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.

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. 3.75 kg total, 59 cm including stand



Acquired in the 1960s. Ex private collection, Switzerland, thence by descent in 1996. 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.11780-205646.

These pieces of horse armour, destined to be the lateral protection for horses, were usually fixed at the four corners of the yoke (Connolly, 1986, p.17). Sometimes these side pendants provided protection for the upper part of horse's legs. Drawings and reconstructions of an Urartian chariot compiled from archaeological evidence shows the likely positioning on the shoulder of the horse (Gorelik, 1995, p.4). They served to protect the horse and also as symbols of divine protection. Similar pieces are visible on Assyrian reliefs (Born-Seidl, 1995, figs.53-54, relief from Nimrod; 62, from Assur; Curtis, 2013, pl.LXXV; Dezső, 2012, pl.12-13).

Comprising two bronze belt sections, each with a ferrous backing; applied sheet-bronze rectangular plates held in place with domed rivets and washers, some decorated with a border of pelleted triangular punchmarks topped with a pellet or ring-and-dot motif; one fragment with finial with remains of a riveted hook, the other with corresponding hole. 609 grams total, 23-30 cm



Ex Axel Guttmann collection.

Large rounded two-part bowl rivetted beneath the repoussé crest extending across the brow and around the circumference; repoussé arches above the eyes extending to the nasal; lateral D-shaped cheek-pieces with scallop to the forward edge, pierced for a chin-strap; some restoration of the bowl; mounted on a custom-made display stand. 2.9 kg total, 48.5 cm high including stand



Acquired 1971-1972. From the collection of the vendor's father. Property of a London, UK, collector. 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.11752-202771.

According both to Symonenko and Dedjulkin (2014, p.189, fig.9, nn.4-5-6), this category of helmets derived from the Chalcidian type with elements of pseudo-Illyrian variants. Like the Chalcidian helmets, our specimen shows vertical decorative lines on the bowl and the triangular brow decoration which characterises similar specimens.

With long tapered blade, rounded shoulders and broad flattened mid-rib, tapered square sectioned tang pierced at the tip. 298 grams total, 29.2 cm high including stand



Dr. T.J. Arne, Sweden, 1934. Private collection, Sweden, late 1930s. with Stockholm Auktionsverk, Stockholm, Sweden, 9 June 2014, lot 2613.

This tanged bronze blade from Luristan belongs to a category of Luristan swords still in use in the Achaemenid Period, as proved from a blade with a perished handle (probably bone or wood) of the same type, in the National Museum of Iran (2694/15633). Examples without inscriptions like our model have been classified by Grotkamp-Schepers in the Solingen Museum as pieces from Luristan.

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. 903 grams, 91 cm

Cleaned and conserved.

From the private collection of a London gentleman, from his grandfather's collection formed before the early 1970s. 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.11819-206855.

The sword belongs to the group of blades with wide guard coming from Eastern Europe, in particular from the regions of the Black Sea. The most striking examples are the sword of Dmytrivka (in the Zaporizhzhia), from a Hunnic grave, the guard and its extending reinforcement collar inlaid with precious stones; the sword of Lermontovskaia (North of Caucasus), from the grave of an Alan warrior (5th century A.D.), having the guard inlaid with coloured glass; the Pokrovsk-Voskhod swords (Region of Saratovo, on the Volga), from a Nomad grave of 5th century A.D., with garnet cloisonné on a gold background (Lebedinsky, 2001,pp.121ff.).

To both lateral faces, the upper face of the blade and the rear of the socket decorated with an interlaced design; slender body with bearded lower edge and curved blade, lateral spurs and rectangular panel to the butt. 282 grams, 14 cm



Private collection formed in Europe in the 1980s. Westminster collection, central London, UK. Accompanied by a copy of a four page report written by Saxon and Viking specialist Stephen Pollington. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11878-206842.

The style of the design inlaid to the axe is interesting since it evidently owes a great deal to the kinds of Insular Style ornament found in manuscripts of the 8th century in the British Isles. The elegant curves of the narrow tendrils are strongly reminiscent of the zoomorphic elements found in the Lindisfarne Gospels, St Gall Codex and the Book of Kells (Salin, 1935, pp.342-3; Moss, 2018) and the inlaid designs show the characteristic parallel curves found for example on some of the initials in those documents. The tight knot serpentine bodies recalls the similar dense knot found in the Kells manuscript (Salin's figure 731). However, the details of the layout and execution show that the piece is unlikely to have originated in the British Isles.

An iron single-edged angle-backed knife with tapering tang; silver and latten inlay to both faces. 166 grams, 27.5 cm



Private collection formed in Europe in the 1980s. Westminster collection, central London, UK.

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. 900 grams, 89.5 cm



From the private collection of a London gentleman, from his grandfather's collection formed before the early 1970s. 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.11821-206859.

The blade of the sword is very similar to Petersen Type K; the hilt is a typical Type K, but having seven rather than five lobes to the pommel. The chape, the parallels of which are mostly of late 10th and early 11th centuries, is probably a later addition, possibly reworked to be fitted to the sword.

Of Petersen Type K with double-edged tapering blade, shallow fullers; boat-shaped lower and upper guard with five-lobed pommel showing traces of silver inlay. 703 grams, 81.2 cm



Otto Kruetz collection, Germany 1980s. Belgium collection. UK collection, 2000s. Property of an East Sussex, UK, teacher. Accompanied by an academic report by Dr Raffaele D'Amato.

It is the decoration and the structure of the sword that suggests classifying it as Petersen Type K, with a similar structure to the famous sword from Ballinderry Bog (Peirce, 2002, pp.63ff.). Other examples of the type are the 9th century sword of Kilmainham, in Dublin, the Ostby farm sword from Oslo, a sword in the Musée de l’Armée, Paris, and the Kilde farm sword from Oslo, the fullers of which are very similar to our model (Peirce, 2002, pp.66-73).

Petersen Type L variant with double-edged pattern-welded blade (waving pattern) showing evidence of being employed, tapering fullers and hefty tang; boat-shaped lower guard, cocked hat pommel with traces of silver inlay; some restoration. 996 grams, 90 cm



From the private collection of a London gentleman, from his grandfather's collection formed before the early 1970s. 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.11816-206858.

This sword shows evidence of beautiful pattern-welding. The great curvature of the hilt, stronger than any other type of Viking swords, characterises the typology of L swords. This is clearly visible on the specimens from Dolven and Nedre (Stokke) published by Petersen (1919, figs.94-95).

With a broad tapering blade, the wide and shallow fullers with inlaid decoration to both sides comprising a Greek cross within a circle, a cross potent and a wheel; long, straight guard and a short grip with a plain Brazil nut pommel. 1.31 kg, 101 cm



Ing Peter Till collection, Austria 1990s. UK collection, 2000s. Property of an East Sussex, UK, teacher. Accompanied by an academic report by Dr Raffaele D'Amato.

The sword is of Oakeshott Type Xa or XI and Petersen Type X. According to Oakeshott (1960, p.204) the swords of type X were a development of Viking sword type VIII with slight modifications. Oakeshott describes such swords as common in the late Viking age (late 10th century) and remaining in use until the first quarter of the 13th century.

Of Oakeshott's Type XVIIIa or b, cross style 11, pommel style I1; strongly tapering pointed blade with straight edges and evident battle nicks; straight cross guard, long grip and an octagonal pommel. 1.26 kg, 1 m



From the private collection of a London gentleman, from his grandfather's collection formed before the early 1970s.

This magnificent example was well-suited to a cut-and-thrust style of fighting, a logical development of the Oakeshott XVI typology. This is mainly visible in the specimens of typology XVIIIb, typical of English effigies and brasses between 1370-1425. Because the previous types of swords were practically useless against the fully armoured man-at-arms, Western European warfare needed a sword capable of piercing the weak points of the enemy's protective equipment, leading to the development of types XV, XVI and XVII, and eventually of type XVIII. The subtypes XVIIIa and b had a longer blade, and type XVIIIb was a very long-gripped bastard sword. This word (often referred to as ‘hand-and-a-half sword’) was applied through the late Middle Ages to the long-gripped weapons. Marc de Vulson, writing on the occasion of a duel fought in 1549 before Henry II of France, stated 'Deux epées bâtardes, pouvant servir à une main ou à deux' (two bastard swords able to serve with one hand or with two).