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.

Openwork plate brooch or mount with two pierced lugs to the reverse depicting a rider and standing figure; the horse and figures shown in profile; the rider wearing baggy trousers and a cloak or mantle, a spear carried beneath his leg, his hair worn long and knotted at the rear; the standing figure wearing a floor-length robe and holing a shield; square panel beneath the horse with a grid of nine squares. 6.3 grams, 34 mm



Found near Great Massingham, Norfolk, UK, circa 2010.

The scene depicted on the mount or brooch is often assumed to represent an armed warrior on horseback and a Valkyrie holding a shield. However, the rider's long and looped hairstyle may be typical of females of the period, and the standing figure often appears to be wearing a helmet. In a detailed discussion by Gardeła, Pentz and Price (2022), the standard interpretation is challenged since we do not know whether the scene shows humans or deities, nor whether the rider and attendant might be interpreted as an armed female being welcomed into Freyja's home of Folkvangr. Does the grid beneath the horse imply that there is a gaming-board available to the rider, a typical item of hall-based enjoyment alongside the horn which symbolises beer or mead? Or does this actually show a saddle-cloth, a prosaic piece of riding equipment?

A Frankish or Ostrogothic necklace, composed of a bifacial design displaying a Christian cross over geometric cells, featuring cut and polished garnet inlays with emerald cabochons to centre of cross, dove-shaped garnets to the lower edge, gold hoop above studded with gold pellets, suspended on a gold link chain with hook-and-eye closure. 14.33 grams, 38.5 cm long



Acquired in the on the London art market in the 1970s. Property of a London, UK, gentleman. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11883-207089.

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. 22.5 grams, 33 mm



Found East Anglia, UK. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11884-204955.

With punched outline to the body and legs, gilded head with open jaws and raised cell eye; attachment studs to the reverse. 10.2 grams, 60 mm



Found near Grimsby, UK, circa 2015.

A number of similar mounts, probably from shields or possibly saddles, have been found in England, notably the beast from grave 26 at Bergh Apton (Norfolk) where the animal depicted may be a bear.

The roughly D-shaped body engraved with a three-armed geometric motif, a dome between each arm, the articulate tongue with headplate engraved with a stylised hooded face or ithyphallic motif(?), oval buckle engraved with clusters of vertical lines; three pierced attachment lugs to reverse. 105 grams total, 12 x 10 cm



with Paris Hôtel Drouot, 12 July 2005, lot 152. Private collection, Europe.

The sheet-gold setting with plaited wire border and filigree 'knots' holding a polished rock crystal; tubular suspension loop decorated with interlace knot motif. 6.87 grams, 32 mm



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

Adorned with filigree to the sidewall and handle, a polished red glass gem to the base held in a toothed setting. 2.24 grams, 21 mm



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

Pendants in the form of miniature buckets have been found in a number of pagan Anglo-Saxon and Viking contexts and are generally made of bronze or iron, with gold examples being rare; three gold examples were found with the hoard from Hoen, Norway. Bronze bucket amulets have been found at Driffield in Yorkshire, and Vimose bog in Denmark, among other places. In form they represent wooden buckets bound with bronze or iron bands which have been found in Anglo-Saxon and Viking graves and are believed to have held mead or ale and were used to replenish the cups from which warriors drank. As amulets they probably represent the ecstatic power of alcoholic drink and the role of women as the dispensers of these precious beverages.

Formed as a coiled gold rod with overlapped ends; possibly from a hoard of gold and hacksilver. 7.43 grams, 23.67 mm overall, 18.76 mm internal diameter (approximate size British M, USA 6, Europe 12.46, Japan 12)



Ex Alexander Cotton collection, Brockenhurst, UK, 1970s. Private collection Surrey, UK, 2000s.

Comprising a D-shaped headplate with running-scroll motif and five radiating balustered knops, the median one with an applied cell and inset garnet cabochon; short bow with median rib and tiered junction to the lozengiform footplate with running scroll motifs and cabochon garnets at the angles; lateral pierced triangular panels with cabochon garnets below and a beast-head finial; pin-lugs, spring, pin and catch to the reverse. 28 grams, 11 cm



Acquired on the UK art market in the 1980s. From the private collection of Alan Harrison, circa 2007.

The pierced triangular element above the finial was probably intended to represent two animals with heads bent down, the garnet cabochons forming the eyes; this is more clearly shown on the example from Ravenna (VIII.6.2).

With raised borders and median band, all decorated with triangular punchmarks and niello fill; gilt chip-carved band detailing; discoid cell at each end with garnet cloison 'eye' (one absent); pin-lug and catch to the reverse. 3.88 grams, 31 mm



Acquired early 1990s. From an East Anglian private collection.

A classic development of the S-fibula with bird-head detailing.

Plaque with concentric raised rings and central glass cabochon, three radiating arms each with an S-scroll motif; catch and pin-lug to the reverse. 10.79 grams, 59 mm



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

The brooch is reminiscent of the Anglo-Scandinavian 'trefoil' type but lacks the customary detailing of that type. Its slender proportions and use of S-scrolled tendrils are more readily associated with the Irish metalworking tradition.

Domed and with a ribbed basal rim, the sidewall with four small circular bosses each framed by a bilinear arch; surmounted by a slightly convex disc bearing an incised cross; transverse bar to the underside; Mortimer's type 4iii. 4.2 grams, 14 mm



Acquired early 1990s. From an East Anglian private collection.

The mount is an extremely early example of the so-called 'sword pyramid' mount which was used in the Vendel period as part of the sword-suspension system. It has a parallel in the find from Sandby Borg, Oland, Sweden where Style I masks also appear.