Ellipsoid in plan with reserved image of the Annunciation and a frond. 2.3 grams, 25 mm

Formerly in the collection of Michael Dennis O'Hara, 1970.
From the private collection of the late Alison Barker, a retired barrister, formed 1970-1990.
Ex North American collection.

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.12401-226381.

Cf. Darkevich, V.P., Secular Art of Byzantium, Moscow, 1975, p.42, for a comparable style of female bust of a similar date.

The cameo represents the well known episode of the Gospel of Saint Luke (1.26.38), where the Archangel Gabriel brings Virgin Mary the news of her pregnancy.

Bifacial lead plaque with figurative decoration: obverse with Saint George, nimbate, on his horse killing a fallen foe with his spear; 'ΓΕΟΡΓ' label above the horse's neck, raised border with pellets and pellet clusters; reverse with relief pattern of a double circle decorated with double arcs forming a cross pellet to the centre. 48.8 grams, 64 mm

Private collection Mr S.A., Switzerland, before 1992, thence by descent.

Cf. Wamser, L., Die Welt von Byzanz - Europas Östliches Erbe, München, 2004, items 239-240, for similar type in lead.

According to the Christian tradition, Saint George would have lived between the end of the 3rd century and the beginning of the 4th century: born into a noble Christian family, he became an officer in the Roman army and was then named a prefect by Diocletian. But when the same emperor decided to resume the persecutions, Saint George became a victim despite his important political rank. His role in the development of the faith is so important that he is included among the Great Martyrs of the Eastern Church and his fight against the dragon becomes a symbol par excellence of the fight for Good which defeats Evil. In the Christian symbolism of the Middle Ages, the circle, a perfect geometric shape which has neither beginning nor end, designates the universe whose centre is the source and thus evokes Jesus.

Depicting a female figure with elaborately tied hairstyle, semi-naturalistic facial and anatomical detailing and geometric detailing to the garment wrapped around her lower body; stub arms; copper-alloy rivets to the shoulders. 77 grams, 19 cm high

with a London, UK gallery, 1971-early 2000s.

See The British Museum, museum number 1853,1219.60, for a comparable (partial) figure.

With a rectangular body and loop handle, the underside with a Menorah on a tripod base, a shofar on the left, a lulav and a shovel to the right. 46.3 grams, 59 mm

From a private family collection formed since the early 19th century, thence by descent.
Property of a New Zealand legal professional.

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.12324-223712.

Cf. Grossman, C., The Collector's Room: Selections from the Michael and Judy Steinhardt Collection, New York, 1993, no.104; Friedenberg, D.M., ‘The Evolution and Uses of Jewish Byzantine Stamp Seals’, in The Journal of the Walters Art Gallery, vol. 52/53, 1994/1995, p. 11, no. 3; see also a similar stamp auctioned in Christie's, Antiquities, New York, 13 Dec 2013, New York, 2013, lot.167.

According to Friedenberg and A. Reifenberg, unlike the Roman Christian counterparts, stamps such as the present example were likely used on the stoppers of wine amphorae rather than to stamp bread. They were used to seal the wine amphora to guarantee the purity of the wine as sanctioned by the Talmud.

Square panel with three figures modelled in the half-round - Isis Fortuna with a rudder, Minerva with a spear, Nona with a drop-spindle; to the reverse, lozenge within a ring with enigmatic 'VIKΠΔ' legend (bungled, for 'LIBRA'?). 78.7 grams, 38 mm

From the collection of a gentleman, acquired on the London art market in the 1990s.

See Gale Brown, H., A study of lead ingot cargoes from ancient Mediterranean Shipwrecks, Vermont, 2011.

With a barrel-shaped body, domed shoulder, everted neck, band of high-relief disc with fluting, crenellated base; conical lid with spike handle and applied rim. 58 grams, 92 mm

Acquired 1960s-1970s.
From the estate of a Sheffield, UK, lady, thence by descent.

Cf. The Metropolitan Museum, accession number 2000.5a, b, for a bone pyxis of similar form.

Carved black marble disc with flat edge and biconical faces; mounted on a custom-made stand. 57.7 kg total, 58.5 cm including stand

with Gallery Rosen Ancient Art, Tel Aviv, 1969.
Ex London, UK, gallery, 1971-early 2000s.
London, UK, collection.

This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12403-225384.

See Vidale, M., Treasures from the Oxus: The Art and Civilisation of Central Asia, London, 2017, pp.44-51, figs.41-45, for a variety of stone ritual objects in different shapes.

Formed as a tapering column with flared base, shallow slot to the upper face, horizontal bands of scales and foliage. 2.69 kg, 19 cm

Ex London, UK, gallery, 1971-early 2000s.
with Kallos Gallery, London, UK.

See the Metropolitan Museum of Art, New York, Ancient Near Eastern Art, no.39, for similar.

Matched pair of beads, each a fish with triangular dorsal fin, carved scale and eye detailing, pierced longitudinally. 2.48 grams total, 20-21 mm

with Gallery Rosen Ancient Art, Tel Aviv, 1968.
with a London, UK gallery, 1971-early 2000s.

Accompanied by a copy of the original 1968 invoice.

Drum-shaped in profile with running guilloche to the rim, obverse with low-relief figure of a crouching woman with braided hair, one hand raised; reverse with similar image. 49.8 grams, 40 mm

with Gallery Rosen Ancient Art, Tel Aviv, 1968.
with a London, UK gallery, 1971-early 2000s.

Accompanied by a copy of the original 1968 invoice.
This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12406-225341.

See Pottier, M. H., Matérial Funéraire de la Bactriane Méridoniale de l'Âge de Bronze, Paris, 1984, pp.99.

Drum-shaped in profile with running guilloche to the rim, obverse with low-relief figure of a crouching man between addorsed gryphons; reverse with crouching anguiped between lion-heads and regardant birds. 43.6 grams, 50 mm

with Gallery Rosen Ancient Art, Tel Aviv, 1968.
with a London, UK gallery, 1971-early 2000s.

Accompanied by a copy of the original 1968 invoice.
This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12407-225342.

See Pottier, M. H., Matérial Funéraire de la Bactriane Méridoniale de l'Âge de Bronze, Paris, 1984, pp.99.

Drum-shaped in profile with running guilloche to the rim, obverse with low-relief figure of a regardant bird with bearded head of a man; reverse with regardant figure of a crouching lion with similar bearded head. 46.5 grams, 40 mm

with Gallery Rosen Ancient Art, Tel Aviv, 1968.
with a London, UK gallery, 1971-early 2000s.

Accompanied by a copy of the original 1968 invoice.
This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12408-225343.

See Pottier, M. H., Matérial Funéraire de la Bactriane Méridoniale de l'Âge de Bronze, Paris, 1984, pp.99.