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.

Composed of carnelian and possibly garnet polished stones, each bearing a different intaglio design: a figure holding a staff; figure standing holding a cornucopia and wearing a floor-length robe, possibly Fortuna; short, helmetted figure, possibly Mars; figural scene composed of a central seated female wearing a helmet, possibly the goddess Minerva, two attendants to either side; each accompanied by a museum-quality impression. 2.88 grams total, 9-14 mm



Ex property of a European lady living in London; from her father's family collection formed before 1978.

Plate brooch with raised vertical shaft and lateral crescent blades each with notched outer edge and incised ring-and-dot motif; catch and pin to the reverse. 9.2 grams, 37 mm



Ex Cambridgeshire, UK, collection, 1980s.

A restrung designer necklace composed of graduated translucent yellow glass beads of various types. 21.6 grams, 90.5 cm long

Fine condition.

Acquired 1980-2015. Ex Abelita family collection.

For the deposition of ashes (absent), with bulbous body, everted rim and discoid foot, a stylised human face to the upper body expressed with three circular holes for the eyes and mouth, pinched nose in high-relief and raised eyebrows; repaired. 5.13 kg, 34 cm wide



Acquired 1960s-1990s. Late Alison Barker collection, a retired London barrister.

Cremation was the usual burial practice in early Roman Britain and whilst it was common for larger ceramic or glass domestic vessels to be reused as cinerary urns, this particular type was created specifically for the purpose and was strongly associated with military contexts in Britain. After death, an individual would have been cremated on a pyre, the ashes gathered once the fire had gone out, and finally placed into the pot. The pot may then have been placed into a small 'tile tomb' buried beneath the ground. The face clearly has symbolic meaning; it may represent the deceased or a god, or may have served an apotropaic function, intended to ward-off evil spirits. The exact meaning of the face would have been clearer when the vessel was in situ alongside other associated burial goods. Although there are similarities in style across the known sample of Roman face pots, each is unique in some way. Face pot finds are concentrated in Colchester in Britain, suggesting a military association, since Camulodunum, 'The 'Fortress of the War God Camulos', was the capital of Roman Britain and Britain's first city. A more robust military connection was established by the archaeologist Gillian Braithwaite, whose survey of thousands of face pot sherds demonstrated that their occurrence spread rapidly though the Roman Empire, from the Black Sea, to Spain, the Mediterranean and Scotland. Braithwaite was able to link the pots to the Roman army and thus explain this phenomenon; as the units moved from province to province, face pots occurred in that region for the first time. The frequency of complete face pots suggests their use as cremation urns.

Decorated with silver granules and with a gusseted suspension loop to the top edge. 7.46 grams, 31 mm



Acquired on the London art market, 1980s-1990s.

Displaying scene of Pan battling a horned goat beneath a tree; chipped. 0.55 grams, 13 mm



Acquired 1970-2010. From the collection of a late Japanese gentleman.

Comprising three pairs of fittings of different types, together with a terret ring; one split. 1.4 kg total, 6.9-12.4 cm



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

Composed of rings of various types and sizes, including bezels with decorative geometric, zoomorphic and enamelled designs. 75 grams total, 16-26 mm



Acquired on the German art market around 2000. From the collection of a Surrey, UK, gentleman.

Ellipsoid bezel with gusseted border. 6.66 grams, 22.96 mm overall, 17.63 mm internal diameter (approximate size British M 1/2, USA 6 1/4, Europe 13.09, Japan 12)



Acquired on the EU art market around 2000. From the collection of a North American gentleman.

Composed of graduated black glass and faience beads of various types, including biconical, carinated, oblate, annular and other types; restrung. 12.6 grams, 81 cm long



Ex W.J. collection, 1990s.

Including tubular, melon, biconvex, fusiform, and oblate types. 98 grams total, 3-50 mm



Ex W.J. collection, 1990s.

Broad hoop with inset carnelian intaglio of a bee. 12.47 grams, 26.81 mm overall, 21.33 mm internal diameter (approximate size British R, USA 8 1/2, Europe 18 3/4, Japan 18)



Acquired on the London art market, 1980s-1990s.