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.

With narrow pointed blade and wide raised flange down centre, straight sides, well marked shoulders with wide tang, one upper hole for rivet. 149 grams total, 21 cm high including stand



From the possessions of a member of a German princely family, gathered in the late 19th century, until the 1930s. with Auction House CUSP, Vienna, Auction Antique Art from Asia and from the Eastern Mediterranean, 16 June 2012, lot 75 [Part].

The type was technically more advanced than previous types of blades in the Near East due to its shape and its slightly convex sides widening out near the point, which combined the advantages of the leaf-shaped and straight-sided forms.

A hollow ceramic vessel with cylindrical body, carinated shoulder, short neck and domed mouth; intended to be filled with explosive liquid and a wick, and used as a hand grenade. 519 grams, 17 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'.

This piece was a sort of ceramic fire grenade, similar to the ones used by the Eastern Romans but of Turco-Mongol type. Apart from the use of manual flame-throwers, special corps of soldiers employed terracotta grenades, in the form of small jars, abundantly evidenced in archaeological excavations.

Mixed group of lead-alloy musket and carbine balls, some with casting seam and sprue nipple. 1.74 kg total, 9-19 mm



Found Hertfordshire, UK.

Substantial cast cupola with dimple to the apex, reverse with two ferrous attachment spikes; possibly from a field artillery piece. 174 grams total, 74 mm wide



Reputed to have been excavated near Viables in Hampshire at the end of the 19th century. From the estate of the late Jennifer Simmonds. Acquired from Jacobs & Hunt auctioneers, Petersfield, Hampshire, UK.

Comprising a globular flail head with large suspension loop above and sixteen spiked projections to the sides. 829 grams, 89 mm



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.

The medieval flail was a weapon mainly used in Eastern Europe, probably created among the Steppe people and used by the Mongols, adopted by the Slavic people under the name of kisten. Such a weapon probably saw little use in Western Europe, where it is first represented in the 14th century in a fresco depicting the battle of Nineveh painted by Piero della Francesca, as a chain with three maceheads. In the poem Le Chevalier Délibéré written by Olivier de la Marche and published in 1486, there is an engraving representing a knight carrying a rather simple morning star with asymmetrically mounted quills and a single-ball flail of quills. It is thought that in the Middle Ages the nailed mace in general was used to break through and dismantle the armour of enemies who were then 'finished' with swords or daggers.

With curved edge to the blade, square chin and scooped underside, rounded socket. 390 grams, 15 cm



From the private collection of a London gentleman, from his grandfather's collection formed before the early 1970s.

With D-section arms, attachment loop, prick spur with two bands of applied studs. 150 grams, 18 cm



Ex B Posey collection, 1990s. Ex Den of Antiquity, Cambridgeshire, UK. Accompanied by a dealer's catalogue information card.

With triangular-section long blade extending to a socket with small lateral flanges and rectangular extension to the rear. 229 grams, 12.6 cm



Property of London businessman, from his grandfather's collection after WW2; thence by family descent. From the private collection of John Lawton, Surrey, UK. Accompanied by a copy of a previous catalogue information page.

Comprising arrowheads of various types, mainly leaf-shaped and barbed types, with midribs. 216 grams total, 12.2 - 18 cm



Acquired 1990s. From the collection of a late Japanese weaponry collector.

The barbed arrowhead seems to belong to the type V, subcategory type C, according to the classification of Khorasani and Negahban. In the four categories of triangular bronze arrowheads from Luristan, Marlik and Northern Iran individuated by Negahban, subtypes C and D of type V are larger arrow or javelin heads, C large triangular arrowheads with barbed shoulders and D with lanceolate shape and rounded midrib. The straight shoulders recalls a Marlik typology (see Khorasani, 2006, p.307, fig.379).

With lateral curved plates and scrolled bar to the front, rear panel with hooked spur for attachment. 617 grams, 21 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.

Mainly tanged examples of barbed and leaf-shaped types. 220 grams total, 7.5-13.6 cm



Acquired 1990s. From the collection of a late Japanese weaponry collector.

Although some of them are different in shape, these arrowheads are apparently related types of a polythetic group. Two basic deltoid forms are represented: one has a sharp, flat blade, the ends of which extend to form wings or barbs, and a prominent midrib extending into a long tang that often has a stop; the blade shape varies from deltoid to more manifestly triangular. The other form has no barbs, but it has a prominent midrib extending to the tang, and a narrow leaf-shaped blade.

Each side rising to a pointed ridge, curved tang for attaching to a shaft. 1.06 kg, 73 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.

The characteristic point is the hooked tang, the end of which was fitted with a button. The spear was inserted into a wooden barrel and then held in place with a series of leather laces (Gernez, 2007, p.312).