Arch-topped and composed of two vertical boards, coated with gesso and skilfully painted on one side; the lunette decorated with a winged sun-disc and two pendant uraei; the central vignette depicting the deceased worshipping the falcon-headed god Ra-Horakhty with the Four Sons of Horus standing behind, each with their name written above; the lower register with six lines of hieroglyphic text providing an offering formula for the benefit of the deceased: Transliteration of the hieroglyphs: 1) ḥtp-dı-͗nsw rꜤ-ḥr-Ꜣḫtı͗nṯr Ꜥ nb pt sḥḏ [.....] wsır͗ ẖntt [ım͗ntt?] 2) nṯr Ꜥ nb Ꜣbḏw dı⸗͗f pr.t-ḫrw t ḥnḳt kꜢ Ꜣpd [....] ḫt nb(t) (n) fr(t) wꜢbt […] 3) ḫt nbt nḏm dı⸗͗f ḥtpw ḏfꜢw [...]f ḫꜢ m t dı⸗͗f ḫꜢ m 4) ḥnḳt dı⸗͗f ẖꜢ ır͗p [...] dı⸗͗f ḫꜢ m ı͗[...] dı⸗͗f ḫꜢ ı(͗Ꜣ)r(r)t dı⸗͗f 5) m snṯr ḥr ḫꜢwt [...] ḳrs nfr ḥr ım͗nt nfr 6) n [..] wsır͗ [......] pꜢ-dı-͗ım͗n(m) ıp͗ Ꜣ.t ms (n) ḫꜢ [....] Translation: 1) An offering that the king and Ra-Horakhty, Great God, Lord of Heaven, the illuminated [...] Osiris Foremost [of the West?] 2) Great God, Lord of Abydos (that) he may give a voice-offering (of) bread, beer, oxen, and fowl […] everything good and pure […] 3) everything sweet, he gives offerings of provisions […] a thousand of bread, he gives a thousand of 4) beer, he gives a thousand of wine […], he gives a thousand of vines, he gives a thousand of 5) incense on the altar […] a good burial in the beautiful West 6) for […] the Osiris[…] Pa-di-Amun-(em)-ipat born (to) Kha[…]; on the verso, an old handwritten collection label reading: 'From Harding & Sm[ith] Collection Sale Sotheby 2 Nov 1922 L.N. 234. A families[sic] stele, arched top, with the deceased worshipping a standing Horus attended by the four Children of Horus and six horizontal lines of inscription in colour. SP/10a'; mounted in a custom-made wooden frame.

Depicted nude in a dynamic pose with his legs apart and the weight of the body upon his right leg, standing in front of a two storey structure, probably an oven; his left arm raised and right arm extended in front of his torso and resting on the edge of the structure; the oven painted pink at the top and white at the bottom with an offering receptacle at floor level.

Squat ovoid in profile, modelled with the legs folded beneath the body, with hollow socket eyes, flared rim to mouth; copper lug on either side.

With inverted echinus lip and tall neck, a ribbed handle to each side with coiling lotus buds and palmettes beneath the handles; Side a) a running winged Gorgon depicted frontally, dressed in a black and red chiton; Side b) an aristocratic warrior wearing a Chalcidian helmet and driving a quadriga, the two central horses superimposed, the other two turned outward; a frieze of lotus buds and a band Greek key motifs below, the neck decorated with red and black palmettes, and elongated lotus blossoms; restored.

With a high foot, laurel wreath encircling the neck, checkerboard and meander patterns alternating around the lower body, roundels of tongue motif to the handles with palmettes and tendrils below; two red-figure scenes to the body: Side a: a high-quality depiction of a kōmos composed of five figures, including a young man holding a torch, a double flute player next to three dancers, all possibly followers of Dionysus; Side b: three draped figures conversing comprising a central female figure between two opposed male figures, one holding a staff; two old labels: one with 3061-133 on the inner rim, and 113/2 (believed to be an old Christie's lot label from the 1960s by Richard Falkiner) on the sidewall, further old accession numbers 321 and 35 under the base.

With D-section hollow-formed hoop and flared ellipsoid bezel, set with a Roman intaglio depicting a war galley under sail.

Grey fabric, broad discus with concentric rings and chamfered shoulder, short nozzle flanked by volute scrolls; scene of two murmillo gladiators in combat, one having fallen to the ground; maker's stamp to the underside 'MAR[..]S'; mounted on a custom-made stand.

A reused tablet with a recessed panel on one side, the last tablet of a legal document which consisted of two (diptychon) or three tablets (triptychon); ten black inked lines of New Roman cursive script, the end of a record of a transaction in formulaic legal language, probably a sales contract, between the buyer (emptor) Bassus and a person called Neronianus; traces of text (perhaps in rustic capitals) to the reverse.

Modelled with naturalistic features, gazing left, sculpted pupils and strong lids; luxuriant beard and moustache framing the face; strong forehead with tightly formed curls emerging from beneath the lion's skin hood; the hood with clear eye detailing and the mane with regularly arranged tufts; original iron pin to the front of the muzzle; mounted on a custom-made display stand.

From a Greek original, wearing a crown of leaves and corymbs, hair falling in straight lines underneath the diadem; full beard composed of four rows of thick tufts with drilled holes; slightly open mouth with a fleshy lower lip; low cheekbones and hollow cheeks; large almond-shaped eyes with lachrymal duct; mounted on a custom-made display stand.

Carved with comma-leaf detailing to the hair, a low brow over almond-shaped eyes, broad triangular nose and thick moustache obscuring the mouth; mounted on a custom-made stand.

Lentoid-section slab with incised grid to each face: one with three columns, impressed roundels and crescents, grid and other symbols; the other face with four columns, each cell filled with marks and symbols.

Pillow-shaped clay tablet with cuneiform text to both broad faces and one edge from Garšana (iv/Šu-Sîn 8?), a receipt for various clothing, with several dedications to the deities Ninsiana, Mami, Dadmuštum and Šubula; Dadmuštum is rarely mentioned, reading: '1 tu ba-tab tuh-hu-um 3-kam us 2 1 tu ša -ga-du ba-tab tug-hu-um / 3-kam us 1 tu ta -ki-ru-um 3-kam us 4 dnin- dsi -an-na 4 tu guz-za 4-kam us 6 2 tu guz-za 4-kam us dma-mi x ? 2 tu guz-za 4-kam us / dda-ad-muš-tum R 8 2 tu niĝ -lam 4-kam us dšu-bu-la ki-la -bi 26 1/3 ma-na 10 2 tu bar-dul us-bar 4 tu sag us-bar 12 5 tu us -bar 4 ma-na 3 tu mug 14 ki !-aš-ta -gar -ta puzur -a-ku-um šu ba-ti 16 iti ki-siki- dnin-a-zu mu ma -gur -mah mu-/dim' translation: '1 (simple) garment batab tuhhum (a kind of fabric?), thrice, medium quality 1 garment šagadu (of linen) batab tuhhum thrice, medium quality 1 garment takirum, thrice, medium quality (for) Ninsiana; 4 tufted garments, in quadruple, medium quality 2 tufted garments, in quadruple, medium quality : (for) Mami 2 tufted garments, in quadruple, medium quality : (for) Dadmuštum. 2 niglam garments, in quadruple, medium quality : (for) Šubula Their weight is 26 1/3 mines. 2 bardul garments (from) the weavers 4 garments if first quality (from) the weavers 5 (simple) garments étoffes (from) the weavers : 4 mines 3 garments in coarse wool Puzur-Akum has received (these garments) from Aštaqar. In the month of Kisiki.Ninazu The year in which the big (ceremonial) boat was built'.

With trumpet-shaped mouth, ibex-shaped finial with curved horns and legs folded beneath the body, spout to the chest; repaired.

A heavy penannular neck torc with carinated body and tapering coiled terminals.

With trapezoidal headplate, shallow bow, narrow triangular foot and pelta-shaped finial, pin-lugs and catch to the reverse; the headplate with (originally silvered) angled panels to the upper corners and D-shaped lug at the middle of the upper edge; rectangular corner panels interrupting a frieze of Salin's Style I face motifs, inner plain band and raised rectangular panel above the junction with the ribbed bow; lappets of Salin's Style I profile heads flanking the junction of the bow with the footplate and vertical bar running to the finial, bisecting a cruciform panel with Salin's Style I zoomorphic forms, and outer plain lobes; finial comprising a disc with four radiating ribbed arms and central boss, pelta-shaped terminal; cleaned and one lateral lobe reattached.

With a slightly domed profile and a raised circumferential border to the upper face; decorated with Celtic designs featuring elaborate curvilinear tendrils and triskele-style swirls enclosing an area of fine-line trumpet spiral designs, set around a central rectangular panel filled with millefiori-style enamel work in the form of an irregular chequerboard of blue and yellow enamel, the circular recesses retaining red enamel traces; two parallel rivets to the reverse.

A bowed anthropomorphic mount in the form of the face of Odin, with oval right and damaged left eye, beard and hair raised to form a convex shape, rounded cheeks, a triangular nose and a beard, moustache with lateral protrusion, the hair openwork and formed of entwined linear elements, five rivet holes present.

Central panel decorated with a heart pierced by two arrows and inscription: 'qui de bon [COER] eyme', and verso openwork carving of blind interlaces and inscription: 'de bon [COER] donne', translating to 'He who loves from the heart, gives with a good heart'; probably given as a love token.

Hollow-formed vessel formed as a male bust; discoid body with chamfered shoulder bearing bands of running zigzag detailing and three splayed feet; the head with low-relief hair and rim of bosses with linear spirals, gracile facial features with lentoid eyes and slender nose, small pouting mouth; short spout to the forehead, filler-hole to top of the head with hinged cover; handle to the rear formed as a reptile with head and forepaws placed on the hair below the hinge and joining the base above one of the feet.

Parcel-gilt bronze crucifix with cloisonné enamel geometric ornament; separate appliqué Corpus Christi, crowned with detailed musculature; lower legs and feet absent; mounted on a custom-made stand.

Inner wooden casket with chamfered rim and separate lid, encased within rectangular gilt-bronze panels with enamel decoration, four gilt-bronze stud feet to the underside; the lid with three nimbate figures, a female saint with palm frond and two flanking figures holding books, all reserved on a blue field with interstitial polychrome rosettes; Side A: nimbate bearded bust of Christ in Majesty with right hand in gesture of benison, left hand supporting a book, flanked by two winged nimbate angels; Side B: nimbate bust of a winged angel in a roundel; Side C: geometric repeating pattern of lozenges with floral fill; Side D: mirror image of Side B.

Substantial D-section hoop, expanding shoulders with reserved flowers and foliage, discoid bezel with intaglio regardant leaping goat in a pelletted ring, fronds and stars in the field, enigmatic inscription 'd[..] / de.to'.

With flat-topped crown, hair hanging in hanks to the shoulders, long D-shaped face with domed eyes, slender figure with ribs emphasised, knee-length loincloth falling in rippling folds; mounted on a custom-made stand.

Carved in the round, the god with long wavy locks escaping from beneath his pointed Phrygian cap; mounted on a custom-made display stand. 24.25 kg total, 41.5 cm including stand



From a collection acquired on the UK art market from various auction houses and collections mostly before 2000. From an important Cambridgeshire estate; thence by descent.

Parcel-gilt crossbow brooch with onion-shaped knops to the ends of the headplate and medially along the top edge; deep trapezoidal-section bow with median gusset; D-section footplate with chamfered sides open to one edge; upper part of one face of the bow with niello-filled running scroll design, lower part of the other face with running guilloche; beaded wire collar at the end. 14.6 grams, 46 mm



Ex N.C. collection. Acquired on the Swiss art market in 2000. European private collection.

Crossbow fibulae of this type were worn by high officers and, if in gold, even emperors, from Constantine to Justinian, as symbols of military rank. These fibulae are an important element in the graves, for the classification of the category of the dead, as belonging to the militia (armed or not); many of them were in gold, or gilded silver, and decorated with an inscription.

D-section swept-curve handle, the upper end developing to the foreparts of a winged lion with forelegs bent and paws resting on the vessel's rim, wings folded to the flanks; high-relief foliage detailing to the outer face of the handle; acanthus leaf to the lower end developing to a facing bearded mask of a satyr; mounted on a custom-made stand. 452 grams total, 13 cm high (17 cm high including stand)



Acquired between 1980-1983. From the 'Empire' collection, an important UK private collection of seals.

Usually this type of handles decorated ovoid-shaped oinochoai, a type of vase widespread in Southern Italy. Numerous specimens in the National Museum of Archaeology, Naples present panther or horse protomes, as do some provincial specimens from Gaul. Particular and unusual here is the lion-griffin, which refers to Greek-Egyptian motifs, perhaps connected to the cult of Isis-Serapis.

With concentric lines of openwork ornament in lanceolate shapes, ending with crescent decorations. 40 grams, 86 mm

Mostly intact, good condition.

Acquired from Gallery Gryphos, Munich, 1997. European private 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.11998-211928.

In the 3rd century A.D. Roman army, the old ring suspension system of the sword, of Celtic and Iberian origin, was abandoned. The sword was now mainly carried suspended from a broad baldric on the soldier’s left side. The high quality of the openwork decoration of our phalera and the precious silver of which it is made imply that it may have once belonged to a commissioned officer.

Matched pair of chariot fittings, each formed as the head and forelegs of a boar with open mouth and prominent tusks, developing to a crescentic square-section body with knop finial, supported on a column and square-section tiered base; mounted on custom-made display stands. 1.13 kg total, 22.5 cm high including stand



Ex Ancient Art, North London, UK. From a collection acquired on the UK art market from various auction houses and collections mostly before 2000. From an important Cambridgeshire estate; thence by descent. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.12058-212073.

The fittings were possibly part of a decoration of a Thraco-Roman chariot. Sometimes the ends of the yokes were covered with bronze toppers geometrically shaped or decorated with figures of a lion, a wild boar (our example), a goat, etc. Often, instead of these toppers, there were the so-called bronze distributors. Some were without decoration and others had geometric decoration. The most common ones were those sculpted as two opposing panthers (rarely lions).

Hollow-formed piriform lamp with D-shaped nozzle and small spout, recessed upper face with three piercings, swept handle formed as the neck of a goose with floral lobes and raised linear detailing. 896 grams, 20.5 cm



Found Bath, UK. From a collection acquired on the UK art market from various auction houses and collections mostly before 2000. From an important Cambridgeshire estate; thence by descent.

Comprising a shallow discoid bowl with inverted lip, central dome with concentric ring ornament, basal ring; the handle columnar with foliage to the junction, lion-head finial with gaping mouth. 410 grams, 21.2 cm



Acquired Gorny & Mosch, Munich, 25 June 2014, no.86. From the Horton collection, UK. Accompanied by a copy of the relevant Gorny & Mosch catalogue pages. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.12062-214252.

Including suture needle, bulbous probe, cosmetic or medical spoon, tweezers and other items, all mounted on a rigid board in a wooden frame. 501 grams, 32.4 x 26.4 cm



with Auktionshaus Owl, Bielefeld, Auction 37, 28 September 2013, no.37609. European private collection.

With C-section profile to the blade, rectangular handle with openwork slots to the upper end, impressed fishtail motif at the lower; mounted on a custom-made stand. 394 grams total, 20.5 cm high including stand



Ex Louis-Gabriel Bellon (1819?-1899), France. Acquired from Jack-Philippe Ruellan, 4 April 2009, no.279. Accompanied by a copy of a French cultural passport no.111441.

Comprising a round-section hoop with granule pyramids to the shoulder, decorative wire wrapped around the hoop on one side; rosette-shaped applied bezel with filigree decoration, raised setting with dark green glass cabochon; possibly a marriage. 5.14 grams, 22.93 mm overall, 17.05 mm internal diameter (approximate size British L 1/2, USA 6, Europe 11.87, Japan 11)



Private collection USA. From the Alexander Gallery, New York, USA, in the early 2000s.

With a triple ropework band, broad shoulders with openwork spirals increasing in size towards the centre; raised circular bezel with twisted wire border, set with a glass cabochon. 5.00 grams, 23.01 mm overall, 16.99 x 16.87 mm internal diameter (approximate size British K, USA 5 1/4, Europe 9.95, Japan 9)



From a private European collection, since 1975. with Christie's, London, 14 April 2011, no.361 (part). Ex New York, USA, collection. Accompanied by a copy of the relevant Christie's catalogue pages. Accompanied by an old cataloguing slip.

The hoop recessed and decorated with a simple plait formed with three separate rods; granulated pyramids beneath the square bezel framed with a pelletted band, raised setting with a green glass cabochon. 4.69 grams, 22.63 mm overall, 16.86 mm internal diameter (approximate size British M 1/2, USA 6 1/4, Europe 13.09, Japan 12)



Private collection USA. From the Alexander Gallery, New York, USA, in the early 2000s. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.12106-214327.

Previously these rings were generally dated later, however, according to Chadour, the shape is more typical of the 2nd-3rd century A.D. The gem however can also be of later date, because the use of the emerald was more typical of the late empire. The decoration of the shoulders with the plait reminisces Celto-Roman patterns.