Knapped bifacial tan knife with fishtail butt to receive a hilt; the rounded tip tapering and flaring along the edges; with a custom-made display stand.

Naturalistically modelled and coloured blue, hieroglyphs on base; pierced for suspension.

Comprising a tall, plain body with two rosettes; crowned by an elaborate palmette and volute design with shallow acanthus stalks and small rosettes; mounted on a custom-made display stand.

The squat oil flask with slender neck and broad everted rim, painted with rosette petals around the mouth and base, spots encircling the rim, horizontal stipes to the strap handle, vegetal motifs and the forequarters of a roaring lion to one face of the body.

Possibly depicting Ganymede or Paris, wearing a soft Phrygian cap with everted brim, the hair swept back from the face; almond-shaped eyes with pronounced eyelids, straight nose and fleshy lips; mounted on a custom-made display stand.

The piriform body with broad, stepped rim and two round-section handles; red-figure frieze depicting two standing women facing, wearing a himation and stephane; the other side with a nude standing warrior wearing an Apulo-Corinthian helmet, holding the reins of his horse, acanthus leaves, ovolo and wave motifs to the neck and lower body; probably from a Cuma workshop.

Comprising a shallow disc with central flower motif inlaid with carnelian and lapis lazuli, surrounded by a beaded border, the outer pearled border inlaid with mostly replicant lapis lazuli, and mother of pearl inserts; three pendants to the lower edge, two with chain and carnelian bead, the central pendant formed as a miniature amphora with filigree, repaired; housed in a custom-made display box.

Tousled curly hair, strong aquiline nose and full mouth; the deep eyes marked by raised eyelids and prominent semi-circular eyebrows; the hair arranged in overlapping rows of locks; repaired; mounted on a later porphyry plinth.

Mould-made and shaped as a sandaled left foot, filling-hole surrounded by a ridge in the ankle area, the sandal with two leather straps tied together near the ankle, wick-hole in the big toe; inscription 'ƩΑΛΣΙϹ' to the base, heel chipped.

Decorated with a frieze of partially preserved acanthus volutes from which emerges a figure of a winged female, possibly a siren, the body and the head of a woman with brown hair, the outstretched wings in pink and yellow; ochre background, cream-coloured line border with a green raised edge (part of the wall) below; mounted on a custom-made display stand.

The left side of a trapping for a horse pulling a chariot, comprising two hammered elements with a hinge; rectangular upper section with a loop to one end, decorated with an eagle-headed genius-demon, wearing a tunic and a fringed kilt, a shawl wrapped around the body, hanging down on the back, carrying a bucket of purifying water in his right hand and a conical pot of incense in his left hand, bracelets to arms, two rows of lotus buds above; the discoid lower section divided in two registers, each with a winged genii in combat with winged bulls; the dividing raised band with fish motifs similar to the border formed of fish; the edges of both elements with punched edges for the attachment of leather lining; Neo-Assyrian or Urartian; mounted on a custom-made display stand.

With a double-edged parallel-sided blade with broad pointed tip; the lower guard inlaid with garnet cloisonné divided into four segments; accompanied by a rectangular scabbard slide inlaid with two rows of garnets and other stone; and a part of a sheet-silver chape.

Comprising a double-edged cutting blade with tapering fullers and hefty tang; the bronze cross guard in Jellinge style with dragon head finials and a central human face to the lower edge; the pommel with seven lobes; accompanied by a bronze openwork chape with central bird motif decorated with stamped ring-and-dot design.

Of solid heavy penannular form, round in section with clubbed terminals.

With slightly tapering socket and openwork bulb above, discoid platform supporting a mounted warrior modelled in the round; horse with long vertical tail and horizontal reins, bowed legs and scrolls at the hooves; warrior astride the horse with legs bent and feet to the rear, helmet with lateral horns and large swept crest with notched edge; arms bent to show the warrior in the act of drawing his falcata sword from the scabbard worn across his midriff; mounted on a custom-made stand.

S-shaped with scrolled flourishes to the dragon-head terminals, remains of inlaid blue and red enamelling to the stylised beast heads, wave and lozenge ornament to the body; free-running tongue with head coiled around the neck of one of the creatures; Romano-British.

With high-relief aviform head and wings and looped ornamental swags, knotwork panels in the field; two holes for mounting; possibly a book-mount, Hiberno-Saxon workmanship.

An excessively rare and almost complete copper-alloy hanging bowl and associated fittings comprising: (i) the bowl with three attached matching hooked escutcheons and suspension rings (ii) the basal disc (iii) a body fragment (or possible repair patch) (iv) a curved bronze fragment (ii) the basal disc with separate frame (iii) fragment of copper-alloy sheet, possibly forming part of a repair to the base of the bow (iv) a curved copper-alloy strip (iv) four skeletal fragments from a sheep or similar.

Of Martin's Group 4 with rectangular headplate and florid face-masks to the three edges and conical eyes, deep bow with with square central panel, footplate with square lateral lappets, triangular face-mask finial with conical eyes; pin-lug and catchplate to the reverse; gilded surface abraded.

Of Hines's Group X with two discs on the headplate in a rectangular frame surrounded by a frieze of facing human masks, and another mask placed centrally above the junction with the bow; shallow bow with three ribs; curved horse-head lappets flanking a vertical shank with facing mask detailing, discoid lobes and an inverted mask below; pin-lugs to the reverse and solder-scar where the catchplate was attached.

Oil on board devotional panel in a gilt wooden frame; the Virgin in a bottle-green gown with gilt collar and cream undershift, crimson mantle; the naked Christ supported on his mother's left hip, his left foot clasped in the interleaved fingers of her right hand; textured gilt field; attributed to a follower of Dirk Bouts.

Openwork winged beast to the centre, its tails curling beneath the body creating the foliate tendrils on which it perches, broad outer roundel decorated with geometric plants alternating with lozenges, extensive remains of blue champlevé enamelling; engraved and chiselled; four attachment holes.

With wooden core to which the embossed sheets have been attached; the obverse with a central nimbate Corpus Christi, an applied rosette above and to the left arm; an angel to the finial of the upper and lower arm with Mary and St John the Evangelist to the side arms; the reverse with a central figure of Jesus holding the Gospel and making the sign of blessing; each finial of the arm with the symbols of the Evangelists (eagle, angel, lion and ox); the cross resting on a floral sphere with a socket below.

Composed of a slender hoop, expanding shoulders decorated with white enamelled foliage and black enamelled pea-pod ornament, repeated around the bezel, bezel with box setting holding a table-cut ruby, white and black enamelled floral design to the underside; minor loss of enamel; likely from France; accompanied by a 'Les Enluminures' hinged presentation box.

Comprising a single cutting edge; scale tang with pommel formed as a bifacial crown with incised detailing; Netherlands. 31 grams, 18.3 cm



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

Knife handles can be classified according to their method of attachment into whittle and scale-tang handles. Whittle-tang handles were the most common type used in the early medieval period. Whittle tang handles (like here) were more common later and fixed by pushing the pointed end of the knife tang into the handle.

Fragmentary remains of two different types of pilgrim ampullae, one retaining a handle; one displaying a cross to one face and shield to the other. 56.6 grams total, 45 mm each



Acquired on the UK market, 1990s. Property of a retired academic.

Including a jar with scalloped foot, a piriform juglet, footed pot with handle, small jar with remaining handle, likely bird water feeder and a stamped tripod dish; most glazed; most chipped or cracked. 3.3 kg total, 10-18 cm



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

The salt-glazed stoneware jugs, like some of the specimens here presented, had a distinctive pitted ‘orange-skin’ surface. These tall jugs often have grooves around their bodies to support them during the high-temperature firing which was necessary to achieve the hard fabric. First imported into Britain in the early 14th century stone wares became common in the 16th and 17th centuries. Most came from production centres in the Rhineland, notably Cologne, Frechen, Langerwehe, Raeren and Westerwald.

The flat-section hoop supporting a sub-rectangular bezel displaying Arabic script over two lines and inlaid with black enamel. 4.02 grams, 20.80 mm overall, 17.20 mm internal diameter (approximate size British M, USA 6, Europe 12.46, Japan 12)



Ex private collection of K.G.; previously formed in the 1980s. Property of a Ruislip, UK, gentleman, by inheritance. Accompanied by a previous dealer's certificate of authenticity.

With slender gold hoop, drum-shaped bezel with granulation to the outer face, inset garnet cabochon. 0.89 grams, 17.87 mm overall, 16.25 mm internal diameter (approximate size British I 1/2, USA 4 1/2, Europe 8.07, Japan 7)



From a late Japanese specialist collector, 1970-2000s.

Formed as a cross-crosslet, the symbol of the Knights of the Holy Sepulchre, with punched-point border; central pin to reverse. 1 grams, 22 mm



Found Nottinghamshire, UK.

The 'Equestrian Order of the Holy Sepulchre of Jerusalem' was an order of knighthood under the protection of the Pope, formed around 1099 A.D. by Duke Godfrey of Bouillon, the leader of the First Crusade. It was established for the protection of pilgrims travelling to the Holy Land and was recognised by a Papal Bull in about 1113 A.D.

Six of the nine penannular brooches accompanied by Portable Antiquities Scheme records; brooch with collet to one edge (1270-1350 A.D.); a complete circular brooch with knops set with white paste, dated c.1250-1400 A.D.; a complete, plain-bodied annular brooch dated 1250-1450 A.D.; a complete annular brooch with raised knops to the frame dated 1150-1260 A.D.; an annular brooch with v-shaped notches and dimples to the inner face, dated 1270-1450 A.D.; an undecorated annular buckle with pin intact, possibly for a child's garment, dated c.1250-1450 A.D.; together with other examples. 28 grams total, 16-29 mm



Found Berkshire, UK. Accompanied by a copies of the British Museum's Portable Antiquities Scheme (PAS) report nos.BERK-285B48, BERK-A8FD16, BERK-271E50, BERK-26E3A3, BERK-A91F57, and BERK-282835.

With central intaglio fleur-de-lys motif and legend 'S' SECI.I[..]ITA; strap and loop to the reverse. 4.98 grams, 28 mm



Found Nottinghamshire, UK.

With substantial ridged and fluted base and lip to the reverse underside, equal-armed type with central roundel. 848 grams, 13.3 cm



Acquired on the UK art market. Ex private Merseyside, UK, collection.

Composed of a tapering round-section hoop supporting a recessed rectangular plaque displaying a Roman coin fragment: obverse presenting the bust of a Roman emperor, the goddess Fortuna standing holding a cornucopia and rudder to reverse; ribbed suspension loop above. 7.63 grams, 40 mm



Acquired on the UK art market. Property of a Ruislip, UK, gentleman, by inheritance.

Comprising a facing portrait of a crowned female with flowing hair, within a beaded border; loop absent. 0.87 grams, 15 mm



Acquired on the UK art market. Property of a Somerset collector, UK, since at least the early 2000s.

Each slightly differently sized and displaying designs in relief including heraldic shields, fleurs, a crowned lozenge and other worn motifs. 9 kg total, 12.7-14 cm



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

These glazed stove or floor tiles are similar to the ones of the great hall and the Tudor kitchens at Hampton Court Palace, made of ceramic, with a glaze to make it hard wearing and washable. Not just the furnishings, but the palaces themselves were multi-coloured, with brick walls painted red, and exposed timbers in yellow, red, green and white.