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.

Mainly composed of restrung opaque beads of various shades of blue, including barrel-shaped, annular, facetted, tubular and some small facetted lapis lazuli beads. 14 grams, 50 cm long



UK gallery, early 2000s.

The head of the brooch with rectangular wings with concave reverse housing the spring, a separate hinged pin fitted around the axis bar, an integral rectangular bow with a circular aperture at the apex and a central column of rectangular green/blue and red enamel cells. 33.39 grams, 60 mm



Found whilst searching with a metal detector near Conistone with Kilnsey, North Yorkshire, UK, circa 2018. Accompanied by a copy of the British Museum's Portable Antiquities Scheme (PAS) report no.YORYM-366098.

Comprising a large quantity of mixed vessel fragments, mostly displaying part of the base or rim, and a lump of unworked clay; some with old pencilled or inked collection numbers. 900 grams total, 3.1-13.5 cm



Acquired from a private collector in 2004. Property of a Nottinghamshire gentleman.

Formed with an openwork discoid body; pin lug and catchplate to reverse. 8.07 grams, 31 mm



From the collection of a North American gentleman, formed in the 1990s.

Composed of a convex hoop with expanding angled shoulders, oval bezel set with carnelian cameo gemstone carved with the head and face of Eros with pinched features and centrally-parted hair; a marriage. 7.09 grams, 21.79 mm overall, 17.87 mm internal diameter (approximate size British H 1/2, USA 4, Europe 6.81, Japan 6)



Acquired 1990s-early 2000s. East Anglian private collection.

This ring belongs to the typology of gold rings with gem (Type II, Variant I) of Ruseva-Slokoska classification.

Bulbous with flat base, tall stem neck, splayed rim with an in-folded lip. 46 grams, 12.7 cm high



Acquired 1980-2015. Ex Abelita family collection.

During the early Roman period the glass-making techniques used by the Greeks were continued. Much of the glass was buried and as a result acquired an attractive lustrous patination. Roman glass became a medium for the promotion of the emperor and imperial propaganda, as well as having utilitarian purposes. Glass blowing, a new technique, meant that quantities of identical bottles could be produced.

With a deep bow, the footplate formed as the stylised snout of a boar, the neck bristles formed as a band of openwork loops on the bow; hinged pin. 14.7 grams, 51 mm



Found Essex. Property of an Essex, UK, detectorist.

With rectangular-section hoop supporting a raised oval bezel, intaglio image of a grazing horse with crescent above; hoop split. 5.8 grams, 22.49 mm overall, 18.79 mm internal diameter (approximate size British O, USA 7, Europe 14.98, Japan 14)



From the collection of a High Wycombe, Buckinghamshire, UK, gentleman, circa 2000.

The monogram in Roman capital letters, ('R'+'M'+'A', with the 'O' represented by the circular rim of the brooch itself), a palindrome 'AMOR'; complete with pin. 15.8 grams, 37 mm



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

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.

Featuring a bottle of a wide form, free blown from translucent glass of a soft turquoise hue, defined by a slightly concave base, a piriform body with a tapered shoulder, a lightly corseted neckline beneath a cylindrical neck, and a splayed rim with an in-folded lip. 23 grams, 11.6 cm high



Acquired 1980-2015. Ex Abelita family collection.

The ampulla was a small round vessel, usually made of glass and used for sacred purposes. The word is used in archaeology, also for flasks that are often handle-less and much flatter. Materials include glass, ceramics and metal. The unguentarium was a term for a bottle believed to have been used to store perfume.

Plate brooch formed as a leaping lion with hatched mane; pin-lugs and catch to the reverse. 8.13 grams, 36 mm



Found Essex, UK, in the 1980s. Property of an Essex collector.

Comprising large tile and vessel fragments, some with inked notes; and a group of white and grey tesserae, including one large redware tessera. 2.3 kg total, 1-17 cm



Found St Albans, Hertfordshire, UK. Acquired from the finder in 2008. Property of a Nottinghamshire gentleman.

The great monuments of Verulamium were efficiently destroyed by the medieval builders of Saxon and Norman abbeys. They sought Roman bricks and, above all, limestone which could be burnt for mortar. Most of the ancient Roman town stone monuments were broken up and thrown into lime kilns. These surviving fragments give a hint of what was once there. For the monuments and buildings Romans used Northamptonshire limestone, but the more delicate, finely carved inscriptions were realised in Purbeck marble from Dorset.