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.

Disc with integral suspension loop secured at the reverse; beaded wire rim enclosing a filigree motif of a beast in profile with its head turned backwards towards its own raised tail. 4.61 grams, 38 mm



Private collection formed in Europe in the 1980s. Westminster collection, central London, UK.

Discoid plate with integral suspension loop secured at the reverse, symmetrical design of applied silver granules and silver wire with granulated boss to the centre and radiating arms; braided wire rim. 7.17 grams, 46 mm



Private collection formed in Europe in the 1980s. Westminster collection, central London, UK.

Openwork disc pendant with Oseberg Style disjointed body, facing mask, pierced suspension lug above. 6.29 grams, 39.51 mm



Acquired on the German art market before 2000. From a London W1, UK, collection.

There is a class of discoid pendants with banded borders and contorted figures found in the hinterland of the Baltic region, associated with the influence of Scandinavian settlers. The design of these items recalls specific elements of Scandinavian art - for example, the 'gripping hands' motif is a feature of the Oseberg Style named after the famous Norwegian ship-burial. Oseberg Style is associated with the beginnings of the Viking age, and was current in the 9th century when Scandinavian settlers began to establish centres of trade and political control in the area of the rivers Dnieper and Volga. The motif has been interpreted as a horse and linked with various legends and mythic figures.

With integral loop, border enclosing a low-relief image of a male facing mask between two birds embraced at the necks. 1.96 grams, 20 mm



Private collection formed in Europe in the 1980s. Westminster collection, central London, UK.

Restrung necklace of silver biconical and melon beads with pendant domed discs and crescents, all with granule detailing. 64 grams, 45 cm long



Private collection formed in Europe in the 1980s. Westminster collection, central London, UK. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.12072-212328.

Richly decorated and with an applied backplate; the body of the brooch formed as a hollow-cast case with upstanding ears and a slightly 'clubbed' end to the muzzle with a narrow median raised band separating the face into two panels; both those and the upper panel (between the 'ears') decorated with interlaced ornament in low relief depicting serpents locked in combat, their bodies dramatically entwined; on the rear panel four 'lower arm and hand' motifs, radiating from a central lozenge with pellet; rectangular guilloche to the lower borders, muzzle-band, rear panel and median upper band; Jellinge Style scrollwork to the outer and upper faces of the conical 'ears'; a hinged pin to the underside with curved shield, applied plate to the underside with two bands of punched lozenge decoration. 141 grams, 66 mm



Private collection, New York, USA. with Artemis Gallery, Colorado, USA, 15 February 2018, no.58. Private American collection, New York, USA. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.12073-211003.

Box-shaped hollow animal-head brooches were created on the island of Gotland, Sweden, although they have been found in other parts of the Viking world. They were made to be worn in pairs high on the chest of women's 'hangerok' apron-dresses with chains and swags of beads suspended between them. They are found in women's burials alongside utility items such as a knife or tweezers, and formed part of the costume of females from prosperous families. This example shows exceptionally fine decoration and would have been a treasured item, denoting the wealth and status of the family of the woman who wore it.

Disc with integral loop secured at the reverse; obverse with applied filigree Terslev ornament of three radiating looped knots and interstitial loops. 7.99 grams, 40 mm



Private collection formed in Europe in the 1980s. Westminster collection, central London, UK. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.12113-212333.

With heater-shaped body and trefoil to the apex with lobe detailing, openwork Borre Style design to the body with three-band mesh design, facing mask with lobes to the upper edge, pellet eyes and moustache. 46.80, 62.38 mm.



Ex property of a professional collector; acquired before 1990.

The image seems to be a mixture of the two Scandinavian styles 'Borre' and 'Jellinge'. They belong to the style of 'German four legged beast' in Animal style from the Baltic Sea region, according to P. Paulsen's classification. The recent discoveries of similar chapes in the Balkans suggest their employment from the Varangian Guard of Byzantium in 10th century A.D.

Disc with integral suspension loop secured to the reverse; central cell with inset garnet cabochon, applied filigree looped design with granule detailing, braided wire rim. 3.03 grams, 37 mm



Private collection formed in Europe in the 1980s. Westminster collection, central London, UK.

With scooped outline to the body, transverse suspension bar; applied filigree and granule detailing, large 'eyes' flanking the median panel with looped interlace detailing; cleaned and polished. 7.5 grams, 39 mm



Private collection formed in Europe in the 1980s. Westminster collection, central London, UK. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.12070-212342.

This piece bears many similarities to a hoard found on the island of Hiddensee in the Baltic Sea. The hoard consisted of a classic Borre-style disc brooch, a neck ring of four twisted rods and a necklace of ten stylised cruciform pendants, such as this example. The items constitute a single set of jewellery and seem to be a gift from a Danish nobleman intended for presentation to a Slav woman of high standing. They were buried for safety en route during some local emergency that resulted in the items not being claimed. Evidence for the production of pendants in the Hiddensee style is provided by the remarkable find of forty-one bronze dies, as used for the manufacture of the pressed sheets onto which the filigree wires and granules were soldered. These dies were kept together in a leather bag, which had been dropped in the harbour at Hedeby.

With flexed bow and trefoil ends, each with a granule to each lobe and incised geometric hatching, two small voids and applied bust of a bear with forepaws raised to the cheeks; central disc with hatched crown and knop finial; iron pin and catch to the underside. 64 grams, 80 mm



From the private collection of a London gentleman, from his grandfather's collection formed before the early 1970s. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.12071-213599.

The exact identity of the animals is disputed: on some examples, such as those from Birka published by Arbman, the animals have an ursine quality whereas the present ones look more like mice or squirrels.

A female in floor-length robe holding a shield in her right hand and drawn knife in her left, stylised headdress and long plaited band of hair to the rear; pierced lug to the reverse. 8.08 grams, 40.68 mm



Acquired on the UK art market in the 1980s. Ex property of a Cambridgeshire, UK, gentleman.

This pendant resembles a find from Galgebakke, Denmark, a silver figure holding a short sword and clutching a shield by the boss (Vang Petersen, item 4). The Galgebakke figure is identified as female on the basis of the elaborate crested hairstyle, and an ankle-length dress with tiny feet beneath. The interpretation usually offered for this figure is that of a skjoldmø or 'shield-maiden', a female who takes up arms in pursuit of vengeance such as the legendary Hervor in Hervarar saga ok Heiðreks. Scholars used to interpret these armed females as valkyries - hand maidens of the god Oðinn - but the idea has been challenged recently (Gardeła, 2013).