A fragment of amorphous form, decorated in relief with scrolling tendrils and anthemion, painted egg-and-dart ornament above, surmounted by moulded bands and a frieze of meander and chequerboard panels; remains of red and black painted pigment.

Formed as the bust of Eros looking upwards, stub wings to his shoulders, holding a goose to his chest; conical socket above each wing; eyes with silver inserts; old collector's label '1994 51.75' to the reverse; mounted on a custom-made stand; likely a socket base.

Comprising a rectangular plate, richly decorated with embossed laurel leaves in a grid, framed with raised bosses, the buckle loop comprising opposing dragons with open mouths, holding a spherical tongue-rest, another pair of smaller dragon heads to base, the tongue with a smaller pair of punch-decorated dragon heads.

Hemispherical in form, repoussé interior displaying graduated concentric registers of stylised and mythical animals within tessellating cartouches; a low relief mesomphalos decorated with rosette at centre; geometric ornament around the rim.

Displaying a corrugated rim above and below; two advancing soldiers, each striding forwards over the headless body of a dead enemy, carrying a severed head in each hand; the soldiers shown bearded and each wearing a pointed and segmented helmet with a recess to accommodate the ears, a cuirass and thigh-length tunic, with a bow over one shoulder and a sword slung from a waist belt; mounted on a custom-made display stand.

Of penannular form with expanded sections at the centre and to both shoulders.

Comprising a rectangular headplate with two panels of chip-carved Style I ornament, flanking a beast-head with triangular muzzle and two pellet eyes, raised three-sided frame and outer band of pellets above beast-heads with lentoid eyes; the shallow bow with raised median rib, flanges to the edges and punched pellet detailing; footplate with beast-head between curved pellet lines, pierced horse-head lappets, lozengiform central panel with knot of Style I limbs; two lateral discs, one pierced to accept a stud and the other with a domed stud in place; the finial a disc with human mask inverted; pin-lug and part of catch to the reverse.

Displaying chased panels populated with Style I zoomorphs and geometric forms, borders of annulets, raised masks to the upper corners of the headplate; applied discoid boss to bow decorated with a rosette, addorsed beast heads below; extensive remains of gilding; pin lug and catchplate to reverse and remains of ancient repair, lower part absent.

Comprising a round-section crescent with flared ends terminating in two curved spatulate flat panels, each with a ropework border surrounding a two-band knotwork motif; cleaned and conserved.

The weeping Virgin with her head bowed to the left and hands raised to her chest on a dotted gilt background, an expression of pain on her delicately formed face; wearing a white veil and a black long-sleeved robe, the veil arranged as a headdress and covering her hair; on wood and mounted in a later carved wooden architectural frame.

Shown beneath an arcade, offering his cloak on the end of his sword to the beggar at his feet; polychrome detailing; repaired with lead cames and held in a wooden frame.

Composed from irregular painted panels bearing mainly foliage designs and figural elements; Mary crowned and enthroned with infant Jesus on her knee, in a lobed vesica-shaped panel held with lead cames; mounted in a wooden frame with modern replacements.

Carved in the half-round with a frieze composed of interlaced foliage with two rows of acanthus leaves and foliage scrolls, framing a lion's head on one side and a human head on the other, remains of lion's mane to the third; drilled holes to the raised surfaces and sockets for the insertion of decorative stones.

The bar with central D-shaped block pierced vertically by a stud surmounted by the suspension loop, with four pierced flanges to the underside; the frame in two sections, the larger a U-shaped rod with pivot for the bar, the smaller pivoting within the inner face, both pierced on the inner face; the block inscribed to one face with capital S and to the other with intersecting Vs; the bar inscribed to one face in capitals 'A DOMINI TECVM' and to the other in coarsely incised capitals 'AVEMARIA G[R]ACIAPLE[NA]'; the smaller rod inscribed in capitals 'CREATOREN CELI ET TERRE ET IN [IES]VN'; the larger inscribed with a band of scrolled decoration and the text in Lombardic capitals 'SOLI DEO HONOR ET GLORIA'; the accompanying letter discusses the texts (1) Ave Maria G[r]acia ple[n]a Dominus Tecum 'Hail Mary full of grace, the Lord [is] with thee'; (2) Soli Deo Honor et Gloria 'Honour and glory to God alone'; (3) Creatorem celi et terrae et inferum 'creator of heaven and earth and in Jesus'. The intersecting Vs may form a monogram for A[ve] M[aria]; the 1847 letter describes the findspot as 'found at Kirkleavington near Yarm in the sill of a brook' in the North Riding of Yorkshire.

Gold hoop and discoid bezel with incuse ropework border; incuse image of a bird of prey perching with wings spread and head turned; blackletter incuse and reversed inscription in an arc above the bird's head and pinions '·al : for : ye : best ·' (all for the best); repair to hoop.

Or a leg ring inscribed '+Earle of Rutland' in derivative black letter script, for a female merlin or sparrow hawk (due to the youth of Edmund Plantagenet who died aged 17); the ring with a convex interior face.

Displaying large flower heads, foliage and a skull to the outer face, enhanced with black enamelling; interior inscribed in a cursive script 'In god alone wee two are one', together with possible maker's stamps 'D' and 'F' in two rectangular cartouches.

Composed of a gently carinated hoop, the interior inscribed in cursive script 'Love is the bond of pease'.

Composed of a decoratively notched hoop divided into chased rhomboidal panels displaying foliate tendrils and horizontal hatching alternately; the interior inscribed in Roman capitals with the Latin phrase: 'x x x x VIVE x VT x VIVAS'.

Set comprising gold five pounds, two pounds, sovereign and half sovereign. Obvs: profile bust with GEORGIVS VI D G BR OMN REX F D IND IMP legends. Revs: St George and dragon; date in exergue; with original Royal Mint hinged red leatherette case of issue.

Tabular seal with large suspension hole; bifacial design comprising (A) a large winged creature with textured surface above two running gazelles; (B) a lion pouncing on a smaller quadruped. 19.7 grams, 33 mm



Acquired 1969-1999. From the private collection of the late Mr S.M., London, UK, thence by descent. Accompanied by a copy of a report by Dr Habil, Pieter Gert van der Veen, Head of the Biblical Archaeology study form (ABA) der Studiengemeinschaft Wort und Wissen e.V.

Accompanying note dates the seal to Iron Age II (9th-8th century B.C.)

Displaying a winged god standing left battling a winged quadruped, a large winged insect in the field above; drilled vertically for suspension; chipped; accompanied by a museum-quality impression. 26.6 grams, 45 mm



From the 'S' collection, London, UK, 1970-1990s. Examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology in the 1980s. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.202963.

Displaying an incuse frieze depicting a Master of Animals gripping bulls; accompanied by a museum-quality impression. 3.24 grams, 1.5 cm



Ex private collection, 1965-2020.

Drilled vertically for suspension; accompanied by a typed and signed scholarly note issued by the late W.G. Lambert, Professor of Assyriology at the University of Birmingham, 1970-1993, which states: 'Cylinder seal of red stone, 16 x 16 mm. Frieze of four women squatting on mats, each holding a jar with neck. Mesopotamian, c.3000 B.C. Good condition.'; accompanied by a museum-quality impression. 7.3 grams, 16 mm



From the 'S' collection, London, UK, 1970-1990s. Accompanied by a scholarly note by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology.

Each discoid in plan with decoratively notched circumference, ogival centre with pierced ornament, concentric bands of incised annulets, chevrons and other geometric forms; each accompanied by a custom-made display stand. 1.03 kg total, 20-20.5 cm wide (1.5 kg total, 30.5 cm high each including stand)



Acquired 1960s-1970s. From a UK private collection, 1981.

The walls tapering slightly towards the base, displaying wheel-cut ovals running in registers around the body, slightly everted rim; iridescent surfaces. 239 grams, 12 cm



Ex Belgian collection, 1980s.

Of hemispherical form, decorated with four tiers of wheel-cut oval-shaped dimples. 269 grams, 10.4 cm wide



Acquired 1990s-early 2000s. East Anglian private collection.

Displaying two repoussé registers of animals including lions, antelope and birds processing right between geometric borders, stylised flower heads to one terminal; attachment perforations to upper and lower edges; one rounded terminal, one terminating with a narrow arm and D-shaped lug; mounted on an adjustable custom-made display stand. 6.4 kg total, 35 cm high including stand

some restoration.

UK private collection before 2000. UK art market. Property of a London gentleman. Accompanied by an academic report by Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11745-202242.

Protective belts were very popular in the Caucasus, especially among the Urartians, decorated with geometric motifs, or with images of warriors, animals, hunting and mythological tales. They were regarded as a personal item and eventually buried with the warrior.

Comprising two belt sections, each perforated around the edges for attachment: one with a repoussé display of alternating lions leaping towards warriors on horseback, leaping horned bulls and archers standing in horse-drawn war chariot; one fragment with articulate loop; the other folding over on itself, with repoussé display of helmetted warriors on horseback, alternating with warriors driving horse-drawn chariots; Urartian or Assyrian. 845 grams total, 30.5-35 cm



Ex Axel Guttmann collection, with reference no.AG R 244. 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 search certificate number no.11760-203204.

With lateral seams, attachment holes to lower edge, bowl with tall conical peak; mounted on a custom-made stand. 3.5 kg total, 55.5 cm high including stand



Acquired on the UK art market. From a private collection, 1980s. Ex central London gallery. The Kusmirek Collection, UK. 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 search certificate number no.11765-203977.

From the reign of King Tiglatpilesar III (744-727 B.C.) or possibly later. The army of the Neo-Assyrian Empire consisted of large units of cavalry and skilled archers. Mobile workshops and smiths produced vast quantities of arrows and spears that were required while on campaign. The royal palaces of Nineveh, Ashur, and Nimrud were adorned with reliefs depicting Neo-Assyrian troops including foot soldiers in similar pointed bronze helmets. The helmet was originally bimetallic, made of bronze and iron. Although the iron section is now preserved only in fragments, having deteriorated long ago; the bronze half remains.

Displaying a corrugated rim above and below; two advancing soldiers, each striding forwards over the headless body of a dead enemy, carrying a severed head in each hand; the soldiers shown bearded and each wearing a pointed and segmented helmet with a recess to accommodate the ears, a cuirass and thigh-length tunic, with a bow over one shoulder and a sword slung from a waist belt; mounted on a custom-made display stand. 72 grams, 10.8 cm wide (277 grams total, 11 cm high including stand)



Ex S. Moussieff collection, London, UK. Acquired from C.J. Martin (Coins) Ltd. 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 search certificate no.203209.

Battle-scenes - and especially images where the Assyrians overrun their enemies and achieve outright victory - appear to make up a large part of 'official' art of the period. Subjecting a defeated foe to torture and death is the theme of much of the wall-decoration of the palace of Nineveh. A battle-scene depicting the siege of a walled city shows similarly equipped infantrymen; it is in the Metropolitan Museum of Art, New York, under accession no.55.121.4a, b.

Composed of a massive triangular blade with a slightly raised mid-rib flanked by three parallel rows on each side, the guard formed with a pronounced trident shape, ornamented with small geometric square recesses, the hilt with square-section grip incised with four vertical rows of similar square recesses, double broad crescentic open pommel surmounted by a broad raised median rib which links the double crescentic halves; repaired. 911 grams, 53 cm

One horn cracked and repaired

Acquired 1970s-1980s. From the collection of a Surrey, UK, gentleman.

Moorey, analysing similar swords found in Amarlu, stated that the blade and tang were made first, forged to shape by hammering at a high temperature. The next step was to cover the tang with a clayed material. Once dry, this material formed the core for the casting. Then a hollow mould of the exact shape of the shoulder, grooved hilt and pommel was made around the clay core covering the tang. Finally, liquid metal was poured into the mould. The weapon was then finished by hammering the pommel and shoulder to the hilt.