concentric multilinear borders with legend in block capitals '· SEEL · IEAN · DV · BVISSON · 1617' (seal of Jean du Buisson) and scroll detail to the ends. 26.2 grams, 36 mm



The Matrix Collection, formed by David Morris since the late 1980s. Matrix Collection catalogue no.5918. Many of the seals within the collection were published in a book titled 'The Matrix Collection', by David Morris in 2012. Accompanied by a copy of the illustrated collection notes.

Jean du Buisson, baron of Beauteville, married Jeanne de Lavenson de la Loubière in 1617 and died in 1634.

A dynamic horse and mounted St George figure in wood; the helmetted rider with billowing cloak; gesso and polychrome; approximately half life-size; mounted on an elaborate custom-made display stand; repaired. 76 kg, 1.77 m high including stand



English private collection. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11672-199837.

Likely derived from a religious scene. The timber shows some old insect flight holes and we are advised that this piece has been recently treated with Permethrin, as a precaution.

A bronze plaque displaying La Pietá in repoussé, in a wooden frame. 2.56 kg, 46.5 x 35.5 cm



English private collection.

A naturalistic bronze female figure modelled standing contrapposto, nude, looking down towards her feet, one arm reaching over her head towards her neck, the other resting by her side, her weight placed on her right leg, hair tied into an elaborate bun with a ribbon, short ringlets falling down her nape and the end of the ribbon cascading over her shoulder, along the side of her right breast and down to her thigh, where she is holding the end; mounted on a custom-made display base. 754 grams, 20.5 cm high



English private collection.

With stylistic similarities to work by Giovanni Bologna; possibly Italian or Northern European.

A silver figure modelled in the round as Apostle Peter standing on a polygonal base, wearing a floor-length robe and clasping the key to the gate of Heaven to his breast, semi-naturalistic facial detailing, beard and hair. 50.13 grams, 65 mm

Fine condition.

Austrian private collection since circa 1995. Ex central London gallery.

A silver figure modelled in the round as the Apostle Paul, standing on a polygonal base, wearing a voluminous floor-length robe, clasping the Bible to the right side of his breast, holding a sword in his left hand, semi-naturalistic detailing to his face, beard and hair. 58.2 grams, 66 mm high

Fine condition.

Austrian private collection since circa 1995. Ex central London gallery.

A wooden casket or reliquary with hand-made iron hinges, lock, hasp and other fittings; painted exterior in red with floral sprays, robed figure with advancing processional cross, robed nimbate figure with episcopal mitre, 'IHS' emblem to one end wall. 612 grams, 19 cm wide

Lock and one hinge broken.

English private collection.

A framed and glazed reliquary display box featuring a castle created from polychrome and gilt paper scrolls. 682 grams, 29 x 23.5 cm



English private collection.

A bifacial bronze Yämäṩor Mäsqäl processional cross finial with later replaced socket, flanking bird motifs and dense block of tendrils and wheels with seven cross-shaped finials, central panel with Virgin Mary, Holy Child and angels to the front, saints and Evangelists to the back. 55 grams, 26 cm (37.5 cm including stand)



Acquired on the London art market, 2006. UK private collection.

In contrast with the hand cross that is fitted with a grip, the processional cross has a hollow shaft into which the pole supporting the cross is inserted, although the use of both is interconnected in the liturgy and ceremonial aspects of the Ethiopian Orthodox Church. In Amharic it received the name of yämäṩor mäsqäl or "cross to [carry] on a pole", the term mäṩor also meaning a wooden handle. Processional crosses are used on "every qaddase day" occasions - an expression meaning whenever the liturgy is performed. This includes displaying the cross during the reading of the Gospels and other sacred texts, as well as holding it up to be viewed at the end of the service for the final blessing.

A bifacial wooden Qäqwami Mäsqäl processional cross, three-lobed extremities on three sides, decorated with geometric motifs representing crosses of different types, supported by a lanceolate shaft with two round openwork openings; socketted shaft with vertical grooves and fitted with a double horizontal groove; inscriptions on two of the lobed sides of the cross; accompanied by a custom-made display stand. 600 grams, 42 cm high (49cm high including stand)



Acquired on the London art market, 2003. UK private collection.

The large wooden crosses are often used by ddbtdras, who are unordained members of the Orthodox Ethiopian clergy, for their liturgical dance. In the countryside, one or two of these crosses are kept on the church window-sills close to the area where the dance is performed, instead of being kept in the church storehouse. Sometimes they are mounted upon a shaft and worn in procession. The characteristic feature of a processional cross is a socketted shaft which serves for mounting them on a strong pole known as masor or handle. Although technically the shaft serves to support the cross, according to the interpretation of Ethiopian church scholars, its real function is to protect the cross from being touched.