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.

Piriform body with thick ribs to the shoulder and impressed panels between, domed filler-hole, intended to be filled with explosive liquid and wick, used as a hand grenade. 708 grams, 15 cm



Acquired 1980-2015. Ex Abelita family collection. Accompanied by an academic paper by military specialist Dr Raffaele D'Amato, dated 15 July 2019 and titled 'Eastern Roman Empire - Greek Fire Bomb or Hand Grenade (μεσαίον kακάβιον) 9th-11th century AD'.

Apart from the use of siphons or manual flame-throwers called cheirosiphona, special corps of Roman soldiers employed terracotta grenades, in the form of small jars, abundantly evidenced in archaeological excavations. They were called μεσαία kακαβιά or κυτροκακάβια where the former had a bulbous shape and the latter a more cylindrical form.

Mixed group of lead-alloy musket and carbine balls,some with casting seam and sprue nipple. 1.57 kg total, 9-19 mm



Found Hertfordshire, UK.

A Belgian-made six-shot, 5mm double action Lefaucheux type pinfire purse revolver with 52mm rifled barrel, loading gate and extractor rod to right of frame, nickel plated, folding trigger, grip scales absent; Liege proof marks to cylinder; contained in the original leather-covered twin hinged compartment purse case, one side velvet lined and moulded to receive revolver, the other with leather compartments to receive lady's accessories. 143 grams, 14cm long

Fine condition; some wear to plating and case loose. Scarce.

Acquired from J. C. Militaria. Ex property of a Kent collector.

Sold as an exempt item under Section 58 (2) of the Firearms Act, 1968, to be held as a curiosity or ornament. No license required but buyer must be over 18 years of age.

With tapering socket and flared rim to the mouth, vertical axe-blade with curved cutting edge, horizontal adze blade of similar proportions. 1.14 kg, 24 cm



Acquired 1980-2015. Ex Abelita family collection.

The earliest axe-adzes from the 3rd millennium B.C. were weapons and tools furnished with socketted holes. Usually the socket is a more secure way of attaching the object to a wooden haft than having a tang. These weapons developed into a range of different forms in the 2nd millennium B.C., which were used until at least 800 B.C.

Iron shoe with lateral curved plates and vertical bar to the front, rear panel with hooked spur for attachment. 350 grams, 16.5 cm



From a collection acquired on the UK art market from various auction houses and collections mostly before 2000. From an important Cambridgeshire estate; thence by descent.

Hipposandals (soleae ferreae) were used on horses with injured hooves, a sort of equine orthopaedic shoe used by the mulomedicus, i.e. a Roman military veterinarian. Another important function was that to protect the hooves of the horse from injuries and damages from hard objects. The hipposandal of type 1 was formed from a sub-oval plate which tapered towards the front and rear with projections at the front, back and on either side. The heel was upturned at about 45 degrees and flared outwards. It would have terminated with a downward facing hook, now missing. The base of the sole was flat.

Comprising three triangular arrowheads with raised midribs and long stems; mounted on a custom-made display stand. 135 grams total, 16.5 cm including stand



Acquired in the 1990s. From the private collection of John Lawton, Surrey, UK.

Comprising ten slender tanged arrowheads, javelin heads and daggers, some lozenge-section and some with raised midribs. 329 grams total, 14-21.5 cm



Acquired 1980-2015. Ex Abelita family collection.

Most of these blades are bipartite, but the definition of the bipartite type is not absolute as it brings together weapons of very different and unrelated designs. In fact, some weapons do not have a sufficiently characteristic shape to be interpreted as a spear, dagger, or long arrowhead. The javelin heads classified by Gernez as type Type L 3 are characterized by the simplicity of their design. They have a sharp and/or pointed active part, a flat, elliptical or rhomboidal cross-section and an elongated tang with a rectangular, square or circular section, ending in a pointed, widened, curved or folded blade.

Group of ninty-nine lead musket and pistol balls. 2.08 kg total, 12-18 mm



UK gallery, early 2000s.

With foliate head and short tubular socketted shaft. 119 grams total, 15 cm



Ex German collection, Cologne, 1980-1990s.

Snodgrass assigns the Athenian iron spearheads to the type A, i.e. spearheads with a leaf-shaped blade, a long socket and a midrib running to the tip. The bronze ones were assigned to typologies C – small, with a leaf-shaped blade (like the present specimen) - and D – with the socket as long as the blade, rounded shoulders and pronounced midrib. Both socket types were beaten round a cylindrical bar, a conservative method to produce bronze sockets even if the head was made of iron.

Lenticular in section, leaf-shaped in plan with rectangular block to the shoulder and threaded tang. 447 grams, 37 cm



From an old English collection formed in the 1980s. Property of an Essex gentleman; acquired on the UK art market.

With plain globular body, extended to a small raised ring encircling the top of the mace-head, circular short shaft expanding to a circular flat base. 279 grams, 70 mm high



Acquired 1980-2015. Ex Abelita family collection.

Caucasian stone and bronze maces were distinguished by modestly finished, clean processed and predominantly close-to-ball shapes (with a variety of surface finishing, ranging from the smooth, ribbed, lobular forms to the rounded with protrusions and spikes), and the Western Iranian maces, especially the Luristan ones, notable for the variety of different forms. Similar mace-heads, probably realised in Luristan, decorated the head of the sceptres of Assyrian kings like Tukulti-Ninurta I (1243-1207 B.C.).

Egg-shaped with spiked sleeves or prongs, the top of the weapon with a narrow edge, the sleeves with small internal tangs for mounting. 127 grams, 10.1 cm



Acquired 1980-2015. Ex Abelita family collection.

The 'claw mace' was an enigmatic ancient bronze weapon from the Bronze Age Near East. The hollow bulbous head was trailed by tines of varying lengths. It is believed that it was affixed over a wooden shaft and used like a club in combat, and not necessarily used as ceremonial weapon. The knife edge bulb end could have broken bones and proven to be a formidable striking weapon requiring no skill to wield. The tines would have not only been decorative, but have served to add strength below the striking end to prevent breakage. In battle, maces were often used by commanders to display rank when giving orders in battle and leading soldiers, inspiring leadership and power.