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.

Round-section bronze shank with attachment wires retaining a glazed composition scarab with three columns of hieroglyphs with a rope border. 9.41 grams, 37 mm wide



From the private collection of the late Mr S.M., London, UK, 1969-1999; thence by descent.

Three glass faces including a lion head and two male portrait heads. 61 grams total, 32-36 mm



Acquired 1970s-1996. Property of a North American collector. London collection, 2016.

These appear to have been blown or pressed when semi-molten into a hollowed reverse-shaped mould form.

Oval-bodied with a discoid top and integral suspension loop. 7.24 grams, 29 mm



From an early 20th century collection, Carnavon, North Wales, UK.

Carved with semi-naturalistic anatomical detailing and engraved with hieroglyphs to the base; pierced for suspension. 7.14 grams, 24 mm



Collected since the 1970s. Ex Everitt collection, acquired by descent 2017.

Four scarabs each with detailing to the upper body, legs and hieroglyphs on the bases; each pierced for suspension. 15.1 grams total, 18-24 mm



Acquired in Europe before 1992.

Comprising: one in white glazed composition with figure of a baboon (the god Thoth) to the underside; four similar in blue-turquoise with hieroglyphs. 12.1 grams total, 15-19 mm



From a family collection formed 1900-1950; by descent circa 1980.

Comprising: two white glazed composition with hieroglyphs to the underside; three similar in blue-green. 9.4 grams total, 12-19 mm



From a family collection formed 1900-1950; by descent circa 1980.

Comprising: three in blue-turquoise with hieroglyphs to the underside; two similar, olive green with cartouche of Thutmose III to the underside. 8.54 grams total, 12-17 mm



From a family collection formed 1900-1950; by descent circa 1980.

Creamware body with broad neck and pear-shaped body, trumpet-shaped base; ribbed strap handles extending to the everted rim; painted with dense zones of concentric black chevrons, rings, and other geometric ornament, red detailing. 1.12 kg, 23.5 cm high



with Christie's, London, 11 July 1990, lot 122. Subsequently in the collection of Dr Takey Crist, Jacksonville, North Carolina.

With domed foot and short stem supporting a broad bowl with carination below the rim and two lateral ledge handles; bands of painted concentric rings to the inner face in black and red, similar to the shoulder above panels of vertical stripes, arrows and other motifs; median Maltese cross to one face and bull's eye motif to the other. 685 grams, 21 cm wide



With Sotheby's London, antiquities sale, 17 May 1983, lot 132. Acquired from the above by Mr Leinonen, by descent to his son, Stan Leinonen. On loan to the Detroit Institute of Arts 6 December 1983-24 April, 2019. On view in Hallway East of Rivera Court circa 1989 and again in European Medieval and Renaissance in the 2000s.

With low basal ring, globular body, cylindrical neck with a pinched trefoil spout and thick ribbed strap-handle from shoulder to rim; decorated on each broad face with concentric rings in black and red paint with vertical bands of smaller concentric rings to the shoulder. 1.7 kg, 32.5 cm high



From the collection of Herbert Henry Marks (1896-1972), acquired 1930s-1940s. Subsequently by descent to his son, Stephen Powys Marks (1932-2020), Bath. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11848-207711.

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. 55.6 kg total, 105.5 cm high including stand (95.2 cm without stand)



Private Swiss collection, acquired in the 1980s. with Ward & Co., New York, 2014. Private American collection, K.M., circa 2015-present. Accompanied by a copy of an Art Loss Register certificate number S00114167, dated 2 June 2016. 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 a search certificate number no.11776-204598.

These memorials, originally painted (see gravestone from Paramythion, cf. Brinkmann-Wünsche, 2004, pp.148ff.), were venerated by families, anointed with oil, decorated with ribbons, and graced with offerings of food. They rivalled each other in the increasingly ostentatious display of family status and wealth, so much so that by the end of the 4th century B.C., a sumptuary law was passed, abruptly ceasing their production. In their heyday, these stelae provided sculptors an opportunity to demonstrate their technical virtuosity with both ornamental and figural subjects. It was not unusual for the anthemion to be of higher quality than the figures sculpted and painted below it.