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.

Of slender form, modelled standing right on a bar, right paw held aloft, stylised face and mane detailing. 104 grams, 84 mm



‘The Ancient Menagerie Collection’ formerly the property of a Cambridgeshire lady, collected since the 1990s and acquired from auctions and dealers throughout Europe and the USA, now ex London collection.

Displaying concentric roundels of faux ropework ornament, central circular cell inlaid with a polished garnet cabochon; pin-hinge plate to verso. 8.58 grams, 27 mm



Acquired late 1980s early-1990s. Private collection, Nottinghamshire, UK.

Formed in the half-round as a youthful female bust, a cross in the middle of the high hair arrangement (propoloma). 193 grams, 97 mm



Ex Law Professor in Alexandria, prior to 1930. Ex collection M. Bouvier, Switzerland (1901-1980).

The image of the Roman Empress during the late Roman Empire, was connected to Christianity by the figure of the Empress Helena. Constantine had several cities renamed Helenopolis in honour of his mother, Helena, and she gained the political verification of power with the status nobilissima femina in 318 and the rank of Augusta in 324. Alongside her social and political image, Helena also had a significant reputation as a good Christian who was a patron and took care of poor people. Owing to this powerful religious image that was created, all other Christian women during the Eastern Roman Empire were encouraged spiritually by the fact that Helena was the mother of the first Christian emperor, and the image of the Roman empress was connected to the Christian image of the Mother of God, and represented on weights, bronze appliques and, in this case, maybe as an upper mount of a tripod.

Comprising a triple geometric rhomboidal figure, where three rhombuses are drawn one inside the other and distinguished by different shades of yellow, white and light red, the latter figure marked in the centre by a white space; the three figures are vertically arranged in a perfect geometric axis on a light background. 36.3 kg, 114.5 cm 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.11823-207411.

The tendency to use abstract and geometric motifs characterises the mosaic art of the Levant under the domination of Byzantium. Close ties can be identified between these rhomboidal figures and those of some of the famous Lebanese mosaics of Beit el Dine, or the mosaics of Tiberias and Hammat, which represent the last expression of Roman art in that area before the Islamic conquest.

Composed of a tapering octagonal body, intaglio image of a robed and winged figure of Archangel Michael standing left, holding a Christian cross to base, granulated gold frame with suspension loop. 9.27 grams, 29 mm



From the collection of a North American gentleman, formed in the 1990s. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11864-200658.

The Roman motif of winged Victory bearing a laurel wreath was slowly replaced with the image of Archangel Michael carrying the victory cross when the Roman Empire converted to Christianity.

The tripartite bit comprising: a round-section bar with flattened and coiled terminals; two cheekpieces, each formed as a winged ibex standing facing outwards on a ground line, simple detailing to the large horns, neck collar and wing; suspension loops to necks and rumps of the reverses; mounted on a custom-made display stand. 1.86 kg total, 20 cm high including stand



Toufic Aarakji, Hamburg, 1998. with Christie's, London, sale no.21014, lot 62. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11867-206897.

Squat dish with conical profile, low flange rim with carination; finely detailed painted foliage and reticulation to the inner face; very rare. 106 grams, 15 cm wide



From the important family collection of the late M.N., pre 1992.

Rectangular with two lateral flanges to the upper face; worked and dressed face with legend in seriffed South Arabian script. 1.3 kg, 12 cm



Acquired by Barbara Toy, 1950/60s and thence by descent.

The South Arabian script is an abjad written sinistrograde; the present text appears to contain the numerals for '1' and '100'.

The seal displaying a frieze of drilled human figures possibly bearing cultic accoutrements, together with a bee-like insect; mounted on a later gold hoop. 11.78 grams, 33 mm



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

Fusiform with hunting scene, standing figure infringed robe drawing a bow at an antelope. 8.56 grams, 35 mm



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

Displaying a frieze composed of human and animal figures; drilled vertically for suspension. 57 grams, 45 mm



From an important London, UK, collection, 1970-1990. Examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.

With linear and ropework borders, frieze in two registers: the upper with seated and standing figures wearing tiered robes, the lower with antelopes, human figures and fronds. 54.6 grams, 52 mm



Acquired 1970s-1996. Property of a North American collector, collection no.077. London collection, 2016.