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 bifacial wooden cross comprising intertwined elements with trefoil finials, resting on a tall stem decorated with wavy lines enclosed within a geometric frame, the stem resting on a tabula with an inscription on the front and vegetal decorative element on the back, rhomboidal termination with inscribed cross on both sides; mounted on a custom-made display stand. 600 grams, 43 cm high (50.7 cm high including stand)



Acquired from Owen Hargreaves, 2003. UK private collection.

The Ethiopian manual cross is usually divided in three parts: the cross at the top; the handle; and a square element, the tablet, at the base. It is not easy to define the origin of the cross-borne tablets. There are three suppositions as to what they signify: according to one, the tablet represents the earth with its four corners. According to the second one, the tablet represents Adam's grave on Calvary. The third one is that it represents the Tabot, the highest relic of Ethiopia, the Ark of the Covenant. The cross belongs to the Kernebege (Horns of Ram) group, where the tips of the cross are reminiscent of ram's horns or trefoils. Inscriptions are only very rarely found on wooden, manual crosses like this maskal. They usually give the name of the owner or donor.

A pair of carved porphyry vases modelled on the famous 2nd century A.D. Roman Warwick Vase with Bacchic ornament, beading and egg-and-dart ornament around the rim, foliate vines below with both handles formed from two entwined vines, the body displaying a frieze of male and female masks modelled naturalistically in high relief, leaves radiating upwards from the centre base; each created in two parts and accompanied by a marble plinth; probably re-used ancient stone. 10.7 kg total, 29.5 cm wide each



English private collection. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11684-199805.

The original vase was reputedly discovered at Hadrian's Villa, in Tivoli, Italy in 1771 A.D.; now in the Burrell Collection, Glasgow, Scotland. The vase is not entirely reconstructed from original elements but incorporates the restorer's interpretation of how missing elements of the vase likely appeared. The original vase was named after the 2nd Earl of Warwick who acquired it from his uncle, Sir William Hamilton, in c.1775.

A marble basket carved in the round with an oblong shape, woven body splayed base and a hollowed interior. 27.8 kg, 48 cm wide



English private collection.

A white marble statue of Venus of the Dolphin, modelled naturalistically in the round, nude, posed to preserve her modesty, two putti riding the dolphin; set on an oval base; after a Roman copy of a Hellenistic original; some damage and old repairs. 24.7 kg, 77 cm high



French collection, 1960s-early 2000s. From an important Paris gallery, France. with Ader Auction, Paris, France, 24th November 2017, lot 218.

The Venus of the Dolphin is a carrera marble statue dating from the 4th century B.C. which inspired copies dating from the Roman period, some of which survive and are housed in the Prado Museum, Madrid and the Capitoline Museum in Rome and elsewhere.

A marble interpretation of the famous 'Bathing Venus' (Pudica Venus) statue, modelled naturalistically in the round, nude, hair piled behind her head, holding her garment to her breast, standing on a composite discoid base imitating a stone pavement, with a casket at her feet; after Giambologna's Renaissance original; restored. 21.2 kg, 78 cm high

Old repair to neck.

French collection, 1960s-early 2000s. From an important Paris gallery, France.

The original 'Bathing Venus' statue in bronze has been attributed to Giambologna (Giovanni da Bologna) (1529-1608), and was probably created for King Henry IV of France as a diplomatic gift from Ferdinando I de’ Medici, Grand Duke of Tuscany. This is a neoclassical interpretation of that Renaissance statue.

A copper-alloy copy of the original Greek bronze Diskobolos of Myron, portraying a youthful nude male athlete poised to spin to release his discus; naturalistically modelled; on a tiered octagonal stone display base. 27 kg, 65 cm high



French collection, 1960s-early 2000s. From an important Paris gallery, France. with Hampel Fine Art Auctions GmbH & Co KG, Munich, Germany, 12 December 2014, lot 1912.

The original Greek bronze (now lost) dated to circa 460–450 B.C., but the work is known through numerous Roman copies in marble.

A bronze study of a reclining nymph on a draped chaise longue, nude with head tilted back and lips sensuously parted, left hand stroking her luxuriant hair, right hand lifting a fold of the cloth cover, left leg bent and held beneath the right leg, cushioned headrest with tassel; hollow to the underside; unsigned. 5.4 kg, 34 cm long



English private collection.

A marble torso from a once larger statue of the goddess Venus, modelled naturalistically, inspired by Praxiteles's nude Aphrodite from the Greek city-state of Knidos. 51.1 kg total, 64 cm high including stand



French collection, 1960s-early 2000s. From an important Paris gallery, France.

The original statue of nude Aphrodite (Venus) was created for the Temple of Aphrodite at Knidos as a devotion monument. It represented the nude Goddess as she proceeded for the ceremonial bath that regenerated her pureness, discreetly concealing herself with her hand and holding a cloth with her other hand. The monument is famous for its beauty, and it is intended to be seen from every aspect.

A bronze figure of a centaur in animated pose with upper body turned, right arm raised, left arm bent and hand holding a cudgel supported on the shoulder; cloak draped over the left shoulder and skin of a boar folded over the left forearm; on a tiered socle base. 10.3 kg, 53 cm high



French collection, 1960s-early 2000s. From an important Paris gallery, France.

Modelled on the so-called Capitoline Centaurs, specifically the Young Centaur, which was found as one of a pair of centaurs during the excavation of Hadrian’s Villa in 1736; the Roman Old and Young centaur pair were themselves based on Hellenistic originals.

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'. 135 kg, 88.5 cm high



French collection, 1960s-early 2000s. From an important Paris gallery, France. with Auktionshaus Kaupp GmbH, Salzburg, Germany, 25 September 2016. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11688-199351.

The statue is modelled on an ancient original, commonly thought to represent Aphrodite. The original statue of the Crouching Venus was excavated in Salona (modern Solin near Split, Croatia). It was purchased for the Vatican Museums from where it was confiscated by the French under Napoleon, and subsequently returned to the Vatican in 1816.

A bronze statue modelled on the famous Farnese Hermes (now in the British Museum); the god portrayed naturalistically in the round, youthful and nude, a chlamys draped around his shoulders, winged sandals on his feet; discoid base. 16.3 kg, 82 cm high



French collection, 1960s-early 2000s. From an important Paris gallery, France. with Marion Antique Auction, USA, 8 June 2019, lot 131. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11689-199352.

The statue copies a Roman copy of a famous type created in the school of the Greek sculptor Praxiteles in the 4th century B.C. Villa de Papiri. A similar copy exists in the collection of the British Museum, London, under accession no. 1864,1021.1.

A bronze head of a youthful male athlete modelled naturalistically in the round in 1st-2nd century A.D. style. 8.7 kg, 37 cm high



French collection, 1960s-early 2000s. From an important Paris gallery, France. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11690-199345.