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 silver-gilt strap tongue from military belt, rectangular shape with soldered bead on the back, a repoussé work representing Hercules, naked and covered only by a mantle, killing the Nemean lion, a palm of victory under the feet of the hero, a dog attacking the lion from above, foliage around the scene. 18.5 grams, 53 mm



Acquired 1980-2015. Ex Abelita family collection.

The belt fitting finds parallels with parts of belt from Asia Minor, today at the British Museum, inv. EC 252-254. These kind of plates, decorative and engraved with classical scenes, can be dated possibly to the age of Theodosius I. The quality of decoration can support the thesis of their belonging to officers of the Comitatus (the Imperial mobile army).

A lozengiform plate brooch with sub-circular lugs to each corner and shallow decorative notching along each straight edge, the lugs with a red enamel fill, the centre displaying a millefiori panel composed of square tiles alternating between red squares within a yellow border and a dark blue cross with red centre in a red border; pin lug, pin and catchplate to reverse. 9.52 grams, 27 mm



Ex European collection. Acquired in the mid 1990s. Property of a Harrow, UK, gentleman.

A bronze head formed as that of a Roman lady of noble rank, with an oval-shaped face, semi-naturalistic facial features and elaborately dressed hair; hollow reverse. 55.5 grams, 42 mm



Acquired early 2000s. Property of a Birmingham, UK, collector. Property of an Essex, UK, gentleman.

The upper part of a female torso, carved in marble, wearing a draped robe tied at the waist; flat reverse. 5.3 kg, 29 cm wide



Acquired early 1990s. Ex private American collection; thence by descent. Private Swiss collection since 1998.

The figure is wearing a Greek peplos tied at the waist in such a way as to accentuate the breasts.

A carved marble herm boundary marker carved in the round as the bust of an adult male wearing a conical cap and with a full beard; dorsal pillar terminating behind the head. 7.3 kg, 31.5 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 no.11629-199364.

Possibly an architectural element or herm: herma (Ancient Greek: ἑρμῆς, usually called a 'herm' in English), is a sculptured stone block with a head and often a chest above an undecorated lower section on which male genitals may additionally be carved. From the Neolithic period onwards, in parts of Europe, divinities were worshipped in the form of either a heap of stones (cairn) or a wooden column. Piles of stones were created beside roads and at the borders of fields as they were cleared of pebbles, and religious respect was shown through the custom of each passer-by throwing a stone on the heap or offering a libation. In due course, the addition of a carved head (and phallus) to the column encouraged the belief that these monuments were especially favoured by divinities.

An acephalic seated marble dog carved in the round with anatomical detailing; mounted on a custom-made display stand. 24.4 kg total, 46 cm high including stand



Ex Mr U.C. collection, Belgium, formed in the 1950s. English private collection. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11630-199755.

A fragment of a carved limestone scene depicting a seated musician wearing a toga virilis draped to his shoulder and tucked at the waist, hanging over his bent knee supporting a lyre or cithara with seven strings. 1.98 kg, 17 cm



Ex Ingrid McAlpine, 1939-2018, London and Epsom, UK.

A bronze drapery fragment modelling the folds of the fabric in relief, presumably once forming part of a larger statue; mounted on a custom-made display stand. 3.1 kg total, 42.2 cm high including stand



Acquired 1980s-early 1990s. Ex private German collection. English private collection.

A skilfully carved life-size marble head of a female (possibly Artemis, a Muse or an Amazon) with centrally parted hair composed of wavy strands and tied in a ponytail at the back; serene facial expression, almond-shaped eyes and small mouth with slightly parted lips; some restoration; mounted on a custom-made display stand. 14 kg total, 38 cm high including stand



Ex private collection, Monaco, 1960s-1970s. Acquired from the Monaco Fine Arts on 4th November 1992. Private collection of Mr & Mrs Daniel, Monaco. Acquired by the present owner from David Aaron Gallery in 2019. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by searcher certificate number no.11569-197722.

The youthful head seems to be based on the Greek Attic Artemis Colonna type of the 4th century B.C. The composition of the head is powerful with a serene countenance, its physiognomy replete with the idealised quality characteristic of Greek classical sculpture. This classic influence is best seen in the perfect almond- shaped eyes with their sharply carved lids as well as the smooth contour of the face. The rich handling of the coiffure and the smooth quality of the face can suggest a date sometime during the Hadrianic (117 to 138 A.D.) or early Antonine periods.

A pottery lamp with triangular ornament handle with palmette above and acanthus leaves below, plain ring behind, concave discus with central filling-hole, two double-volute round tipped nozzles with conspicuous knobs, flat base-ring marked off by two circular grooves. 139 grams, 19.5 cm wide



From a 19th century German collection. Acquired in the 1990s. Ex London, UK, collection.

This lamp belongs to the classification of Loeschcke type III (Bailey type D). The type is characterised by a handle ornament that is either figurative or in the shape of a crescent, with decorated triangle, or two-lobed bud; and a usually round-tipped volute-nozzle, exceptionally with angular tip. Lamps may have one or two, or sometimes more nozzles. This type is typical of the Late Neronian-Flavian period.

A bronze statuette of a bound Mauritanian prisoner with his hands tied behind his back, naked body with exposed genitals, hair arranged in tight curls. 40 grams, 60 mm high



Acquire in the 1990s. Ex Cambridgeshire, UK, collection.

The face of this bound barbarian, who is forced into a squatting position by the way he is bound, is framed by rich locks betraying his Moorish origin. Numerous statuettes of bound barbarians have been found at the Empire’s outer boundaries. Many have vertical and horizontal bores, which have led to the interpretation that they were ornaments for horse bridles or snaffle fittings.

A carved marble head with large lentoid eyes and wavy hair; mounted on a custom-made stand. 8.9 kg total, 37 cm high including stand



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

A series of portrait heads, busts and marble statues from the 5th-6th century A.D. Ephesus, show great affinity with this sculpture. This typology of portraits shows how the late Roman art progressed in the search for a characterisation. The hair is deeply worked with a drill creating a chiaroscuro and immobile mass, the face is treated with large expressive folds, making this head a magnificent expression of late Imperial Roman art.