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 finely modelled anatomical details, the second toe longer to emphasise the physical perfection of the physique. 627 grams, 13 cm



Acquired in Europe before 2001. Private collection, Europe.

Depicted nude in contrapposto pose, his weight on his right leg, the left leg flexed and advancing; the hair and beard formed as a dense mass of curls; a full beard complementing his luxuriant curls; slender, muscular body with defined anatomical details; mounted on a custom-made display stand. 384 grams total, 15.5 cm high including stand



with Münzen und Medaillen AG, Basel, 02.1976, lot 51. Acquired in Europe in 2017. Accompanied by copies of relevant pages of Münzen und Medaillen AG. 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 search certificate number no.11792-206488.

The prototype of Zeus Brontaios, or Zeus the Thunderer, has been attributed to a Greek original by sculptor Leochares, c. 370-360 B.C. The statue was realised by Leochares to celebrate the founding of Megalopolis, in 371 B.C. The god would have held a sceptre in his left hand and cradled his thunderbolt in his right.

Standing with her weight on her right leg, the left leg slightly bent, looking towards her left; the hair gathered at the nape of the neck; dressed in a short pleated sleevelesschiton, puffed up at the waist and falling above her knees, small boots with the strings tied above the ankles; carrying a quiver held by a strap passing over the right shoulder across her breasts; her lowered left arm was probably holding a bow, her right arm raised above her shoulder in the act of drawing an arrow from her quiver; mounted on a custom-made display stand. 155 grams total, 12.5 cm high including stand



Ex Mr. A.J. collection, Geneva, Switzerland. Acquired in Europe in 2014. Private collection. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11793-206487

This example depicts a well-attested type of Diana (Greek Artemis) goddess of the hunt. The slight swaying and the folds of the garment recall a Greek work of the classical period, widely copied by the Romans. The statuette is a good artwork from the Roman period, with identical copies spread throughout the empire, as many similar figures came from Naples, Bligny-sur-Dache, Trebizond, Carnuntum, and Vienna. The statuette was probably intended for a domestic altar (lararium).

The oval intaglio engraved with a man driving a pair of oxen with plough to left, a detailed tree with branches in the background, ground line under the oxen. 0.38 grams, 10 mm



Acquired in the late 1980s-early 1990s. Important North West London collection.

The gem could refer to the Augustan program of restoration of peace and security in the empire, after the agitated period of civil wars, with the possibility for men to return peacefully to their lands in a now peaceful empire. However, we cannot exclude that the image also refers to the well-known episode of Greek mythology, when Odysseus, to escape the call to arms in Troy, feigned madness by ploughing the fields without interruption, until he was unmasked by Palamedes, cousin of Agamemnon, who placed Odysseus' infant son Telemachus in front of the plough, forcing Odysseus to stop and reveal feigned insanity.

The oval intaglio with bust of Serapis right, above an eagle with wings spread, two military signa to the sides. 0.87 grams, 17 mm



Acquired in the late 1980s-early 1990s. Important North West London collection.

Often the intaglio gemstones were carved with an eagle between two standards. The left standard is topped with a capricorn genius legionis, and the right one with the hand of a signum manipularis. The presence of a capricorn could imply that the gemstone was dedicated to men of the Legio XIIII Martia Victrix.

The oval intaglio showing Serapis holding a sceptre and wearing a modius upon his head; Isis, wearing a feather(?) headdress and holding a sistrum. 2.51 grams, 18 mm



Acquired in the late 1980s-early 1990s. Important North West London collection.

Serapis was known to the Greek and Roman world already in the 3rd century B.C. in Alexandria, where Ptolemy I built a serapeum in honour of the god. The name of the god is considered to be composed from the names Osiris and Apis bull and means 'Osiris the bull' since after his death he became the ruler of the outer world, while it was also believed that Osiris lived in the world through Apis. Isis, his spouse, was worshipped in the Roman Empire as a powerful divinity, mother of the gods.

Naturalistically modelled in the round, large and deep eyes with a thoughtful expression under the heavy eyelids; lips lightly profiled and parted; the back and lower part roughly treated indicating that it was prepared to be installed in a hollow or part of a relief; mounted on a custom-made display base. 4.59 kg total, 25 cm high including stand



Ex private Swiss collection, prior to the late 1980s. Acquired at Camels-Cohen Auction 228, Paris, France, 16 & 17 September 2003, lot 324. Private collection, Europe. Accompanied by an academic report by Professor Neritan Ceka. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11806-206511.

The realistic style of treatment of the portrait and the preservation of classical features, in the examples of Cicero, Pompeius, or Agrippa, lead us to the last period of Roman republican portraiture, around the middle of the 1st century B.C. On the other hand, the frontal symmetry of the face, the serious expression of the eyes and the hair behind the neck, refer to the Greek sculpture of the Rigorous Style, from which the presentation of the portrait may have been inspired. These features could suggest also dating of the portrait to the last decades of the rule of the Julio-Claudian Dynasty in Rome, when there is a return to the realistic tradition of the portrait, as well as to the hairstyle with the parallel curls of the hair on the forehead in the figures, as in the portrait of Emperor Caligula (37-41 A.D.).

Fragment or portion of floor mosaic, showing a composition of alternated patterns of different coloured squares in chequerboard pattern, combined in diagonal rows of light yellow, light blue, off-white, pink, red, light violet, again off-white, light grey, light grey, dark grey, off-white, light yellow (repeated two times) light blue and off-white shadows; on the lower part a red line is edging the composition over an off-white band. 82.5 kg, 156 cm wide including frame



Acquired 1970s-1996. Property of a North American collector. London collection, 2016. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11822-207409.

The square-decorated mosaics had a strong presence in the Hispanic provinces, with some 1st century A.D. examples in the houses of Ampurias, up to the late imperial examples of the Villa of Palencia (archaeological site of La Tejada) where the main rooms show wall paintings with geometric, vegetal or decorations imitating marbles, and mosaics with simple geometric decorations alternating with elegant decorative motifs such as swastikas, chequered motifs or ropes, and Solomonic symbols. The chequerboard motif was widespread, and it is visible also in the 3rd-4rd century mosaic of the Roman Villa of Brading or in the house found under the Museum of Lincoln, in Britain.

Piriform green jar raised on five small feet to the base, collar to the conical neck and chamfered rim; to the lower neck a disc with narrow central opening; to the outer face of the body, double wavey trail to the upper and lower body. 77 grams, 10 cm high



Acquired 1980-2015. Ex Abelita family collection.

A bulbous bottle with tall neck and everted rim, spiral engraving to the body. 24.9 grams, 10.2 cm high



Acquired 1980-2015. Ex Abelita family collection.

The shallow recessed panel displaying seventeen lines of hand-inked cursive text; reverse bearing twenty lines of hand-inked cursive text with a shallow rectangular vertical recess which once held wax seals; pierced twice on the upper and lower edges for attachment. 50 grams, 19.5 x 16 cm



From an important London collection since 1975.

Prof. Dr. Phil. Peter Rotenhoefer says: "The tablet is the second tabula of a testament consisting normally of three tablets (a tryptich). It contains in a highly formalistic legal language legacies for various persons (inter alia a Iulia) who receive certain items like e.g. sheep and clothes. 17 lines of cursive script on the first page, 20 lines on the rear."

Broad discus with palmette scrolls to the shoulders and broad nozzle, low-relief wreath of leaves and buds. 93 grams, 12.5 cm



Ex collection of a Cambridge lady, 1990s.