A section of tomb wall with a central register of eight rectangular panels each containing hieroglyphs naming offerings for the deceased; the top and bottom groups of eight rectangular panels each contain a depiction of a kneeling offering-bearer; all carved in high-relief; mounted on a custom-made display stand.

The vessel with integral round-section upward-facing handles, a third, round-section handle placed vertically between shoulder and upper neck to rear; laurel sprigs to the neck with traces of gilding; combat scene with Amazons (and Trojans?) below, armed with short swords and crescent shields, most wearing an exomis leaving the shoulder and one breast uncovered; volute palmettes below both side-handles, a panel of tiered and swirling volutes to the rear, all on a band of egg-moulding, repeated around the rim; possibly Apulian or Campanian; restored.

Composed of a shallow bowl and broad flange rim, two integral scalloped handles with scrolled flourishes, tapering to a loop handle with swan head terminals each with incised eye and beak detailing; perforated whirl within roundel to interior base; accompanied by a custom-made display stand.

Modelled in the round with a fragment of stand to the rear; the figure carefully carved to exhibit the delicate facial features and elaborate hairstyle; the palla drawn up over the head and falling over the shoulders to the upper arms; a diadem to the brow with foliage and tendril detailing; elaborate earrings with dangles; necklace of fusiform and tubular beads and a longer one below with piriform plaques; large disc brooch to the left breast with dangles; peplos-style dress draped across the body beneath the palla; left arm bent and hand passing across the body to grasp the hem of the palla with a herringbone bracelet at the wrist; the palla displayed pinned with rosettes to the rear panel; with inscription of thirteen Palmyrene characters above the left shoulder 'NRW' // BRT // 'QM' // ḤBL' meaning 'daughter of Aqima'; traces of red and green pigment; mounted on a custom-made stand by Colin Bowles Ltd.

In a rectangular matrix; cream, olive, pink and other tesserae depicting a bird advancing with head bowed, with banded frame.

Modelled naturalistically in the round, directing his gaze upwards left, the eyes with sculpted pupils originally decorated with stone insertions, his face framed by voluminous short curls swept up off the forehead, sideburns and a moustache.

In a rectangular matrix; cream, olive, pink and other tesserae depicting a perching bird with rosette above.

Divided into six sections by Christogram letters chi and rho, two of the segments with Greek letters alpha and omega, the other four segments with floral ornaments; a laurel wreath to the edge; mounted on a custom-made display stand.

Written across two principal faces and three side edges, reading: 1-2) Say to Zakur-ahum, thus says Uzazza, your brother. 3) I have read the tablet you sent me. You wrote to me as follows: 4-5)'Five nomadic Suteans plundered the district of Zippat and I sent a troop. 6-7) I drove them back. I prevented them from taking anything. 7-8) So this troop left empty-handed. It is to be feared that they will go to the land of Arrapha and raise havoc, take action!' 11) This is what you wrote to me, and I rejoiced greatly. 12) In your tablet is written:'500 nomadic Suteans'. 13) Now, your servants whom you sent to me told me this: 14) 'A troop of 1,500 men has come. 15) Among them were many men with bows.'16 This is what they told me. Now never 17) have there been archers among the nomad-Suteans. 18) Is it not to be feared that the heavily-equipped 19) part of a foreign army is here itself comprising the nomad-Suteans with their bows? 20) The (result of the) divination I found said: 'Fire will devour the base of the reed.' 21) [...] its ... will not reach me. 22-23) [Now], shall I rejoice over the heavily equipped troop (that is) there? 24) [...]. 25-26) Now investigate this troop. 26-27) Send a full report urgently one way or the other, 28-29) so that I may circulate [a swift messenger] so that 29-30) the whole country may be gathered [in my fortresses] and so that I may take action. 31-33) Moreover, earlier, nomadic Suteans assaulted the palace cowherds one evening and 33-34) carried away all the cows from the palace. They left nothing behind. 35-36) There are none left, including the cows they had been entrusted with that evening. The next day, 37) a rescue troop (sent) by Ašrum, in pursuit of them 38) went as far as the banks of the Euphrates, but 39 returned empty-handed. 39) Another thing, 40) concerning what you wrote to me: 41-42) 'Looters set up a siege instrument- kalbanatum against a fortified farm and killed people. In addition, they carried off ten oxen. 43) And Ašrum went in there. Check that 44 their oxen no longer disappear.' This is what you wrote to me. 45-46) Now, shall I rejoice in this matter, or shall I [not] [...] them [...]. 47-48) Now, is there a plunderer who can plunder on my watch? Now, when I hear (about them) 49-50) and as soon as I send a message, do I not put them on the pal? No doubt 51-52) these people are foreigners, but you consider them to be Arrapha inhabitants! Now, precisely according to what you've written to me, 53-54) I'm going to send a fast messenger to the very interior of Arrapha and carry out a check. ; repaired.

Written over two faces; lentoid cross-section.

Matched pair of Samnite triangular breast and backplates, a suite of 'triple-disc' type, each with three repoussé panels with carinated rim, flat spandrel above and curved on the lower sides, with perforated edges to affix to a separate mail garment; rivetted loops to the shoulders for attachment of supporting straps, and similar lateral loops with portion of round-link chain in situ; mounted on a custom-made stand.

Montefortino helmet with bulbous domed skull and a plain crest knob with flattened top; plain and flat neck guard with thickened rim; the front with punched Latin inscription 'A N CFN'; the surface largely covered in marine encrustations; accompanied by a custom-made display stand.

Finely knapped lentoid-section dagger with lateral recesses and square butt; old collector's label '281'.

Long blade with small portion of cortex at the upper end, sharply tapering point with edges worked from both sides.

A slightly bent irregular bar of hacked gold with rectangular cross-section, showing evidence of compression and fracture to each end, some subtle transverse lines on both of the main surfaces.

The substantial heater-shaped plaque with spectacular openwork Urnes style design, the standing beast with entwined tendrils, pronounced head at the apex, narrow ledge to the reverse and rivet holes to each corner with two rivets remaining.

Of tubular form with flared rim and applied collar to the foot, applied trails to the sidewall and four rows of prunts with applied blue-glass ornament.

With a slender D-section hoop, bevelled rectangular cell set with a garnet cabochon; satellite settings at the corners, each with a green cabochon (one absent), the ring preserved in the same condition as it was when found.

With plain circular hoop and square diamond-shaped bezel with replicant natural diamond crystal.

Broadly rectangular in cross-section and constructed from two sheets of gold; the external hoop carrying an etched decorative design comprised of a row of eight-armed stars in relief with a prominent horizontal line connecting the stars; the internal hoop with Latin inscription in block capitals reading '+FORTES FORTVNA IVVAT' translating to 'fortune favours the brave/strong'; straightened.

Hollow-formed with inset carnelian gemstone engraved with a profile bust of Serapis above a perching eagle flanked by fronds, possibly a marriage. 3.15 grams, 26.98 mm overall, 13.22 mm internal diameter (approximate size British D, USA 1 3/4, Europe 1.15, Japan 1)



Acquired early 1990s. Ex private American collection; thence by descent. Private Swiss collection since 1998.

With a round-section hoop; closed oval setting with moss agate(?) intaglio engraved with a fly with hatched abdomen. 3.31 grams, 23.14 mm overall, 18.48 mm internal diameter (approximate size British M 1/2, USA 6 1/4, Europe 13.09, Japan 12)



Acquired 1980-2015. Ex Abelita family collection.

Hollow-formed with ellipsoid bezel, inset panel of banded iridescent glass bearing an image of a nude Greek hero with long hair, the head turned back, carrying branches, an amphora or jug at his feet. 1.18 grams, 18.29 mm overall, 15.66 mm internal diameter (approximate size British G, USA 3 1/4, Europe 4.92, Japan 4)



Acquired early 1990s. Ex private American collection; thence by descent. Private Swiss collection since 1998.

The inset glass bezel is probably archaic Greek or Etruscan and reused in Roman times. The traits of the man point to Archaic Hellenic features, especially the oval eyes and the long hair, and the pointed beard reminiscence of the Achaean heroes.

Hollow-formed with facetted shoulders, inset cabochon intaglio of Eros (Cupid) in flight. 3.22 grams, 24.20 mm overall, 16.84 mm internal diameter (approximate size British J 1/2, USA 5, Europe 9.32, Japan 9)



Acquired early 1990s. Ex private American collection; thence by descent. Private Swiss collection since 1998.

With broad plaque, pelletted border to the hexagonal bezel, inset intaglio profile bust of Hercules with brow-band tied neatly at the rear. 4.32 grams, 20.30 mm overall, 16.51 mm internal diameter (approximate size British J, USA 4 3/4, Europe 8.69, Japan 8)



Acquired on the German art market before 2000. Property of a Surrey, UK, collector.

A hollow-formed hoop with lateral teardrop cells set with cabochon garnets and disc cells to the apex with bulbous central section; filigree and granulation detailing, cells with garnet cloisons; stepped columnar lower section with applied bosses and granulation; Eastern Empire or Parthian. 20.91 grams total, 47-48 mm



From a private collection formed in the 1990s. Ex London, UK, gallery.

The hoop circular in plan and rectangular in cross-section, the sides divide into two segments which separate gradually to form triangular shoulders, on one of the shoulders applied scallop shells with one replaced, four pellets to the base of the bezel; the deep tubular bezel and everted rim decorated with radiating lines, reset with a cabochon garnet. 4.57 grams, 22.24 mm overall, 14.67 mm internal diameter (approximate size British F, USA 2 3/4, Europe 3.67, Japan 3)



Found whilst searching with a metal detector near Great Chart with Singleton, near Ashford, Kent, UK, by Mr Keith Collins on Thursday 5th November 2020. Accompanied by a copy of the British Museum's Portable Antiquities Scheme (PAS) report with record no.KENT-2D4C88. Accompanied by a copy of the British Museum's report on a find of potential treasure for H M Coroner with Treasure reference 2021T808, subsequently disclaimed.

Roman rings with circular hoops are categorised by Guiraud (1998) in her typology as Type 4, those with tubular bezels Types 4a- 4d, Type 4c is shown flanked by two pairs of spherical pellets, and with decorative shoulders (p.189, fig.29), however our example is more consistent with Type 4h.

Composed of a slender rectangular-section hoop and cruciform bezel with expanding round-section arms, central dome and granule to each quarter; accompanied by a custom-made display stand. 2.72 grams, 21.96 mm overall, 14.23 mm internal diameter (approximate size British G, USA 3 1/4, Europe 4.92, Japan 4)



Private European collection since the 1950s. Private collection, UK, 2010.

Recalling workmanship similar to that found in the floor of the Sistine Chapel and other important Roman churches; comprising a central panel with design of alternating green and speckled porphyry lozenges, with interstitial green and porphyry squares flanked by green or blue rhombuses on each edge; the square central panel flanked by two green and porphyry roundels composed of panels with inset squares and triangles, with white dentilled edges over a green background; each roundel enclosed within a mosaic crosier, one filled with yellow rhombuses with dentilled edges composed of white, green and porphyry triangles; the other comprising two parallel rows of squares and rhombuses in porphyry, green and black stones. 41 kg, 80 x 36 cm

Rare, very good condition.

French gallery, Paris, 1990s. From a family collection. 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. 11921-209564.

A similar pattern to the current panel can be seen on the cosmatesques of the Grottaferrata Abbey, near Rome, variously dated between the 1160 and 1282 A.D., which can be a good chronological indicator for our mosaic for style and composition. The Cosmatesque style was a characteristic type of ornamentation of Eastern Roman origin (opus alexandrinum) in the technique of opus sectile (elements already cut with the final shape: circles, squares, triangles and lozenges; small geometric elements which, expertly fitted together, manage to create the effect of a magnificent embroidered carpet) used by marble-makers of the 12th and 13th centuries A.D. The practice of inlaying glass and stone tesserae into white marble panels in this way, although reaching its zenith under the directorship of the Cosmati, had already been established in the Eastern Roman Empire for at least five centuries, and by the 12th century many marble pavements and panels of Opus Alexandrinum had been used to decorate prestigious churches and religious foundations, both across Italy and further afield, often by reusing old Roman monuments.

Bell-shaped with part-glazed surface, basal ring; geometric panels to the rim, concentric rings to the body, reserved band of spirals. 487 grams, 19 cm wide



Ex old English collection. London art market, pre 2000. Property of a Lonodon, UK, gentleman.

Articulated enkolpion with loop; low-relief robed figure to each face in orans pose with legend above 'ΟΑΓΗΟC / NΑΠ[.]ΔΗC' (Saint ...) and ΟΑΓΗΟCΓ/ΗΟΡΓΗC (Saint George). 51 grams, 97 mm



Acquired on the German art market before 2000. From an EU collection before 2020.

Divided into six sections by Christogram letters chi and rho, two of the segments with Greek letters alpha and omega, the other four segments with floral ornaments; a laurel wreath to the edge; mounted on a custom-made display stand. 84 kg total, 77 cm high including stand



From a German collection. Acquired from Germany in 2010. Ex London, UK, collection. 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.11928-209561.

This monumental sculpture was probably affixed at the top of a church façade, a type of decoration also used in the Western Romanesque art during the Middle Ages (see the sculpted Chi Rho monogram at the Monastery of San Juan de la Pena, Spain). The presence of letters alpha and omega shows a powerful link with the Christian cult, especially as the two letters are incised beside the Chi Rho. These letters are symbols of eternity of Jesus: in the final verses of the Bible, Jesus describes himself as the Alpha and the Omega, the Beginning and the End (Revelation, 22.13).