A cartonnage mummy mask covered with gesso and decorated with panels of gilding; the facial details modelled in the round and delineated in black pigment with white in the eyes; red outline band to the Nemes crown striped headcloth; professionally conserved.

A red-figure ceramic bell krater with pedestal base, bell-shaped body and broad everted rim; the rim with red ring to the interior and a band of vineleaves to the underside of the exterior; the body with two figural scenes separated by painted palmettes beneath the handles: Side A depicting a naked Asklepios with wreath in the hair and cloak to the right arm holding a frond, left hand holding a torch and serpent, Asklepios turning back towards a female (Epione?) who bears a similar frond and a dish with pellets above (droplets of poison from the serpent?), executed with restrained use of cream highlighting to the wreath, fronds, dish and headdress; Side B depicting two standing cloaked males, opposed, each with a staff in his extended hand, objects in the field.

A very large blackware skyphos with square loop handles and pedestal foot; wave and ovolo patterns to the rim, elaborate palmettes beneath the handles; Side A - a nude male standing beside an altar, ivy leaf in his right hand and dish in his left, ivy leaves and rosettes in the field, restrained use of ochre highlighting; Side B - a dancing female in a flowing robe advancing, a casket held in the left hand, rosettes and objects in the field.

A Campana relief sculpture of Victory sacrificing a bull, kneeling with her knee between that animal's shoulders, a knife in her right hand poised vertically above the bull's head, left hand extended to grip the bull's jaws; traces of red colour in the hair; mounted on a red plaster board.

A Campana relief sculpture of Victory sacrificing a bull, kneeling with a knife in her right hand, left arm extended to the bull's neck; traces of red colour in the hair; mounted on a red plaster board.

A Campana relief sculpture of Victory sacrificing a bull, wings spread behind her, kneeling with her left leg between the shoulders and holding the animal's jaws in her left hand; delivering the death-blow with a knife held vertically in her right hand; traces of red colour in the hair; mounted on a red plaster board.

A chip-carved gilt-bronze cruciform bow brooch with square headplate flanked by rectangular flanges; to the top and sides, three openwork panels each formed as a male mask with bird-heads developing from the beard; the central panel with billetted edging and quatrefoil motif; the bow deep with facetted corners and central stud; the footplate with quatrefoil motif and Style I animal lappets, a thick transverse triple collar and mask below, with peltoid panel and recurved bird-head terminals; to the reverse, the pin-lugs and catchplate flanking the bow, ferrous accretion from the pin; almost 100% of the original gilding remaining.

A hollow-cast pommel-cap, U-shaped in section with central hole to the upper face to accept the end of the sword's tang; the surface with three interlaced beasts modelled in high relief in Urnes Style, each biting its neighbour, two with a lentoid wing with one notched edge; raised border and D-shaped panels to the shorter edges.

A cast elliptical plaque, hollow to the reverse, with openwork design of two ravens pecking at the underside of a beast's head, with an inverted beast's head below, pierced.

A cast mount in the form of a galloping horse, its reins, crupper, girth and saddle all carefully delineated against the striped background; two mounting-lugs to the reverse.

A matched pair of scaphoid domed brooches, the precursor to the more elaborate two-part 'tortoise' brooches, each an elliptical dome decorated with a transverse band of ribbed decoration featuring four facing masks with pellet eyes; the outer fields with zoomorphic tendril designs edged by a ropework border; the outer flange bearing punched decoration, annular and linear; to the reverse of each, the integral pin-bar, thick catchplate and angled loop in place, one brooch with its pin, the loop provided for the attachment of a chain.

A matched pair of applied disc brooches, each a cast discoid plate with fabricated rim; inserted repoussé plaque with outer band of ropework, billetted band and six helmetted faces surrounding a rosette with central cabochon black glass stud; pin-lug and catchplate to the reverse.

A rectangular section of architectural stonework with a panel of three-cord interlace to one narrow face, chamfered border to one long edge and raised border to the other; later re-cut with a ledge to the reverse and rectangular socket cut through the interlace; mounted on a custom-made stand.

A thick flat-section hoop with vignettes to the exterior of the nimbate Christ with hand raised in benediction and Virgin and Child receiving a goblet from a kneeling supplicant, blackletter text between the scenes '+ mieu + mouri + qe + change + ma foy' (better to die than to change my faith); to the inner face in a similar hand '* ie done a voz mamour e soy pur/ense yne de loiaute' (I give to you my love and let it be a token of loyalty).

A flat-section hoop with blackletter legend within curlicues and flowers 'vous et nul autre' (you and no other).

A substantial D-section hoop cast in the form of intertwined snakes, the four heads supporting a discoid bezel set with a blue-purple irregular gemstone, drilled lengthwise for original use as a bead.

A cast vesica 'seal of office' matrix, with rib and suspension loop to rear; the incuse face depicting the Virgin Mary, holding the Christ Child enthroned beneath a Gothic arch, with supplicant figure, robed in habit, kneeling below, also below an arch; the seal bearing the peripheral inscription +S' ELEMOSINARII SCI AVGVSTI CANT (Seal of the Almoner of St Augustine of Canterbury) in Lombardic script; offered with a museum-quality impression and a printout of the PAS data record.

A slender hoop decorated to the outer face with interlaced knot, flower and heart motifs with traces of white, orange and green enamel; to the inner face, the legend in an italic hand 'Seale vr secrets' (with long initial 's').

A plain D-section hoop with inscribed text to the inner face in seriffed capitals '*MY [heart] and [eye] UNTIL I DIE*' with pictograms for heart and eye.

A carved marble figural architectural plaque, one of the central elements of a large and important chimney breast, with chamfered rear edges depicting Maenads in a Bacchic procession, the rear figure with vessel and a naked child behind.

Circa 430-410 BC, Attica. Obv: head of Athena right, wearing crested helmet, earring and necklace; bowl ornamented with spiral and three olive leaves. Rev: AQH with owl standing right, head facing; crescent to left; olive branch with two leaves and berry in upper left field, all within incuse square.

70-20 BC, southern style Qc 'Remic' type. Obv: wreath with hair band and 'hidden' face. Rev: triple-tailed horse with annulets and beaded mane; cogged sun below, spoked wheel above, smaller 'wheel' before and annulets around.

Circa 25 BC-5 AD, inscribed. Obv: plain with light banding. Rev: horse leaping right with bucranium above, serpent below and [DVBNOVALL]ANOS legend.

Dated 1658. Obv: profile bust with OLIVAR D G RP ANG SCO ET HIB & PRO legend. Rev: crowned arms with PAX QVAERITVR BELLO legend. Edge: raised +HAS NISI PERITVRVS MIHI ADIMAT NEMO legend.