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.

Obv: IMP CONSTANTINVS P AVG, laureate and cuirassed bust right. Rev: SOLI INVICTO COMITI T-F, Sol standing left, chlamys falling from left shoulder, holding globe and raising right hand, mintmark PLN. 4.42 grams, 23 mm.

Extremely fine.

Property of a North London, UK, gentleman.

Obv: IM CAE MAGN-ENTIVS AVG, bare-headed, draped, cuirassed bust right, A behind bust. Rev: FEL TEMP-REPARATIO, emperor standing left on galley, holding Victory and labarum, Victory seated at the helm, A in left field, mintmark TRS. 4.89 grams, 21 mm.

Very fine and better.

Ex Compton Dundon Hoard. Property of a North London, UK, gentleman.

Aquileia mint. Obv: [DN FL VI]CTOR P F AVG legend with diademed, draped and cuirassed bust right. Rev: [VIRTVS RO]MANORVM legend with Roma seated facing holding orb and long sceptre; mintmark AQ PS in exergue. 1.03 grams, 16mm.

Good very fine; a large fragment. Scarce.

Found Essex, UK. Accompanied by a collector ticket.

Obv: +IhS XPS REX REGNANTIUM*, Christ Pantocrator nimbate, seated facing, raising right hand in benediction and holding book of gospels. Rev: ROMAn ET XPISTOFO' AUGG b', facing busts of Romanus I with short beard and loros, on left, and son, beardless, with chlamys, on right, both crowned and holding long patriarchal cross between them. 4.37 grams, 21 mm.

About extremely fine.

Ex Richard Falkiner, 2000s.

Romanos Lekapenos was a usurper. Of peasant origins he rose through the ranks of the military into the imperial court eventually ousting the regency government of Zoe Karvounopsina and Leo Phokas that had been ruling in the name of the underage heir to the Macedonian dynasty, Constantine VII. After marrying the young Constantine porphyrogennitos to his daughter Helena in 919, Romanos named himself basileopater, (‘Father of the Emperor’), was raised to the rank of Caesar in 920, and crowned emperor later the same year. He associated three of his sons (Christopher, Stephen, and Constantine) with himself, while the fourth, Theophylakt, was later named patriarch.

Obv: + IhS XIS REX REGNANTInm, bust of Christ facing, wearing nimbus cross ornamented with two crescents in the limbs of the cross, holding book of Gospels and raising right hand. Rev: + bASIL C COnStAntI b Rm, crowned facing busts of Basil with short beard on left, wearing loros of square pattern, and Constantine VIII, beardless on right, wearing chlamys, holding plain cross between them. 4.43 grams, 27 mm.

Extremely fine.

Ex Richard Falkiner, 2000s. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no 12032-212137.

Basil II was the senior emperor with Constantine VII and ruled from 976 -1025 A.D. The early years of his long reign were dominated by civil war against powerful generals from the Anatolian aristocracy. Following their submission, Basil oversaw the stabilisation and expansion of the eastern frontier of the Byzantine Empire, and above all, the final and complete subjugation of Bulgaria, the Empire's foremost European foe, after a prolonged struggle. For this he was nicknamed by later authors as the Bulgar-slayer; (Greek: Boulgaroktonos), by which he is popularly known. At his death, the empire stretched from Southern Italy to the Caucasus and from the Danube to the borders of Palestine, its greatest territorial extent since the Muslim conquests four centuries earlier. Of far-reaching importance was Basil's decision to offer the hand of his sister Anna to Vladimir I of Kiev in exchange for military support, which led to the Christianisation of the Kievan Rus, and the incorporation of later successor nations of Kievan Rus within the Byzantine cultural and religious tradition.

Obv: +IhS XIS REX REGNANTInM, Christ enthroned facing, nimbus cross behind head, holding book of gospels and raising right hand, double border. Rev: QCE bOHQ MQRWMAnW, Romanus on left, wearing a saccos and loros and holding cross on globe, with *seven* dots on the fold of robe hanging below, being crowned by Mary, nimbate, on right, (MQ between their heads), double border. 4.40 grams, 23 mm.

Extremely fine.

Ex Richard Falkiner, 2000s.

The histamenon (‘standard coin’) was the name given to the gold Byzantine solidus to distinguish it from the less valuable tertarteron introduced in the 960s. Nomisma is the ancient Greek word for money.

Thessalonica mint. Obv: +KERO-HQEI IC-XC, Christ enthroned facing on throne with back, holding book of gospels. Rev: MQ-QV, IW DEC PO TH (or similar) above, emperor, wearing divitision and loros and holding cross on globe, standing on left, being crowned by Mary, nimbate, on right. 4.45 grams, 27 mm.

Good very fine.

Ex Richard Falkiner, 2000s.

The traditional gold currency of the Byzantine Empire had been the solidus or nomisma, whose gold content had remained steady at 24 carats for seven centuries and was consequently highly prized. From the 1030s, however, the coin was increasingly debased, until in the 1080s, following the military disasters and civil wars of the previous decade, its gold content was reduced to almost zero. Consequently in 1092, Emperor Alexios I Komnenos (r. 1081-1118) undertook a drastic overhaul of the Byzantine coinage system and introduced a new gold coin, the hyperpyron (meaning super-refined). This was of the same standard weight (4.45 grams) as the solidus, but of less gold content (20.5 carats instead of 24) due to the recycling of earlier debased coins. The hyperpyron remained the standard gold coin until gold coins ceased to be minted by the Byzantines in the mid 14th century. It too, however, was subject to gradual debasement: under the Empire of Nicaea (1204-1261), its gold content fell gradually to 18 carats, under Michael VIII Palaiologos (r. 1259–1282) to 15 and under his son and successor Andronikos II Palaiologos (r. 1282-1328) to 12 carats. At the same time, the quality of the coins declined as well, and in the 14th century, their weight was far from uniform. The last hyperpyra, and thus the last Byzantine gold coins, were struck by Emperor John VI Kantakouzenos (r. 1347-1352). The name remained in use thereafter solely as a money of account, divided into 24 keratia. The name was adopted in various forms by Western Europeans (Latin: perperum, Italian: perpero) and the Slavic countries of the Balkans (perper, iperpero, etc.) designating various coins, usually silver, as well as moneys of account. More often in the West the hyperpyron was called the bezant, especially among Italian merchants.

Numbered 2787 and 2788, in favour of William Isham, having served in the Connecticut Line of the Continental Army, each for the inked sum of Nine Pounds Two Shillings, signed by J Lawrence, Treasurer and redeemable 1789, with interest payable annually; the reverse with ink endorsements confirming payment of interest each year from 1783 to 1789, with signatures of the treasurers each year, including J. Lawrence, Richard Butler and Jonathon Jeffrey and signed also by the recipient; triple holed to cancel. 10 grams, 20.8 x 20 cm.

Fine condition; old folds, top edge slightly torn. Scarce as a multiple.

UK gallery, early 2000s.

These bonds had to be produced each year for payment of the interest due and at final redemption; most surviving examples, having been in use over a period of some seven years or more, show very considerable wear, tear and damage; this example is better than many seen. William Isham (1759-1849) enlisted 'for the duration of the war' as a private at Colchester on 5th May 1777, aged 17 years in the Company of Captain Daniel Allen in the 3rd Connecticut Regiment of the Continental Line which served in the First Brigade, initially along the Hudson River; his grave can still be seen at St Albans, now Franklin County, Vermont, U.S.A.

Group comprising: bronze fractions of various issues and types. 37.72 grams total, 15-22 mm.

Fine-very fine.

Property of a Cambridgeshire, UK, gentleman.

Obv: BASILEWS BASILEWN MEGALOU AZOU legend, emperor on horseback right, holding whip and raising right hand, bow on his back. Rev: Kharosthi legend around Athena standing right, holding transverse spear and shield, A monogram below. 2.29 grams, 14.63 mm.

Very fine.

Property of a South West London gentleman.

Group comprising: silver fractions of various issues and types. 8.14 grams total, 11-16 mm.

Fair-good fine.

Property of a Cambridgeshire, UK, gentleman.

Obv: forepart of boar left. rev: irregular incuse square. 10.76 grams, 18 mm.

Fine.

From the collection of an London antiquarian, 1980s.