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.

With openwork body formed as two dolphins leaping in tandem, with simple detailing to the fins; on the reverse pin lug and catchplate. 13.3 grams, 32 mm



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

Twin dolphin brooches were found in Wiltshire, but they are more typical of the Roman territory of Pannonia, The hinge was usually placed below the bodies towards the tails, so that when worn win the pin point uppermost the dolphins faced upwards instead of downwards.

Comprising: a silver gorgoneion head mount; sheet-gold accessory element; bone pin with figural finial; lead seal dated 1789. 28.1 grams total, 15-64 mm



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

The coin mounted on 22 carat gold foil, framed with an art print signed by the artist David McAllister, depicting scenes of Roman military activity; limited edition number 22/1150. 1.3 kg, 36.5 x 49 cm



Essex gallery, early 2000s.

David McAllister's exciting design is a 'one of a kind' work that portrays the might and riches of the Roman civilisation. This limited edition print is a celebration of the award winning artist's lifetime dedication to historical paintings of the ancient world. To enhance appreciation of this rare and historic work, each individual print is signed and numbered by the artist.

Comprising two lead spindlewhorls, a bronze stylus with hooked eraser; a bronze terret ring. 93 grams total, 25-57 mm



Acquired on the UK art market. The terret from a 1970s private collection, found Norfolk. Ex private Merseyside, UK, collection.

The monogram in Latin letters, ('R'+'M'+'A', with the 'O' represented by the circular plan of the brooch itself), a palindrome 'AMOR'; complete with pin. 10 grams, 35 mm



From the collection of Alan Hardcastle. Ex private Merseyside, UK, collection.

The brooch is composed of the stylised letters ‘RMA’. When viewed from the obverse RMA + the circle of the brooch form a monogram for ‘Roma’. Roma refers to both the city and its divine personification, the Dea Roma. But if RMA is read from right to left (or the brooch is viewed from the opposite side), the letters display a monogram for ‘AMOR’, the Latin name for Cupid, the god of love. The phrase pertains to Roma-Amor, a widely recognised palindrome espousing Roman wordplay in the ancient times.

The free-standing human figure carved with a long neck and voluminous hairstyle, with a stylised face and suggestions of necklaces; remains of a previously articulate arm held at a right angle to the body, hoop earrings with bead ornament to both ears. 133 grams, 18.5 cm



London, UK, gallery, 1971-early 2000s.

Sub-circular in plan with carinated sidewalls, tapering and up-turned nozzle and spout, gusseted loop handle; shallow ring foot. 73 grams, 95 mm



Acquired 1970s onwards. Private collection of Michael O'Hara, Cambridgeshire, UK. Ex private collection of Benjamin Hyde-Smith, Hertfordshire, UK.

With rectangular loop and two bulbs flanking the rest for the tongue; robust hinged tongue integral with the hinge, terminating in a palmette; hollow to the underside. 471 grams, 11.3 cm



Acquired 1980-2015. Ex Abelita family collection.

The buckle is too large and heavy for normal use; it was probably created for an oversized statue of an emperor.

A tall pale green iridescent bottle with bulbous flat bottomed base, tall neck and rolled everted rim. 23 grams, 16.5 cm high



Acquired 1980-2015. Ex Abelita family collection.

A squat piriform bottle, dimpled base, broad funicular neck with blue trail. 59 grams, 10.2 cm high



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

Comprising a figural scene in relief composed of a mounted rider (Dioscuros) advancing left towards the figure of Helen of Troy, a worshipper behind his horse and another beneath it in the attitude of submission; the sun and the moon above. 91 grams, 83 mm



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

The image of Sol Invictus assumed a great importance in the Danubian cult: the frequent representation of the celestial gods on the plaques is paralleled by their representation on monuments of other mystery cults, particularly the cult of Mithras. The image of a Dioscuros on horseback is linked to that of the Danubian rider.

Miniature vessels including unguentaria in various colours. 56 grams total, 42-83 mm



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