A bronze figurine of a pouncing panther with forelegs extended, tail curled around the left rear leg, head erect with mouth open; fur texture to the body and limbs, swathe of coiled foliage and tendrils to the neck, tufts of fur to the mane and chin; possibly a handle, executed in Hellenistic style.

A large oval cameo of smoky quartz displaying the head of the Gorgon Medusa in high relief studied by Professor Dr. Bernhard Overbeck of Staatlichen Münzsammlung Munich (Hellenistic period, later Augustus); finely carved facial features and eyebrows, abundant hair twisted and formed into wavy locks flanked by wings to the temples; snakes beneath the chin forming a Herculean knot; in an old silver mount.

A bifacial wooden tabula made from atlas pine or cedarwood, with seventeen lines of Roman cursive script in black ink to the recess of one face, forming part (one third) of the testament of Julius Pompeianus, in favour of his sons Iulius Ianuarius and Iulis Iahin and his daughter Iulia Victorina; the long edges pierced with two holes each to allow attachment to adjoining tablets with cords; supplied with a detailed academic report (in German, with an English translation), including a full transcription of the text; this reading, for the first three sentences: 1) Post co(n)ss(ulatum) dd(ominorum) nn(ostrorum duorum) Constanti II et Constatis Augg(ustorum) pri- 2) die idus Apriles. Iulius Pompeianus ex fundo Thurgen- 3)TE ++QDE+LI in QVINTARIV, sana mente sanaque memo- 4) ria testamentum feci The whole text transliterating to English as: 'After the consulates of both Constantius II and Constans, the Augusti, a day before the ides of April (= 12 April 340 AD). I, Iulius Pompeianus from the estate of Thurgens that are located in quintario, a testament I have written with sane (sound mind) and (clear) memory. And this I had to [a document consisting of] three panels with smooth sides, they are inscribed with ink writing. Because I do not have the Testament Code to hand, I have dictated to Iulius Praianus, my friend, and after seeing it read, I have had it sealed by me. And if I in due course I will have returned to my death of nature, then you shall, Iulius Ianuarius and Iulius Iahin and my daughter Victorina, my dearest, be my heirs to my total assets. The others, men and women, are not heirs. This under the condition that should my daughter Iulia Victorina have died (before me), her brothers Iulius Ianuarius and Iulius Iahin shall have her share. The remaining, both men and women, all to be disinherited. All I through this my Testament would have given what I paid...'

A marble portrait head of a noble Julio-Claudian boy, possibly the prince Gaius Caesar, with short hair falling in delicately incised waves, deep-set eyes, small, full lips and a distinctive, narrow chin; supplied with a custom-made stand.

A gilt-bronze box brooch formed as a hollow drum-shaped casting with ornament to the obverse and sidewall; the high-relief designs comprising three radiating panels of Oseberg Style 'gripping-beast' motifs with a dome at the centre and three to the beaded border; the slightly sloping sidewall with four panels of S-shaped animals with interlaced tendrils, separated by beaded borders; to the reverse, the perimeter flange supported by two integral blocks supporting the catchplate and pin-hole respectively, the latter damaged and replaced by a second offset hole.

A flat-section gold hoop formed as seven rectangular plaques and a larger bezel; the lateral plaques each with an incised expanding-arm cross; one shoulder with pointillé border and profile nimbate bust, bearded, holding a cross before the face, 'Διις' beside the cross, 'ΙωΝ' (Iohannis, John) behind; the other shoulder with pointillé border and profile nimbate female bust with veil and raised hand, 'MHP' ligature (Mary) and 'Θὄ' (Theotokos?); the bezel a quatrefoil and square with pointillé border, intaglio facing bust of Christ Pantocrator with beard and shoulder-length hair, in loose robes holding a book in the left hand, right hand raised with thumb and third finger pressed together in sign of benediction, flanked by 'IC' and 'XC' with a tilde above each; John Cherry, former Keeper of Medieval and Later Antiquities at the British Museum, thinks that the Greek inscription, and grand nature of the ring may point to a Constantinopolitan workshop.

A rectangular-section band, the exterior engraved with reserved acanthus leaves separating three reserved scrolls inscribed in blackletter French script 'tout mou couer' (with 'mou' being a variant spelling for 'mon' and thus reading 'All my Heart').

With a published Joan of Arc association dating back over a century, exhibited twice in France in the 1950s and in the Museum of Lancashire Millennium Exhibition, January to December 2000, this ring has a silver-gilt hoop with facetted outer face, expanding shoulders and two rectangular and angled fields to the bezel; the hoop with incised niello-filled florid lozenges and triangles, the design giving the appearance of three crosses, the ends of the shoulders with blackletter 'I' and 'M' (for 'Iesus Maria'), the lateral faces with blackletter 'IHS' and 'MAR' (as abbreviations for Jesus and Maria); a small section inserted later to the hoop, sufficient possibly to enlarge it from a band suitable for a small, feminine finger to a larger male(?) hand; the degree of wear generally evident to the ring, including to the hoop insert, suggesting an extended period of wear, long after the date of making, perhaps indicative of the ring's appeal as a talisman; contained in an antique, small oak casket in the form of an architectural reliquary with pitched and hipped lid, the ridge surmounted by a plain cross in iron, the box red velvet-lined, with a removable rectangular holder (the compartment beneath possibly having once held a small document or label), arranged to display the bezel and purpose-made to hold the ring, indicating the reverence in which the ring was already held when the box was made for it; the ring is very unusual in that the vast majority of rings with angled rectangular bezels have them engraved with pictures of saints rather than being inscribed (generally termed as iconographic rings); inscriptions on such rings are normally on the hoop part. Accompanied by a professional drawing showing the ring extended, with the three crosses forming part of the design to the shank clearly depicted; also with publications, documents, press cuttings and correspondence including a photocopy of the 1917 Oates privately printed catalogue; a cuttings book containing an extract from the Sotheby's sale of 1947 (including an image of the ring), with press cuttings from such publications as the Evening Standard, Daily Telegraph and Le Figaro at the time of that sale, followed by others (some illustrated, showing both ring and casket) including from English, American and French newspapers and periodicals in the 1950s, from when the ring was exhibited in France (at La Turbie and also at Rouen and Paris); associated correspondence with the mayor of La Turbie and further referring to the 500th rehabilitation anniversary exhibition; typescript research notes and a signed note by Cyril Bunt (dated 1949) discussing Cardinal Beaufort and the ring and its descent to Lady Morrell; papers relating to two interviews with the British Broadcasting Corporation (BBC) in 1953 and 1956; correspondence with the French embassy in London, shipping documents and permissions for the ring to be sent to France for exhibition; a photocopy of the last letter (with transcript) of Joan of Arc; the exhibition pamphlet for La Turbie (4 copies, 3 in English, 1 in French, 1952), the catalogue for the Jeanne d'Arc et Son Temps exhibition (Rouen and Paris, 1956); documents, including the mounted display caption, from the AD 2000 - The Story of Christianity in Lancashire exhibition at the Museum of Lancashire held in 2000; other correspondence of various dates from 1950s to 1980s regarding the ring, most of the letters with envelopes.

A shallow D-section gold hoop with expanding shoulders supporting an oval bezel with beaded and lined border, intaglio and retrograde initials 'W G' over looped entwined ribbon motif with heart at top and tassels to ends.

A flat-section tapering hoop with octagonal plaque, beaded border enclosing initials 'RS' with frond and flowers above, scrolls below.

A round-section tapering hoop with volute-scrolled shoulders and rectangular plaque; each shoulder with an inset table-cut diamond, the bezel a cell with convergent sides, pellet detail to the underside, scooped ledges to the outer faces, inset table-cut ruby-coloured spinel.

A circular limestone relief marker from the human sacrificial ball game, carved with the skull of a defeated ballplayer with open mouth and scrolls of plants emerging; glyphs around the eye, top of the skull decorated with a plumed headdress curving to form further glyphs; old accession number '8697' to the underside.

A hardstone cylinder seal with frieze of figures comprising: the sun-god with rays of light emanating from his shoulders brandishing a knife with which he cut his path through the mountains over which he steps; two attendants facing him in caps and long robes, a third facing him holding open the gate of dawn; supplied with a museum-quality impression.

Obv: corn ear without central stalk with [CA]M to left and CVN to right. Rev: horse rearing right with AGR below.

Obv: Thor's hammer with three pellets above with +RACIIOIT legend (R formed of an upright, three dots and curve). Rev: drawn bow with arrow, pointing right with +RBACIIOIT legend.

Obv: profile crowned bust right with sceptre and +WILELMMVS REX error legend. Rev: cross pattée with fleurs in angles with +FOL:POLD:ONROC legend for the moneyer Folpold at Roxburgh mint.