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 gold looped links with corner-less oblong and biconvex lapis lazuli beads, hook-and-eye closure, centrepiece a flat sheet gold hoop with iridescent turquoise-coloured glass bead. 4.66 grams, 39 cm long



Private collection of Mr S.A., Switzerland, 1994, thence by descent.

With broad ellipsoid hoop and conical shoulders, squat disc bezel. 4.71 grams, 22.35 mm overall, 16.15 mm internal diameter (approximate size British F, USA 2 3/4, Europe 3.67, Japan 3)



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

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. 66 grams, 95 mm (137 grams total, 14.6 cm high including stand)



Ex Axel Guttmann collection of ancient arms and armour, Germany (1944-2001). with Christie's, Axel Guttmann collection of Ancient Arms and Armour, part 2, London, 28 April 2004, no.178 (part). European private collection. Exhibited at Harwich Museum, Harwich, Essex, UK, 3rd February-9th March 2024; accompanied by a copy of a photograph of the artefact on display. Accompanied by a copy of the Christie's online catalogue listing. Accompanied by copies of the relevant Das Spiel mit dem Tod, book pages. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.12049-211932.

Squat burnished pottery lamp with stub nozzle, high-relief scene of two lovers on a couch; maker's mark 'LMVNSVC' to the underside. 64 grams, 95 mm



From the collection of French archaeologist Suzanne Gozlan (1921-2022).

The lamp belongs to the Bailey type B group ii (Loeschke type IV), usually dated from Tiberian to Trajanic times. Erotic lamps were particularly popular before the Christianisation of the Roman Empire. Roman sexuality differed considerably from later Christian European attitudes. Roman religion promoted sexuality as one of the fundamental aspects of prosperity for the entire state; individuals could turn to private religious practice, or even magic, to improve their erotic life or health and reproductive capacity; moreover, prostitution in ancient Rome was legal, public and widespread. Artistic subjects that today we would define without hesitation as pornography, were present among the art collections of the most respectable and high status Roman families.

With a long canal nozzle with volutes, discus with one filling hole and three concentric lines enclosing a central scene of Leda and the swan, softly rendered anatomical details and carefully modelled plumage; two old stickers to base. 74 grams, 11.7 cm



From the collection of Arno Jumpertz, Leverkusen, Germany, 1924-1984; much of the collection was exhibited at the Neus Museum, 1985. Accompanied by a previous catalogue information slip.

The lamp's style refers to the Loeschcke type I, a style popular during the Augustan and Imperial times.

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 a highly formulaic legal language, confirmed between heirs and elders (heredes et seniores), negotiated on an estate called Rascotiano; one edge irregular, pierced for addition of a thong or string. 23.7 grams, 12.3 x 12.5 cm



From an important London collection since 1975. Accompanied by a collection of eighteen 1970s photographs of the the tablet.

The contract follows standard Roman legal formulae.

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. 40 grams, 15.1 x 13.9 cm



From an important London collection since 1975. Accompanied by a collection of two 1970s photographs of the the tablet.

The contract follows standard Roman legal formulae.

Carved with a rounded face and small mouth, hair arranged in neat curls with central partition; mounted on a custom-made display stand. 7.1 kg total, 29 cm including stand



From a private French collection. Acquired in France before 1993. From the personal collection of Gordon Gridley. Gordon Gridley was a founding member of the Camden Passage antique dealers’ association. Trading in antiques from the late 1960s, he opened his first shop in 1971 and remained a well-known and respected figure in the antiques world until his retirement.

The goddess Tyche or Cybele with a facing female bust wearing a mural crown, braided hair cascading to the sides, high-relief lenticular eyes, and small slit mouth, two iron fixing rivets; the lower part with detailed necklace of pendants, catena decorative chain, lateral braids, ferrous fixture; old collector's label 'BR.APP.064' to verso; repaired and mounted on a custom-made display stand. 3.66 kg total, 20.5 cm including stand



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

The crown that characterises the bronze applique (corona muralis = wall crown) was a military decoration using symbolism from the Hellenistic age. Often associated with Tyche (Fortuna), the crown was also an attribute of the goddess Cybele, particularly when made of wood. However, the presence of a necklace similar to a late Roman statuette of Tyche at the Metropolitan Museum of Art seems to point more to the first identification. This bronze applique was probably used as decoration for a chariot used in a procession for the goddess, or as a furniture decoration.

From a relief with hair centre-parted and drawn back from the face, gathered at the nape in a chignon; rounded face with soft features, drilled eyes and nostrils; mounted on a custom-made stand. 523 grams total, 78 mm high (12.7 cm high including stand)



London art market, 2000s. Property of a London gentleman.

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. 8 kg total, 28.5 cm including stand



Private Germany collection, 1981. with Gorny and Mosch, 19 June 2013, no.3. Ex A.S.collection, Florida, USA. 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.12085-214457.

The head is a Roman copy of a Hellenistic original, of ‘Palazzo Pitti/Wilton House’ type depicting Hercules wearing the skin of the Nemean lion with the paws of the lion crossed upon the breast, his left arm holding the club and the right hand holding the golden apples of Hesperides. The representation of a slight movement of the head also shows elements of the Lysippean Antalya-Borghese type (example from the Archaeological Museum of Naples with the head covered by the Nemean lion skin).

Possibly depicting Laetitia, the goddess of joy, standing in a contrapposto pose with left arm resting on an anchor, right arm aloft; wearing a chiton and himation, feet emerging from underneath the hem; lower part of a chignon visible on the back; repaired. 146 kg, 104 cm



From a private French collection. Acquired in France before 1993. From the personal collection of Gordon Gridley. Gordon Gridley was a founding member of the Camden Passage antique dealers’ association. Trading in antiques from the late 1960s, he opened his first shop in 1971 and remained a well-known and respected figure in the antiques world until his retirement. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.12087-214012.