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.

Comprising a keeled hoop with a lozenge-shaped bezel, raised cell set with garnet cabochon, applied granules framing the bezel. 3.64 grams, 22.80 mm overall, 18.49 mm internal diameter (approximate size British P 1/2, USA 7 3/4, Europe 16.86, Japan 16)



Acquired from London galleries during the 1990s. From the jewellery collection of a London, UK, gentleman.

The Merovingian rings typically have bezels in the form of four-sided pyramids decorated with filigree, granulation, and sometimes inlay. Around the bezel, as in this case, are often triangular clusters of granulation and gold pellets.

Wire ring with ends wound around the shank; miniature tool pendants including a sickle, mirror, dagger, spike and skillet. 2.81 grams, 30 mm



Acquired on the London art market in the late 1980s-1990s. From the family collection of an East London, UK, gentleman.

Flat-section with stamped triangular decorated border enclosing inscription: 'CX REX VICTVRIA'; attributed to King Agilulf. 25.73 grams, 53.47 mm



Acquired on the London art market before 2000. Acquired from a major Mayfair, London, UK, gallery. Ex property of a London gentleman.

The inscription 'VICTURIA' and 'REX' appears on several items that belonged to Agilulf (ca. 515-616 AD), the king of the Lombards who accepted Christianity to appease his wife, Theodelinda, the widow of his predecessor King Authari. Under Agilulf, the Lombards accepted Arian Christianity; in 603, the king adopted the Roman Catholic faith and baptised his son, Adaloald. A representation of the king appears on a helmet panel from Valdinievole, now in the Bargello, Florence. Stamped decoration in the form of a triangle with three dots inside was popular among Germanic tribes, used during the early and high Middle Ages.

Roundel with painted image of a winged and nimbate angel playing a gittern; left hand supporting the neck of the instrument and right hand manipulating a pointed plectrum; pegbox carved with a beast's head finial; silvered and deep red panels to complete the circular shape. 452 grams, 19 cm



French private collection. Private collection, Suffolk.

Roundel with painted image of the Corpus Christi having been taken down from the cross and prepared for burial; weeping mourners in the foreground, grave-diggers and cave of Golgotha behind, city walls in the distance. 365 grams, 23.5 cm



Private collection, South-West England. Ex central London gallery.

Rectangular with framework of lead cames; segmented borders and median band of vegetation in rich blue, yellow, rose-pink and other shades. 1.69 kg, 43.5 x 22 cm



with De Baecque Encheres, 14 April 2008, no.202 and 207 (part).

Roundel in a lead came frame, painted image of a winged and nimbate angel holding cymbals. 328 grams, 19.5 cm



French private collection. Private collection, Suffolk.

Rectangular panel with polychrome image depicting nimbate St. Thomas with a staff and advancing nimbate St. Helena with processional cross; with ornate border; likely from the Abbey of Steinfeld; in a robust wooden frame with fabric padding. 3.55 kg, 64.5 x 58 cm



Private collection nearby Coblenz, Germany. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.12037-212186.

Roundel in a modern lead frame with suspension loop; black and silver-stained scene of St. John in exile on the island of Patmos, sitting with quill and scroll in a rocky landscape and visited by a vision of Mary in a yellow vesica-shaped nimbus; two cracks repaired. 335 grams, 25 cm high



Private collection, Sussex, UK. Accompanied by a copy of an illustrated catalogue document.

Glazed square floor tile with cream-coloured image of a hog running with legs extended. 863 grams, 13.5 x 13.5 cm



Benjamin Proust, 2015. Ex central London gallery. Accompanied by a copy of a previous illustrated cataloguing document with references.

Group of six square floor tiles in red-on-white slip; design of a quadrant with bisecting line and florid scrolls repeating to form ornate circle motifs; mounted in a sturdy wooden frame. 3.39 kg, 34.5 x 23.5 cm



with Jean-Emmanuel Prunier, 15 April 2012, no.37. Accompanied by a previous catalogue information page.

Square tile with cream-coloured image of a hound running past a tree. 388 grams, 10.5 x 10.5 cm



with Woolley & Wallis Salisbury, 8 October 2013, no.299. Ex central London gallery. Accompanied by a copy of a previous cataloguing document with references.