A large bust of Hercules (Herakles) wearing a lion skin fastened over his shoulders with paws resting on his chest; right hand holding a club raised over his right shoulder; left hand holding three apples and face of a lion skin; very fine facial details with large curly beard and short curly hair with fillet.

An Eastern Empire marble altar with rectangular base three figures of females dressed in peplos representing triple goddess Hecate (Hekate) surrounded by four smaller figures of nymphs, three dancing and once playing aulos; inscription to one side: "In the 7th (?) year. For the continuance of Kl(a)udios. ......akos (the name of the dedicator). At the behest of Artemis ....."; provincial workmanship.

A bronze statuette of Luna standing on a globe, in advancing pose with loose peplos clasped at the shoulders by disc brooches, left hand raised and open, right hand slightly extended, hair dressed in a chignon with scrolls to the brow and crown; the eyes, fingernails and toenails with sheet silver detailing; globe mounted on a tiered pedestal base, hollow to the underside.

A large red figure ware bell krater of Magna Graecian (Apulian) workmanship, with pedestal base, a pair of handles, bell-shaped body and broad rim; the body decorated with two large palmettes separating figural scenes, to one side a central seated naked young male holding a staff(?), accompanied by two standing women dressed in peplos, one holding a large plate and wreath(?), one preparing a wreath (?); to the other side three standing female figures wearing long robes and wreaths.

A heavy gold bracelet consisting of a plaited body with flattened ends with punched triangle decoration; coiled clasp holder to either end.

A bronze box brooch formed as a hollow drum-shaped casting with ornament to the obverse and sidewall; the high-relief designs comprising four discoid panels of Oseberg Style 'gripping-beast' motifs with a larger dome to the centre and four smaller ones within a hatched border with raised trefoils; the slightly sloping sidewall with four panels of S-shaped animals with interlaced tendrils, separated by hatched borders; small hole to the outer edge of the upper plate; to the reverse, the perimeter flange supported by two integral blocks, the catchplate and pin-hole.

A bronze mount in a form of a standing male and a female couple, each with a right hand holding a stretched left hand touching each other's genitals, a female figure decorated with incised belt decoration; lower part of male legs missing.

A gilt-bronze hollow-formed disc-shaped brooch with a central dot around which are four S-shaped birds with large eyes, curved beaks and bodies formed from interlaced lines; the outer sidewall with line decoration; remains of a catchplate to the reverse.

A hollow fabricated pendant comprising: transverse tubular suspension bar with beaded wire collars, granule and beaded wire detailing; waisted D-shaped plaque with granule and beaded wire bands, scooped eyelids and tubular eye sockets with black glass insets; old collector's accession number to the reverse.

A shallow circular silver dish with applied flared foot to the underside, possibly having been forced into a smaller box after being looted; the upper surface with rolled rim and two bands of triple line engraving; at the centre, a roundel depicting three elongated beasts reserved, with outer and inner bands of lines, pellets and teeth with niello infill, secured to the body of the dish by a domed rivet with niello-filled cross and a beaded collar; the dish deliberately bent at the edges and deformed, probably as a result of it being looted at some time and a need for it to fit into a box or container.

A carved wooden icon of St John the Theologian; ornate high-relief frame with flanking columns, scrolled acanthus leaves and palmettes, gilded on a black field; central figure of John standing robed on a gilt background, diaper pattern floor, delicately tooled halo and inner border; two blocks of ornate Greek text; two transverse wooden blocks to the reverse and a substantial iron suspension ring.

A sheet bronze face-plate from a cavalry sports helmet (Russel-Robinson Type E) with repoussé detailing to the hair and coif, brow-band of square panels with ovoid centres, raised herringbone eyebrows and eyelashes; openwork eyes each with central ring, pierced nostrils and mouth; hole to each side of the chin.

A substantial gold ring dating from the period of Henry VII and the Wars of the Roses, the tapered band with channelled edges engraved with flower and foliage design, a line of three rose blooms at the shoulders, the circular bezel with incuse and retrograde design of a standing heraldic dragon passant sinister with wings addorsed and mouth open, palm branches above and behind, 'S' before and a star below, with Latin retrograde Black Letter '+Crede.et.vi[n]c[e]' inscription for 'Believe and Conquer' and the letter 'S' possibly relating to the name of the owner; John Cherry, former Keeper of Medieval and Later Antiquities at the British Museum says: 'Dr Michael Siddons in his book on Badges (Heraldic Badges in England and Wales vol III Ordinaries (Society of Antiquaries of London and Boydell and Brewer, Woodbridge, 2009, pages 72-3) assigns the dragon to Edward III and the family of the Tudors, and a number of other families, such as the Mortimers, Earls of March, the Fitzgeralds, Earls of Desmond, the Clifford, Earls of Cumberland, Brooke, Lord Cobham, and the Earls of Ulster. Without knowing the heraldic colour, it is not possible to distinguish between these. The dragon on the bezel of the ring is not ducally gorged and chained and this would rule out the actual Dukes of Somerset, though not another member of the family. The three roses on the shoulder of the ring also appear to be a badge and here the lack of colour prevents our knowing whether it is the red rose (Lancaster) or the white rose (York) that it represents. Dr Michael Siddons points out that the rose was a widely-used badge (above, pages 44-45). It is also possible, though less likely, that the dragon may be a rebus for the name Dragon or Wyvern and that the letter S is the forename. Whatever the exact interpretation of the device and motto on the ring, and this is an opportunity for further research, it is a very fine example of a late medieval heraldic signet ring, dating from the mid or late fifteenth century.'

A gold ring with a tapering shank in the form of two dragons meeting at the feet, heads at the bezel, wings folded back along the body; dome-shaped bezel with flat edge inscribed with MARIA ADIVVA meaning 'Mary, Help!', with equal-armed cross between; top of the bezel set with a triangular polished sapphire.

A D-section gold hoop with shoulders formed as opposed dragon heads supporting an elliptical plaque with large inset sapphire.

A gold ring with tapering shank, widening at the shoulders to a round flat bezel engraved with the coat of arms of depicting a shield containing an engrailed saltire and a rose in the upper centre; above the shield a knight's helmet with closed grill, on which rests a torpe; above the helmet a vested forearm and hand clutching a engrailed saltire.

A black agate cylinder seal with intaglio scenes of contest between a human hero (Gilgamesh), two figures with curved necks and horses' manes, two lamassus, amid bushes and foliage.

A dark red carnelian cylinder seal with finely cut standing figure of a king holding a lion on each side, accompanied by a typed and signed scholarly note issued by W.G. Lambert, late Professor of Assyriology, University of Birmingham, 1970-1993, which states: 'Cylinder Seal of Red Cornellian. 22 x 11.5 mm. The design shows the Achaemenid Persian king wearing a tall crown, a tunic, and Persian "trousers", divided in the middle. He is bearded and a big shock of hair falls at the back of his head. He is standing and holds off on each side a rearing monster. They are lions with wings and horns. This is an Achaemenid Persian seal, c. 500-350 B.C., from some part of the Persian empire. The design is finely cut and the seal is in excellent condition. The scene is symbolic: the king is defeating his enemies.' Accompanied by a copy of the catalogue entry and catalogue cover.

A chalcedony cylinder seal with intaglio design of a kilted hero with headgear and beard grasping the foreleg of each of two rampant sphinxes attacking him amid vegetation; supplied with an impression of the design, old Christie's label to the reverse.

Siscia mint. Obv: IMP C M AVR PROBVS AVG legend with laureate, draped and cuirassed bust right, seen from the back. Rev: SECVRITAS SAECVLI legend with Securitas seated left, holding sceptre in right hand, head resting on left hand; mintmark SIS in exergue.

Kings of Kent. Obv: with EAD / BEARHT / REX in three lines with HT in monogram divided by pellet-ended bars with trefoil before first and third lines and pellet after first. Rev: with DV / DA in two lines with many pellets around, within a shield-like device with cross and pellets at sides.

Obv: profile bust right with EOBA before and pellet trefoil behind. Rev: Mercian M with contraction bar above and pellets around with +CFNETHRYTH REGINA legend.

Group V coinage. Obv: facing bust within plain tressure with EDWARD DI GRA DNS HYBERN legend. Rev: rose over sun with (rose)CIVI(rose)TAS(sun)DVBL(rose)INIE legend for Dublin mint.

Obv: profile bust with Cryillic legend. Rev: double-headed eagle with Cyrillic legend and date.