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 four bricks displaying raised designs: a crowned shield; two displaying armorials flanking an object with tiered base; facing male and female bust within roundels, swags around. 7.7 kg total, 13-14 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.

The hoop expanding to facetted shoulders and an octagonal bezel, engraved with a strutting cockerel with substantial comb. 5.07 grams, 20.78 mm overall, 17.48 mm internal diameter (approximate size British N, USA 6 1/2, Europe 13.72, Japan 13)



Private collection formed since the 1940s. UK art market. Property of an Essex gentleman.

Including balls of various gauges, some with casting flashes; together with lead seals and other miscellaneous items. 3.45 kg total, 1-7 cm



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

Comprising four painted amber-coloured glass panels each in a rectangular lead frame; each depicting a winged angel in flight blowing a horn (buisine) with a heraldic banner hanging from the body; heraldic devices comprise an expanding-arm cross, three annulets, cross-in-circle, counter-charged cross. 488 grams total, 13.5 x 10.5 - 14.5 x 10 cm



De Baecque Vente aux encheres, 5 March 2022, lot 55(part). Ex central London gallery.

Complete with original black stringing and ash frame bearing label 'Handmade by T.A.J. Harris, London'. 420 grams, 67 cm



Acquired from Manfred Schotten Antiques, UK. The Kusmirek Collection, UK. Accompanied by a copy of the Manfred Schotten listing.

Button links with flaming hearts over crossed arrows joined by an oval loop. 2.17 grams, 21 mm



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

Cufflinks and other dress fittings such as buttons featuring the hearts design were originally conceived to commemorate the marriage of king Charles II of England to Catherine of Braganza in 1662, although various designs continued as a general symbol of love and/or marriage.

The biconvex obsidian cabochon with intaglio profile female bust of a matron with neatly dressed hair; accompanied by a museum-quality impression. 1.65 grams, 15 mm



Ex property of a Richmond gentleman; part of his family collection formed before 1980; thence by descent.

The frame with ornate scalloped edge, articulate bail, cut and polished rock crystal inlay inscribed with calligraphic Arabic script interspersed with floral tendrils; pierced geometric flower to reverse, together with possible maker's stamps in comma-shaped cartouches. 91 grams, 85 mm



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

Showing a nobleman or prince standing right in a moonlit landscape, text above; set in a reveal within a glazed wooden frame. 356 grams, 26 x 18 cm

Fine condition.

Acquired on the UK art market, 1980s-1990s. The Woodbridge collection of Indo-Persian art.

The Eureka brass skirt lifter, fitted with a quick release mechanism, by H. Knight and Co, with the design registered in 1877 and bearing the UK Registration Mark. 36.5 grams, 94 mm



From an old English collection formed before 2000. Acquired on the UK art market.

This item would have been fastened to the hem of a long skirt and linked to the waist; the wearer would use it to discreetly hold her dress hem clear of the ground to keep her dress clean, especially when climbing stairs or entering/leaving a carriage.

With D-section hoop expanding at the shoulders to a facetted bezel, openwork flower bud to each shoulder, incised hatched triangles to the scooped facets above, 'MORS' inscribed to the upper panel, 'SOIFI' to the lower; pale gold insert to central cell engraved with a skull amid entwined snakes. 10.11 grams, 26.62 mm overall, 18.12 mm internal diameter (approximate size British P, USA 7 1/2, Europe 16.23, Japan 15)

Fine condition. Resized.

Acquired since before 1970. Ex private collection of a West Sussex, UK, collector.

Comprising a group of near spherical dark red opaque glass beads of mixed sizes; each pierced for stringing and these beads believed to have been chemically cleaned. 111 grams total, 2-10 mm



UK gallery, early 2000s.