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 central plaque displaying calligraphic ornament, two fleur-like articulate hinged plaques to either arm, each with an articulate openwork plate to the end. 40 grams, 17.5 cm



London collection since the 1980s. Property of a Canadian family.

The ornate setting presenting a polished carnelian panel inscribed with calligraphic Arabic text over three lines, pierced geometric flower to reverse, possible marker's marks in comma-shaped cartouches; articulate decorative bail to top edge. 31 grams, 44 mm



London collection since the 1980s. Property of a Canadian family.

Composed of a chalcographic print representing the Evangelist Luke who, depicted with a brush and easel, is painting a true image of the Virgin and Child, who appear to him in a cloud radiating Divine Light; a winged ox above; inscription 'S. Lucas Evang.' (St Luke the Evangelist) below; the central image enclosed within a lace frame, decorated with embroidery, containing relics of Saints Magnus, Diodorus and Prosperus; all enclosed in a gilded wooden frame. 1.06 kg, 35 x 28.5 cm



Acquired in Germany. Property of RWM Collection.

According to Christian tradition, St Luke made the first pictorial representations of the Mother of God, which were defined as acheiropitae, that is, not created by humans. The presence of the relics of Saint Magnus (saint patron of Anagni, Lazio), of the Roman martyr St Diodorus and of St Prosperus, (patron saint of Reggio Emilia), would suggest an Italic environment as the centre of production of the sacred image.

Composed of spherical, facetted beads, mostly dark red but with some colour variation in a variety of colours, including a few banded and veined stones; restrung for display. 138 grams, 40.5 cm long



UK gallery, early 2000s.

The squat body with finial formed as a bird, splayed stem and foot with scalloped circumference, concentric rings of geometric motifs to the lid; three hinge lugs to two sides. 172 grams, 11.5 cm high



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

Tear-shaped and polished with a piercing at the apex; gilt calligraphic script to one face. 23.9 grams, 42 mm



London collection since the 1980s. Property of a Canadian family.

With beaded wire borders, inset lapis lazuli cabochons, filigree arcading and central carnelian cabochon. 9.38 grams, 54 mm



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

Comprising two designs in relief including three horses in an enclosure and two animals, likely cats, fighting; coloured glazes. 1.3 kg total, 10 x 9 - 10.5 x 9.5 cm



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

The tile production increases in the second half of the sixteenth century and during the following centuries. The fragments discovered from various localities (pot-tiles, rectangular, triangular and trapezoidal panels, open-work crest tiles) were all produced in regional workshops, from the end of the 15th century or at the beginning of the 16th century. They all had diverse decorative motifs, mainly animals and geometrical or vegetal combinations, almost all of them singular finds for this study area.

Of oval form, a mature Silenus shown nude in high-relief kneeling right on one leg, cloak thrown over one shoulder, playing two pipes, suspension loop to top edge. 19.8 grams, 56 mm high



London art market, 1990.

The slender hoop with convex outer face, the interior hallmarked with a lion and blank cartouche; hoop slightly misshapen. 1.75 grams, 20.74 mm overall, 18.28 mm internal diameter (approximate size British P, USA 7 1/2, Europe 16.23, Japan 15)



Acquired in the early 1990s. Property of a Berkshire, UK, gentleman.

Most retaining their attachment loops; including examples decorated with floral, geometric and other motifs, together with examples displaying remains of gilding and tinning. 996 grams total, 12-32 mm



Found Berkshire, UK.

Comprising a range of brooch types complete with spring pin, pin and catchplate, many featuring enamelled decoration. 247 grams total, 35-49 mm



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