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 hollow-formed bronze head of a middle-aged man with tousled hair, stern features, pursed mouth; mounted on a custom-made stand. 5.4 kg total, 39 cm high including stand



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

A Greek style marble archaic kouros statue carved with braided hair held by a diadem, arms held straight at the sides, legs in advancing pose. 16.5 kg, 71 cm high



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

The kouros (free-standing nude male youth) first appeared in ancient Greece in the Archaic Greek period; kouros figures have been found across the Greek-speaking world, concentrated mainly in sanctuaries of Apollo. The term means ‘male youth, particularly one of noble rank’; when a pubescent boy came of age in ancient Greece, he was known as a kouros, at which point he could participate in the initiation feast of the brotherhood. The god Apollo was known as the greatest kouros. Typically life-sized, these figures were produced in marble, but have also been found in limestone, wood, bronze and terracotta. The female counterpart is the kore.

A bronze torso of a draped Greek style female figure rendered with naturalistic detailing in the round; hollow; mounted on a custom-made display stand. 32.2 kg total, 78 cm high including stand



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

A marble head carved naturalistically in the round with cropped hair, wearing a taenia headband seemingly featuring Greek key motif; possibly representing a deity, a muse or even a female satyr; mounted on a carved stone base. A marble head carved naturalistically in the round with cropped hair, wearing a taenia headband seemingly featuring Greek key motif; possibly representing a deity, a muse or even a female satyr; mounted on a carved stone base.



with Arts D'Orient, Artcurial, Paris, 19 May 2014, lot 138. English private collection.

A large rectangular ceramic tile displaying a scene with the Virgin and Child flanked by musicians over a winged putti head, winged putti flanking a wreath containing an armorial shield below; egg-and-dart border. 14.9 kg, 66 cm high



English private collection.

A pair of ceramic male figures modelled standing in dynamic poses, likely playing a game of cuju, each wearing a floor-length robe and balancing a ball on one foot; one figure leaning forwards with his arms held behind his back, looking down towards the ball balanced on the end of his raised right foot; one figure moving his arms in opposite directions in an attempt to regain his balance, head leaning left, his right leg bent across his body at the knee, balancing a ball on the heel of his foot; each with semi-naturalistic facial features and hair tied in a top knot; extensive remains of polychrome pigmentation. 6.85 kg total, 38.5-42.5 cm high



Ex Hong Kong collection. London Mayfair gallery, UK. Accompanied by thermoluminescence analysis report nos. C122k26 and C122k25 from Oxford Authentication. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11697-199217.

Cuju is the earliest recorded game of football which involved kicking a ball through a net without the use of the hands.

A group of three ceramic musician figurines, each in loose-fitting garments with painted detailing: one cross-legged with a pot, another sitting with a gord, a third standing with a tambour. 1.9 kg total, 16-18 cm



Ex Hong Kong collection. London Mayfair gallery, UK. Accompanied by a thermoluminescence analysis report no.C122k23 from Oxford Authentication for one of the figures.

A ceramic horse and rider figure modelled in the round with semi-naturalistic anatomical detailing, the horse standing on a rectangular base, its stocky neck and head slightly turned to the right, ears pricked forwards, cropped mane and short, dressed tail; rider seated in saddle wearing a knee-length robe, hood and riding boots, one arm held in front of his body, the other raised above his head, detailing to his face; remains of polychrome pigmentation; the upper half of the rider's body modelled separately. 1.75 kg, 32 cm high



From the R.M.Hicks OBE private collection, UK. Accompanied by an original thermoluminescence analysis report no.C106u29 from Oxford Authentication.

A symbol of military strength and social status, the horse was ever a potent mythological and symbolic animal in China. During the Tang Dynasty, both polo and hunting from horseback became fashionable for men and women. It was also during the Tang Dynasty period that female court attendants on horses appeared in art and in tomb sculpture. The fruits of China's relationship with the horse include three of the most important innovations in equestrian history: the horse collar, the stirrup and harnesses based on the breast strap. The failure of China's domestic horse breeding programmes forced them to artificially inflate the price of tea (the production of which was controlled by China), so that tea could be traded for horses from their neighbours.

A large ceramic caparisoned horse modelled in a dynamic pose with semi-naturalistic anatomical detailing, finely modelled harness, saddle and bridle with pendants and bells, plume to the mane; standing on a rectangular base; remains of polychrome pigmentation; restored. 13.8 kg, 57 cm wide



Acquired 1980s-1990s. Ex West Country collection. Accompanied by an original thermoluminescence analysis report no.C122e86 from Oxford Authentication. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11704-199227.

A ceramic horse and female rider figure, modelled in the round on a rhomboidal base; the horse portrayed with semi-naturalistic anatomical detailing, medium-length mane, short tail dressed with a ribbon, its head angled slightly downwards and ears pricked forwards; the female rider modelled seated in a saddle, wearing a knee-length robe and boots, arms held in front of her body, hands held in a gripping position to accept reins (absent), her hair dressed in a top knot, stylised facial features; extensive remains of polychrome pigmentation. 5.1 kg, 45 cm high



Acquired in the 1990s. From a North Yorkshire private collection, UK. Accompanied by an original thermoluminescence analysis report no.C122h21 from Oxford Authentication.

In Tang art, poetry and painting the horse was exalted. The delight taken in portraying horses became an end in itself. Women were made to mount them, according to the Tang conception, so that the two can be considered together, introducing in China a fashion from Kotan.

A gilt bronze and Khotain moonstone quality jade beaker composed of a slender U-shaped body, bulbous stem and discoid foot, the applied handle formed as the head, neck and legs of a mythical bird, likely a fenghuang, with detailing to the creature's feathers, face, beak and limbs, body formed as the handle loop, wings carved in relief in the jade; the jade vessel body carved in relief with neat rows of volute scrolls, stylised petals in relief around the lower body and foot; some restoration. 709 grams, 14.5 cm high



Acquired from Dandelion Fine Arts, Hollywood Road, Hong Kong, 1970s. Ex Prof. David Anderson collection. UK private collection, circa 2010. Accompanied by a copy of metallurgic analytical results, written by Metallurgist Dr Peter Northover (ex Department of Materials, Materials Science-Based Archaeology Group & Department of Materials, University of Oxford). This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11707-198358.

Khotain jade was available between the years 69 B.C. and 101 A.D. as a result of a military treaty. It was sourced from the White Jade River. This object is believed to be produced for a notable client. The object's original patina, prior to restoration, suggested that the vessel was part of a ritual which involved exposure to intense heat.

A gold decorated bracelet comprising six strands of tightly braided trichinopoly between two rectangular and panels with applied filigree floral motifs within braided filigree borders and with a granule to the centre; larger rectangular hollow-formed sheet-gold fastener with applied filigree motifs and granule, loop closure. 23.80 grams, 16 cm long



with Sotheby's, Hong Kong, 28 July 2021, lot 1121. Private collection, acquired from the above sale. Important North West London collection. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11711-199722.