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.

With triangular blade in outline and prominent mid-rib divided in three sections; square shoulders with rectangular guard; rectangular grip with openings for inlays on either side. 367 grams, 45 cm



Acquired 1980-2015. Ex Abelita family collection.

This bronze sword has the handle cast onto the blade. The grip is flanged for accepting inlays. The blade has square shoulders and is decorated with geometric triangles. According to Moorey this type dates to the turn of 2nd millennium B.C.

Of fine quality, showing an open cast crescentic pommel with raised midrib and two parallel shallow lines across the top; pommel open on both sides to reveal the tip of the blade, tang rising from the grip; the solid cylindrical grip decorated with fourteen circumferential ribs, angular guard and triangular blade with strong midrib. 1.05 kg, 58 cm



Ex P.A., Hertfordshire, UK, specialist collection of Greek art, 1980-1990s.

The dirk has its hilt cast onto the blade. Moorey published a very similar piece with fourteen encircling ribs on the grip and attributed similar pieces to the North-West, also based upon examples of similar dirks from the Iranian and Russian Talesh region. He dated these pieces to the late 2nd millennium B.C. Similar examples were excavated at Marlik. Stutzinger attributed these types with a wider dating (13th-9th century A.D.)

The cheekpieces formed as stylised horses with small ears, elongated heads and long tails, a circular opening to the body for the bar to pass through, two loops to the body and two spurs to the reverse. 654 grams, 21 cm wide



Ex Paris collection. French gallery, Paris, 1990-2000s. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11975-210127

In Luristan, horses were usually buried with a bronze horse-bit in their mouths, as shown by finds from Sarkishti, where the horses’ teeth were stained green.

The cheekpieces formed as winged deer with horns and small ears, a circular opening to the body for the bar to pass through, two loops and studs to the reverse; the bar with looped circular terminals. 543 grams, 17.5 cm



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

The most admirable horse bits ever created by man are undoubtedly those from Luristan, a province which extended along the valleys that make up the central part of the Zagros mountains. Worked in cast bronze with the lost wax process, they almost always had a rigid cannon in round or square bars which were flattened and rolled up around themselves at the ends, but their exceptional feature were the figural side bars. The local metalsmiths, in a period of time between 1200 and 700 B.C. managed to create an infinite number of typologies: horses, oxen, ibex, roosters and various mythological animals.

Comprising an embossed fragment of a breast-plate from muscle-type armour (thorax statos) representing Herakles fighting against the Hydra of Lerna; three-quarters of the hero's body preserved showing him naked in a dynamic position, wearing a fluttering short cloak (chlamys), overlooking the body of the monster of which the long tail covered with scales and fins is visible; fragment of cloak preserved separately. 122 grams total, 3.4-17.5 cm

Good portion of armour, extremely rare

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

This kind of armour is very rare, especially for this period, when most of the attested armour is plain or only slightly decorated. The young Herakles appears in heroic nudity running to the right, but, as on the cheek-piece from Gurlo, his head was probably turned in the opposite direction. The plasticism of the scene finds a good match in the Thracian tradition of the representation of weapons and armour, and the embossed elements with the highly prized work of the Panagyurishte treasure. The warrior-theme and the representation of Herakles or other fighting scenes on the Thracian and Hellenistic armours was a reference to the spirit of the immortal fighter.

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. 2.72 kg total, 40 cm high including stand



Ex Axel Guttmann collection of ancient arms and armour, Germany (1944-2001). with Hermann Historica, Munich, Germany. Ex Art Ancient, London, UK, 2019. with Sotheby’s, London, Ancient Sculpture and Works of Art, Part II, 8 December 2021, lot 155. 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 no.11941-210864.

These breastplates (kardiophylax) were a reduced version of the muscled armour (statos). Many archaeological specimens of this type were found in South Italian graves (Paestum, Alfedena), and are represented on the famous statuette of a Samnite Warrior found in Sicily (Connolly, 1981, p.108) in the Louvre and on many frescoes from Paestum, or are visible on the Campanian and Lucanian pottery, representing warriors (Christie's, 2004, no.90). The triple cuirass is well attested in archaeology, and the finds of Alfadena and Paestum show that it was mainly used by the coastal Samnites. This example is fairly representative of those in which the shoulder and side plates were attached to the front and back plates by rings and hooks. Born suggested that the upper two discs of the cuirass represented the pectoral muscles, the disc below the abdominal muscles.

Or semi-spatha blade with parallel-sided lentoid-section body and a long rectangular-section tang; Mainz type, Wederath-Canterbury-Kopki variant; repaired and surface treated. 557 grams, 83 cm



Ex South London collection, acquired 1970-1990. The Kusmirek Collection, UK. Accompanied by an academic report by Dr Raffaele D'Amato.

In contrast to the average length of the Roman Pompeii type gladius, some Roman swords, continuing the typology of the Mainz gladius, tend to be longer and transform themselves into a semi-spatha. Both the weapon from Eich (Miks, 2001, AI43), and especially a gladius from Korytnica with approximate blade length of 548mm (total length 762mm) is very close to the length limit of a semi-spatha. The same can be said of a blade from Godmanchester (Miks, 2001, no.A824) for its dimensions and proportions, where the tip of the blade already gives a significantly shorter impression, showing a certain relationship to 'Lauriacum-Hrornöwka', 'Mainz-Canterbury' variant type spathae.

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. 2.2 kg, 28 cm (4 kg total, 45 cm high including stand)



Private European collection, acquired 2001. 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 searcher certificate no.11576-198953.

This Montefortino specimen belongs to type C or D of Robinson’s classification, also identified under the continental system as Buggenum. The helmets of this category, mainly legionary helmets, were produced in mass by the state to be supplied to the troops fighting in the civil wars of the 1st century B.C. Artistic sources of the same period provide evidence for the use of Montefortino and Buggenum type helmets in sea battles, which has been confirmed by archaeological finds from the Albenga ship. Legionary helmets bore punched inscriptions, indicating the name of the wearer and the unit, i.e. cohors, centuria or turma. Here the punched letters 'AN' refer probably to the initials of the owner (Ancus N.?), and 'CFN' to centuria of Fabius C.

Lentoid section with a raised 'keel' to one end, depicting a stylised scorpion. 25.75 grams, 43 mm



Ex Simmons Gallery, London E11, UK, in the 1990s. From a North London collection.

The sling (funda) with its lead (plumbea pondera) and stone missiles was used by special funditores, illustrated on Trajan’s Column where they are dressed in broad tunics with no armour, but carry a shield. Interestingly, this glans has the emblem usually associated with the Praetorian Guard - the scorpion. It was an emblem also used in Ptolemaic Egypt, and it is not impossible that this bullet could be Ptolemaic or Romano-Egyptian. We believe this bullet could be associated with the Praetorian regiments which means this could be one of the first pieces of evidence for their use.

Biconical lead slingshot (glans) with inscription in Latin letters 'CN' (Cneius) 'MAG' (Magnus) on one side, and 'IMP' for 'IMPERATOR' (victorious general) to the other side, i.e Gnaeus Pompeius Magnus Imperator (Pompey the Great the victorious general). 47 grams, 39 mm



Ex M.Cummings, UK, 1990s.

The shot (Völling type 1C) is marked with the abbreviated name of Gnaeus Pompey; it was used in quantity at the Battle of Monda (or Munda) against Julius Caesar, 17th March 45 BC. The projectiles were made of different materials: lead (glandes) or in pottery or stone (lapides missiles). Sometimes they were signed with the name of the general, like our specimen.

With a double-edged blade of Illerup-Wyhl Type, narrow parallel cutting edges tapering towards the point; remains of wooden scabbard on the blade and remains of wooden grip on the hilt; accompanied by a crescent-shaped iron chape. 1.02 kg total, 6.5-94.5 cm



From the private collection of a London gentleman, from his grandfather's collection formed before the early 1970s. 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 no.11924-209661.

The iconographic sources indicate that Roman swords changed in the later 2nd and 3rd centuries A.D. Longer swords, which were more popular within Germanic and Celtic cultures and more useful for fighting on horseback, were soon widespread among infantry units and mass-produced in the Roman workshops. They were brought home by foreigners after mercenary or auxiliary service in the Roman army. This, together the possibility of war booty, may explain why a great number of these swords have been found in the distant areas such as Nydam Mose, Eisbøl and Illerup Adal, all in modern Denmark.

A Byzantine or Eastern European armour group comprising 138 plates from a klivanion in forty different shapes; originally the plates would have been interlaced and attached to an undergarment to form a compact cuirass. 1.43 kg total, 4-12 cm

Good condition, extremely rare

From the private collection of a London gentleman, from his grandfather's collection formed before the early 1970s. 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 no.11929-209662.

The lamellar protection was particularly effective when used by mounted troops as it provided not just protection but enabled free movement due to its loose construction. A similar type of armour was already used by the Assyrians in the 9th century B.C. Its use increased in the west during the 4th and 5th centuries A.D. As a result of changes in warfare techniques, where the archer’s role in the initial stages of the battle was of utmost importance, the use of lamellar armour was widespread amongst the Roman army and Germanic peoples. There are various ways in which the present suite of plates could have been assembled, although it was likely a short (thigh-length) form of lamellar armour.