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.

Matched pair of earrings, each a head of Eros developing to a conical neck with applied filigree trails, coil to the curved shank. 4.02 grams total, 20 mm each



Private collection of Mr S.A., Switzerland, 1990s, thence by descent. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.12111-211866.

With D-section hollow-formed hoop and flared ellipsoid bezel, set with a Roman intaglio depicting a war galley under sail. 7.51 grams, 24 56 mm overall, 18.18 mm internal diameter (approximate size British P 1/2, USA 7 3/4, Europe 16.86, Japan 16)



Old private collection, 1970-1980. Private collection of Mr S.A., Switzerland, 1990s, thence by descent. 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 no.12122-211870.

Comprising two matching solid hoops with expanding shoulders, each set with a dark blue nicolo intaglio, one bearing a profile bust of a young Hercules, and the other with a profile bust of a woman wearing a taenia or a wreath on her head. 12.83 grams total, 20.25 mm overall, 15.50 mm internal diameter (approximate size British G, USA 3 1/4, Europe 4.92, Japan 4) 20.86 mm overall, 16.35 mm internal diameter (approximate size British H, USA 3 3/4, Europe 6.18, Japan 6)



From the private collection of the late A.B., London, UK; acquired before 1989. Accompanied from an archaeological report of Dr. Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12006-213034.

The iconography here is simple, possibly referring to a married couple, or to important public persons. The 5th century Roman writer Macrobius wrote that the engagement ring was worn on the fourth finger. Legend has it that the vena amoris, literally the ‘vein of love’, ran from the heart to the fourth finger of the left hand. Gemstones and fancy embellishments have been found in Roman rings of every age, although usually for engagement or wedding rings the iconography of clasped hands, symbolising the ‘fides’ among the spouses, was used. Intaglio portraits were engraved into a large variety of stones but nicolo, carnelian and red jasper were generally the most popular for imperial portraits or for the members of the imperial family.

With a grooved hoop, round bezel with flared rim, set with a cabochon engraved with profile bust of Roma wearing a crested helmet. 4.50 grams, 24.32 mm overall, 20.69 mm internal diameter (approximate size British N 1/2, USA 6 3/4, Europe 14.35, Japan 13)



Acquired from London galleries during the 1990s. From the jewellery collection of a London, UK, gentleman. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.12110-214298.

Both the ring and the gem show characteristic compatible with 1st century B.C.-1st century A.D. dating. Some scholars identify the female head with a theatre mask, but here the strong profile and the helmet points to the goddess Rome, a divine personification of the eternal city.

The tapering gemstone with attractive brown and white banding, intaglio motif of a rearing serpent flanking reversed letters T and C, the body coiled and forming an infinity sign; set in an eastern medieval gold ring with a keeled hollow-form hoop of heavy construction, and applied stepped bezel. 12.73 grams, 31.46 mm overall, 18.56 mm internal diameter (approximate size British P , USA 7 1/2, Europe 16.23, Japan 15)



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.12107-214337.

The image on the gemstone can refer to a simplified representation of the radiant serpent-god Chnoubis, invoked to cure stomach ache and heartburn. According to the Greek physician Galen, when worn as an amulet, it benefitted the stomach and the oesophagus.

Polished to an oval shape, engraved with eight theatre masks in two rows; one row with three tragic masks in profile, one depicting a satyr, and a tragic mask of an old man shown frontally; the opposing row with a tragic mask of an old man in profile, a Bacchus mask, a mask of a bearded man wearing a cap shown in three-quarter view, and a mask of a young hero facing the centre. 2.51 grams, 22.02 mm



From the collection of a late London, UK, gentleman, 1980s. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.12033-214124.

The masks represented seem to be relevant to the typologies of the 'new comedy', an image that appears on cameos and gems since the Augustan era.

Comprising an oval cell with an applied suspension loop and three coiled drops below; set with a garnet cabochon engraved with a winged figure of the goddess Victoria (Victory), wearing a plumed helmet and holding arrows in her extended hand; stone cracked. 4.59 grams, 34 mm



Acquired from Royal Athena Gallery. From a major London, UK, collection, 1970s. Ex property of a North London, UK, gentleman. Accompanied by a previous catalogue information slip.

The winged goddess of victory not only represented a specific deity, but for the Romans she was the symbol of Rome's invincibility. She was not only the emperor's permanent companion but his guarantee for his success in military campaigns. For this reason she was frequently represented on monuments, standards and on coins, gems and statuettes.

With stepped shoulders and ellipsoid bezel open to the underside, replaced hoop, inset amethyst intaglio depicting Mercury giving the infant Bacchus to the Nymphs; stone broken. 16.40 grams, 24.07 mm overall, 17.91 mm internal diameter (approximate size British M, USA 6, Europe 12.46, Japan 12)



Acquired on the London art market in the 1990s. Thence by descent. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.12108-212230.

Comprising a D-section hoop with angled shoulders; applied gold sheet with hatched border to the bezel, set with a dark set carnelian intaglio engraved with a monogram 'ΚΑΛΟΥ' (of him who is virtuous, beautiful). 6.42 grams, 22.80 mm overall, 16.58 mm internal diameter (approximate size British E, USA 2 1/4, Europe 2.41, Japan 2)



Property of a North American gallery since the 1990s.

This category of silver rings, with rounded shoulders is characteristic of the 3rd century A.D. This is also supported by the dating of the Sliven treasury, a grave find with coins dated to the 2nd-3rd century A.D., where a high conically cut gem decorated with the image of Helios was found on a similar ring, with a high bezel (like here) decorated in its oblique part with oblique hatches resembling pearl-like cord.

Bow brooch with hollow-formed head, foot and bow; the head formed as the head of a goat; bow enclosing an annular amber panel. 12.42 grams, 75 mm



Private collection of Mr S.A., Switzerland, 1990s, thence by descent.

With a heavy round-section hoop thickened at the base, lentoid bezel with ropework border and two opposing cockerels. 14.42 grams, 24.86 mm overall, 17.53 mm internal diameter (approximate size British P 1/2, USA 7 3/4, Europe 16.86, Japan 16)



Believed to have been acquired at Christie's. Property of a North American gallery. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.12109-214332.

Trichinopoly chain with hook-and-eye closure, ball pendant with beaded wire collar. 15.02 grams, 36.5 cm long



From the collection of a Cambridgeshire lady, UK, 1990s.

The chain is composed of links in the form of pairs of broad, ribbed bands soldered together at a right angle. It is of fine loop-in-loop construction, terminating on one side in a ribbed cap with loops. The chain of ribbed loops placed at right angles is one of several popular varieties introduced in the late Roman period. The ball pendant was very common in Graeco-Roman times, substituted by Christian symbols during the late empire.