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.

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. 5.6 kg, 21 cm

Two neck creases, but in general good condition.

Ex Mario Fumasoli (1901-1989) collection, Switzerland, acquired between 1940-1970; thence by descent. with Christie's London, 24th October 2013, lot 92. Private Swiss collection since 1998. Accompanied by a copy of the relevant Christie's catalogue pages. 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.11583-198975.

The head was possibly from a relief representing barbarian prisoners of war, perhaps part of a monument commemorating the campaigns of Marcus Aurelius along the lower Danube, recorded on his famous column in Piazza Colonna, Rome.

Of Praxitelic type with fillet to the brow, tousled hair and rounded facial features with stern expression. 519 grams, 88 mm



Acquired early 1990s. Ex private American collection; thence by descent. Private Swiss collection since 1998. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11632-199025.

The head appears to be a copy of the Praxitelian type known as 'the Pouring Satyr'. The head, realised with sensitivity, but technically and stylistically academic, could be dated to the first half of the 2nd century A.D.

In a rectangular matrix; cream, olive, pink and other tesserae depicting a perching bird with rosette above. 15.4 kg, 43.5 x 50.4 cm



Former collection of Mr Pierre Bart (1889-1964), official of the French mandate in Syria and Lebanon (1919-1936) and delegate to the Lebanese government until 1946. Transmitted by descent.

Comprising three full and one partial octagon, each with two concentric rhombuses distinguished by different shades of yellow, white and light red, each with a central red dot; the border above with a band of red triangles; mounted on a reinforced backing board. 59 kg, 151 cm wide including frame



Acquired 1970s-1996. Property of a North American collector. London collection, 2016. 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.11920-207410.

The use of 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 with 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.

Standing nude with right arm raised to hurl a thunderbolt for which a slot has been made in the palm, left arm extended, left leg slightly bent; neatly trimmed beard and fringe of curls to the hair; mounted on a polished breccia rossa pillar. 150 grams, 120 mm including stand



From a 19th century collection, based on the stand. Ex Antiquus, London SW1, 2006. From the private collection of the late Laurent Lourson, London, UK, 2006-2022. Accompanied by an original handwritten invoice from Antiquus.

Fragment of dark blue glass with applied gold-foil decoration: figural scene above a band of running scrolls; Greek script legend 'ЄΜΟΡΟΟΥ[...]'. 2.19 grams, 25 mm



From a European collection, 1970s.

The fragment has a shallow curvature as if it was once part of a large drinking vessel. The Greek text 'εμορο ογ' appears to be derived from the verb εἵμαρται 'to be fatal' or 'to be destined by fate', so '[it was] not fatal'.

Decorated with stamped patterns comprising dolphins, vegetal and floral patterns, motifs with ivy leaves and floral border strips with laurel leaves. 38.5 kg, 175.5 cm



Acquired 1970s-early 1990s. 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 no.11992-209844.

Although the majority of people were buried without coffins, there is evidence for wooden coffins, lead-framed wooden coffins, tile burials, lead coffins and stone coffins from the Roman Empire. Our typology belongs a type diffused in the Eastern Mediterranean. The leaves refer to actual garlands and flowers used to decorate tombs and altars. The dolphin was considered to ferry the souls of the dead to the afterlife and was a common motif in this period, also used for the slide-fitting of Roman sword scabbards. Romans believed these animals carried souls to the Fortunate Isles, perhaps because they could pass through the air-breathing terrestrial world and into the watery depths that claimed so many Roman sailors’ lives. This symbol would have had a personal significance for the deceased, who may have been a seafarer during life. Romans often ordered their lead coffins long before they died as the process of making them took a long time.

Decorated with patterns comprising sphinxes, dolphins, and masks of Medusa in fields between columns, and floral border strips with laurel leaves. 19.75 kg, 90 cm



Acquired 1970s-early 1990s. 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 no.11993-209841.

There were many ways of burying bodies during the Roman Empire. Although the majority were buried without coffins, there is evidence for wooden coffins, lead-framed wooden coffins, tile burials and lead and stone coffins. This item belongs to types widespread in the Eastern Mediterranean. The panel is decorated with a columned structure, and within each section are symbols of the outer-world, including gorgons, sphinx and dolphins. The sphinx, having a human head and breasts, legs and paws of a lion, and wings of a bird, was generally associated with protecting imperial tombs and temples. The roundels featuring the head of Medusa, known for her potent gazes that could turn one to stone, was favoured on sarcophagi and architectural ornaments because it was believed that her image would protect those within. The dolphin was considered to ferry the souls of the dead to the afterlife. Very often these sarcophagi were connected by a pipe to the ground above so that mourners could pour in offerings into the grave.

Decorated with a high-relief pattern comprising sphinxes, dolphins and masks of Medusa in fields between columns; ropework and floral border strips with laurel leaves. 6.4 kg, 41 cm wide



From a West Sussex, UK, collection, 1990s.

There were many ways of burying bodies during the Roman Empire. Although the majority were buried without coffins, there is evidence for wooden coffins, lead-framed wooden coffins, tile burials and lead and stone coffins. This item belongs to types widespread in the Eastern Mediterranean. The panel is decorated with a columned structure, and within each section are symbols of the outer-world, including gorgons, sphinx and dolphins. The sphinx, having a human head and breasts, legs and paws of a lion, and wings of a bird, was generally associated with protecting imperial tombs and temples. The roundels featuring the head of Medusa, known for her potent gazes that could turn one to stone, was favoured on sarcophagi and architectural ornaments because it was believed that her image would protect those within. The dolphin was considered to ferry the souls of the dead to the afterlife. Very often these sarcophagi were connected by a pipe to the ground above so that mourners could pour in offerings into the grave.

Comprising a stylised owl figurine standing on a flared base, with incised feather detailing to the wings, legs and body, recessed eyes to accept glass inserts (one absent); fitted with a separately modelled cowl or hood with incised detail to the breast, topped with a conical finial to accept a candle. 70 grams, 10.5 cm



Acquired in the 1980s. From the Belgian collection of Mr D.S. of Flemu. Property of a North London, UK, gentleman.

The owl was the symbol of the Goddess Minerva in Roman tradition. Her name is linked etymologically to the English word 'mind' and she was considered to be the source of human intellect, patron of wisdom, crafts and sciences. The base of the figurine has been bent laterally as if to mount it on a post or rail.

The upper part of a Beneficiarius dedicatory spear or sceptre, comprising a circular-section shaft with an ivy leaf finial, a crescent (lunula) below and the point with triple acorn-shaped spheres; the lower end of the shaft square-section and with a rosette for attaching it to the wooden part, engraved with X-motifs and circumferential lines. 62 grams, 49 cm



Found Cambridgeshire, UK. Accompanied by an academic report by Dr Raffaele D’Amato.

The beneficiarii, within the Roman army, were soldiers exempted from menial duties and acting as orderlies of senior officers; they were also charged with particular duties by governors and generals. Their distinctive insignia were decorated spears, often with a point shaped like an ivy leaf. The military stela from Perinth depicting a 3rd century beneficiarius shows a very similar spear, mounted over a particular structure on the midshaft of the spear.

With spurs to the shoulders, domed bezel with central roundel, enamel fill. 2.97 grams, 21.66 mm overall, 16.06 x 17.11 mm internal diameter (approximate size British L 1/2, USA 6, Europe 11.87, Japan 11)



Found Norfolk, Southern England. Acquired on the UK art market in the 1980s. From an East Anglian private collection. Accompanied by an old Norfolk Castle Museum record slip.