Each a cuboid with ring-and-dot markings disposed 1:6, 2:5, 4:3. 3.8 grams total, 10 mm each



Ex German art market, 2000s. Acquired from an EU collector living in London. From the collection of a Surrey, UK, gentleman.

Fragments of wall plaster with rendered surface painted with mainly Pompeii red, pale blue and white detailing; some with impression of timber laths to the reverse. 613 grams total, 6.2-10.3 cm



Acquired in the 19th century. Ex Jeger collection, Switzerland. UK gallery, early 2000s.

These small fragments, for analogies with the fragments of Pompeii, seem to belong to the second style of Roman painting, red panels representing highlight and shadow, decorated with vegetal interlaces. Some panels were probably framed by a red grenade fillet. A fragment shows alternate blue and red colour over a cream background, maybe pertinent to a socle.

With intaglio running hound; chipped; supplied with a museum-quality impression. 0.53 grams, 11.01 mm



From the private collection of a European gentleman (1942-2024), formed since the 1970s.

With intaglio advancing figure with bow, arrow loosed; supplied with a museum-quality impression. 0.28 grams, 10.24 mm



From the private collection of a European gentleman (1942-2024), formed since the 1970s.

A mixed group of ceramic bullae, tesserae or theatre tokens bearing low-relief motifs, mainly consisting of profile busts of deities. 38 grams total, 15-20 mm



From the private collection of a European gentleman (1942-2024), formed since the 1970s.

The term 'tessera' was used in Roman times to convey the Greek term σύμβολον (token). Small tiles are known as tokens, often shaped like coins, made of metal (copper, lead, iron), clay, bone, wood, or glass, stamped as well as engraved. The tokens, however, are not exclusively coin-shaped, as the Latin term 'tessera' suggests by etymologically referring to a square or at least a four-sided shape and confirmed in several cases by material remains of the past. Tokens and tesserae seem to have been used both in Athens and Rome for the distribution of goods. According to written sources, the term token is identified with credentials of the official authorities. They have also been interpreted as tokens of identity, as entrance tickets to theatre performances, tribunals or assemblies of citizens, archival material of seal engraving, as pawns in games, Charon’s obols and even as amulets.

Comprising three pairs of tweezers, each with linear decoration and one with a suspension loop. 23.6 grams total, 54-75 mm



Ex German art market, 2000s. Acquired from an EU collector living in London. From the collection of a Surrey, UK, gentleman.

Longer tweezers with serrated ends served as an essential component of surgical instruments for better and safer grasping of human tissue. Some of them had gripping arms that widened considerably downwards.

Standing on a rectangular base with its head turned to the side, curving horns and fleece detailing on the body. 9.13 grams, 23.2 mm



From the private collection of a European gentleman (1942-2024), formed since the 1970s.

Slender body with balustered finial, a band of hatched herringbone decoration beneath the finial. 2.74 grams, 72 mm



Ex 'Neuburg' collection, Germany, 1970. with Gorny & Mosch, Munich, Germany. with Galerie Rhéa, Zurich, Switzerland.

Composed mainly of oblate beads with a conical pendant at the centre, restrung. 3.6 grams, 41 cm



Ex London, UK, collection, 1990s.

Modelled in the round with the head resting on the extended forepaws. 6.04 grams, 23.7 mm



From the private collection of a European gentleman (1942-2024), formed since the 1970s.

Composed of various beads in an alternating pattern, the central feature with larger beads, including a dark green polygonal bead, restrung. 10.7 grams, 32 cm



Ex London, UK, collection, 1990s.

Crescentic in form and square in section with recurved knop finials. 24.25 grams, 63.11 mm



From the private collection of a European gentleman (1942-2024), formed since the 1970s.