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.

Polished and incised with semi-naturalistic anatomical detailing; intaglio to base displaying archer's bow and quiver; drilled for suspension. 2.54 grams, 15 mm



Acquired 1969-1999. From the private collection of the late Mr S.M., London, UK, thence by descent.

Each composed of a penannular body with stylised snake head terminals; each accompanied by a custom-made display stand. 52.4 grams total, 64 mm each (119 grams total, 82 mm high including stand)



UK art market, 2000s. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by searcher certificate no. 201181.

The bracelets belong to the type with zoomorphic terminals, probably representing snake’s heads or dragons emerging from flat rectangular strips with incised decoration and continued as lobed bodies resembling stylised palm leaves or palmettes. This Thracian tradition is attested in the ancient kingdom of Dacia.

Comprising a tetradrachm coin of Alexander III of Macedonia depicting his profile bust right wearing a lion-skin and, to the reverse, Zeus, seated left holding an eagle; set in a surround with hinge and catch affixed to the reverse. 22.03 grams, 33 mm



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

Each composed of a tiered discoid head with polished garnet inlays in claw settings, filigree to the outer perimeter, tapering hook to reverse and three dangles below, the central one formed as an amphora with scrolled handles, three polished garnet cabochons to the equator and a garnet bead to base; flanked by two lotus or bud-shaped charms on short lengths of chain. 14.28 grams total, 52-57 mm



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

Or an attachment, comprising two conjoined conical bosses, each with a central knop and rim with two narrow bands of granulation; to the centre, a delicate granulated lozenge with scrolling details to the upper and lower points; to the reverse, an applied double hook for attachment; Alexandrian. 4.42 grams, 36 mm



UK art market, acquired prior to 1985.

Adorned with repoussé detailing and filigree borders and petals, domed centre with granules and applied scrolls, central corrugated claw set with glass(?); pin lug and catchplate to reverse. 8.74 grams, 40 mm



From the collection of a North American gentleman, formed in the 1990s.

Two large strap handles to the shoulders, rounded underside, flange below the rim; with a custom-made display stand. 8.9 kg total, 66 cm high (91 cm high including stand)



Acquired 1970s onwards. Private collection of Michael O'Hara, Cambridgeshire, UK. Ex private collection of Benjamin Hyde-Smith, Hertfordshire, UK.

Two large strap handles to the shoulders, fusiform body, shallow flange below the rim; with a custom-made display stand. 8.35 kg total, 64.5 cm high (91.5 cm high including stand)



Acquired 1970s onwards. Private collection of Michael O'Hara, Cambridgeshire, UK. Ex private collection of Benjamin Hyde-Smith, Hertfordshire, UK.

Hollow-formed with long nozzle extending from the fleshy mouth, crown of foliage; smaller nozzle and filler-hole to the brow; raised ring to the base; a theatre mask or face of Silenus. 24.3 grams, 72 mm



Acquired 1960s-1990s. From the late Alison Barker collection, a retired London barrister.

Lamps with figurines first appeared in the Hellenistic period, possibly originating in Athens. Found in all parts of the Mediterranean basin, they were particularly popular during the first and second centuries A.D. The Silenus face types were linked to the Bacchic cult. The crown of leaves and fruit across the forehead alludes to Bacchus or one of his followers.

Composed of a discoid body with sunken discus bearing a scene of two gladiators in combat in relief, tabula ansata below, ring handle and roughly D-shaped nozzle with volutes; old crack to base. 84 grams, 12.4 cm



From a German collection. Ex Cambridge, UK, collection, 1980s.

The two gladiators seem to wear the armaturae of murmillones. All gladiators began their career as provocatores; the learning of their combat technique was polyvalent and allowed the fighters to specialise as a large shield-bearer (the scutati) like murmillones, or as a small shield-bearers, parmati, like the oplomachus.

Carved in the round with youthful features; large eyes with thickened eyelids, especially the lower lid, well-defined eyebrows forming two long arcs; small mouth with fleshy lips and deep corners; the hair parted at the centre and forming two symmetrical bands of wavy locks leaving the ears uncovered, secured with a ribbon and gathered at the nape of the neck to a small braid with a low hanging knot; mounted on a custom-made display stand. 2.95 kg total, 24.5 cm high including base



19th-20th century collection, based on the stand. Ex German collection, 1980s. with HVMC Auctions, Monaco, 12 May 2021, lot 99. Accompanied by an academic report by Dr Marina Mattei and Dr Laura Maria Vigna. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11761-202174.

The arrangement of the hair is characteristic of female portraits of the late Antoninian to early Severan age. The head finds comparisons with a female portrait in the National Roman Museum, depicting an elderly woman of the Antoninian age, and with another female portrait in the National Roman Museum, dated to the third decade of the 3rd century A.D., reworked in the Tetrarchic Period, with the hairstyle falling within the so-called 'Nest Frisur' of the Severan age.

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. 517 grams total, 11.9 cm wide (744 grams total, 14 cm high including stand)



with Sotheby's, London, May 1988, lot 234. Ex Malter galleries, XLV, 28 May 1991, lot 902. Ex Bruce A. Kamerling collection. Acquired from Royal Athena Galleries, New York, 26 June 1994. The Haggin Museum, Stockton, California. with Bonhams, Antiquities, 23 May 2012, lot 121.