Carved in the half-round in three-quarter view, youthful male head with stern features, hair gathered in a browband, horns to the brow; from a frieze or relief; mounted on a custom-made stand.

Carved in the round with thick wreath of laurel leaves to the brow, short tousled hair, stern face with thick jaw; mounted on a custom-made stand.

Standing contrapposto with his weight on his right leg and the left leg brought slightly forward; the musculature of the torso displaying well-defined pectoral muscles, prominent abdominal muscles and wide shoulders, the back with equally toned musculature and well-formed rounded buttocks; the veining of the marble accentuating the idealised anatomy; the now-absent head was most probably turned towards the supporting leg and the left arm would have been raised; mounted on a custom-made display stand.

A high-status green chalcedony seal with frieze depicting a seated figure in horned headdress facing a standing figure with arms outstretched, small monkey to the legs; six columns of Akkadian cuneiform text transliterated as: 1. ki-di-nu UGULA KUŠ-MEŠ 2. GAL šà tan-dru-hu- 3. ra-te-er EŠŠANA šu-ši 4. u an-za-an ARAD 5. šà dha-te-ri-iš 6. šak(?) ì-lí-šu 'Kidinu, chief overseer of the equerries(?) of Tan-Ruhurater, King of Susa and Anzan, servant of Haterishshak, his god'. The seal's owner was an official of King Tan-Ruhurater II (circa 1450 B.C.), king of Susa and Anzan. The title used to describe Kidinu is sometimes translated 'high official', elsewhere 'horse groom' or 'animal trainer'; the Elamite deity Haterish is otherwise unknown.

A substantial torch bearer depicting a male lion or panther standing with legs firmly planted on a rectangular base, tail extending to the ground, with a massive circular shaped armature or candelabra issuing from its back and wearing an elaborate muzzle, the eyes retaining shell inlay with a circular hollow for the pupils; to the right of the beast a kneeling nude male wearing a large belt-armour and a diadem, eyes inlaid, left hand extended to the side and holding the lion's leash.

Drum-shaped jar with slightly flared shoulder, raised rim to the mouth; bands of painted decoration including alternating horseshoe panels to the shoulder, frieze of fishes to the sidewall. 300 grams, 13.3 cm



Ex London, UK, gallery, 1971-early 2000s. Accompanied by an original thermoluminescence analysis report no.N111m55 from Oxford Authentication.

Small vessel with slightly convergent sidewall, and flared lip, carinated profile; painted band of conjoined roundels. 81 grams, 79 mm



Acquired from Alexander Gotz, London, UK. Ex M Scyoyen collection, Norway, collection no.38.

Biconvex in profile with slightly stepped rim, basal ring; to the shoulder, a dense pattern of interlocking steps or meander in two rows. 532 grams, 19 cm wide



Acquired from Alexander Gotz, London, UK. Ex M Scyoyen collection, Norway, collection no.20.

Group of three simians with exaggerated facial features, each with a stub tail; each mounted on a custom-made display stand. 247 grams total, 9.9-10.4 cm including stand



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.

Bell-shaped in profile with painted horizontal bands, scale pattern below. 290 grams, 12 cm



Acquired 1990s-2000s. From the late David Gold (d.2015) collection of pottery.

David Gold and his brother were famous for setting up the first clothes shop in Carnaby Street and dressed the famous in the swinging 1960s, making Carnaby Street famous.

Finely carved with repeating foliate and geometric designs on top and sides; the hinged lid set with a silver mount engraved with initials 'M H'; repaired. 2.3 kg, 35 x 20.5 x 14.3 cm



Acquired from the UK art market. Private Scottish collection.

Composed of restrung graduated and polished beads, each etched with a white geometric design on both faces. 12.1 grams, 50 cm long



UK gallery, early 2000s.

Etched carnelian beads are characteristic of the Indus Valley culture and have been produced since the third millennium B.C. They are a typical product of the Harappa culture, but they are also attested in later millennia and produced elsewhere in Southeast Asia. The oldest specimens come from the Indus Valley and from Mesopotamia. A few specimens were found in the so-called royal cemetery of Ur, where they were identified in the excavation publication as coming from India.

Architectural feature carved from a rectangular block with texture detailing to the mane and facial features; rear face degraded. 1.69 kg, 18.2 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.

Rectangular in plan with incuse image of an ox beside a tree, objects in the field. 14.3 grams, 37 mm



Acquired on the Paris art market in 1989. From the personal collection of a West London, UK, gentleman.

Rectangular panel with rosettes to the lateral borders; frieze with seated Buddha on a dais flanked by attendants. 4.73 kg, 31 cm wide



Acquired in the early 1980s. Private collection, North London, UK. From the private collection of Mr David Barker, London, UK; thence by descent.

Bell-shaped with basal ring, frieze of fishes to the sidewall and zigzag above. 145 grams, 10 cm



Ex London, UK, gallery, 1971-early 2000s. Accompanied by an original thermoluminescence analysis report no.N111m58 from Oxford Authentication.

Funicular in profile with thick base, horizontal bands of punched fronds, hatched bands, pointillé leaves and other motifs; white metal rings to mouth and base. 489 grams, 17.5 cm



Acquired from the UK art market. Private Scottish collection.