A large wooden sarcophagus mask, with polychrome decoration; to the chin, a black false beard; wearing a striped yellow and blue tripartite wig with black decoration at the ends, a large black scarab on the top of the head, with a striped yellow, crimson, and blue broad collar; the details of the eyes, cosmetic lines, brows and ears added in black; attached to a cloth bound backing board.

A silver rhyton in the shape of a conical horn with beaded rim to the top and two further collars to the body with beaded decoration; the end in the form of a ram head with horns curving round ears, small hole to mouth, one eye inlaid with gold pupil.

A large ceramic bell krater with pedestal base, bell-shaped body, square handles and broad everted rim; the rim with a band of vine-leaves to the underside of the exterior; the body with two figural scenes separated by painted palmettes beneath the handles, running scroll beneath; Side A: a bare-chested male seated on a stool with white garland to the brow, neck and shoulder, white armring and bracelets, right hand extended towards a standing female with stephane and mantle to the left shoulder and arm holding a necklace in the left hand, frond in the right facing a second standing female with fan and frond; Side B: two males in loosely draped robes facing a female with one leg raised.

A gold choker formed from five rods held together by filigree band to the ends; hinged to one end, to the other a pin with securing chain.

A hollow repoussé silver foot from a couch or stool formed as a tiered foot and baluster with broad lotus-leaf collar, lion's claw with swept curves to the rear, bust of Diana or a maenad, with acanthus leaves and lateral palmettes, biconvex rim.

A large bronze walking stag with head held up and antlers curving up; cast mark to the top of the tail with hole in centre; head detaches and with crenellated edges for securing.

A carved crystal vessel with tiered foot, drum-shaped body, steep shoulder, waisted neck; integral loop handles to the shoulder and strap handle with palmette detailing; with later, probably 17th-18th century AD silver-gilt lid and chain.

A hollow-formed discoid plaque with later central cabochon emerald, lateral hinge fasteners, with antique articulated band formed as outer borders of three-strand chains connected by hollow bulbs.

A thick piece of coarse mortar with a thin layer of plaster painted with the scene of a bird standing on a small plant looking at a taller plant; bird's wing to the upper corner.

A pair of wooden writing tablets pierced for attachment with a thread or thong, with inked text in Roman cursive script concerning the will of Julius Fiddin; Tablet 1 transcription, side A: sciunt et possidentur (a)equibus partibus dividatis; do dono / Iulio Victori filio meo domum in quam manet Assaratim / cum ianuam suam et cohorte ad se pertinente cum posticium / sicuti cludet; item do dono fidem Victori filio meo Camel/lam quam Arutie hodie habet et oves quatuor cum agnos / duo; do dono Iulio Primo filio meo spatium ubi sibi (a)edi/ficet qui iungitur Iuliano Masiani sicuti terminibus com/clusa est ita ut (a)edificent cui illo fratres eiius materiias / Cinnas, ut de viribus omnioru(m) fratru(m) (a)edificet set et cellam / qui est post posticium centenari qui comparatur de Roman/tiu Romanticahinis. Ad eundem Primum pertineat camellam / meam cum filiam, ad Iulium Primum et Sperantium / fili mei pertinere bolo ut (a)equibus partibus dividant. Item / do dono fidem Primo filio meo oves quinque et capras / Translation: "- they shall possess it in equal parts; I give and I donate to my son Julius Victor the house in which Assaratis lives with its entrance door and the fenced yard which belongs to it and with its back door. I also give and donate the camel, which today Arutie has, to my son Victor, and four sheep with two lambs. I give and donate to my son Julius Primus the space where he shall build (a house); it is connected to (the land of) Julianus, son of Masianus, and also enclosed by border stones; and his brothers shall build him (the house) with their building materials. With the manpower of all brothers also shall be erected a room, which is situated behind the back door of the Centenarium, which was acquired from Romantius, son of Romanticahinis. The same Primus shall have my camel with its (female) child. I want that my sons Julius Primus and Sperantius shall have it and that they share it equally. Furthermore I give and donate faithfully to my son Primus five sheep and goats." Side B (Intus, framed side) MAMONIS sertum ++B+P++++++++L++++++L++++ / mionem qui comparatur de NABORE SERVGIS et est / in com VAL T/BECUBILI sertum arbores fici et olivas; do / lego datique ab heredibus meis iubeo Iuliae Crescenti/ae filiae m(e)ae dalmaticas tres cum MASURTIR/MAFURTIR sua afro / claviante purpura libras quatuor in campana; item / do lego fidem Crescentiae filiae m(e)ae oves duae de o/ves meas; do lego Antonillae uxori m(e)ae bene de me/merenti secundum fide strumento in nomine ei/ius comparantes pari cellas possesionis qui comparan/tur a Martide et Victore habeat proprium; do do/no eisdem heredibus meis cribtam [= cryptam] meam PALIARITA / commune habeant, sic tamen paleas ad Primum et Spe/rantium pertin[e]nt. P+NE VERO de frumentum mei Translation: "- who bought it from Nabor, son of Serus, and which is in - - - planted with fig- and olive trees; I give and donate and I order that it will be given from my heirs to my daughter Iulia Crescentia three dalmaticae with its African mafortia with purple stripes (?) with a weight of four pounds; I even give and donate to my daughter Crescentia two sheep of my sheep. I give and donate to my well deserved wife Antonilla in confidence the things which were bought in her name, and also the rooms which were acquired from Mars and Victor, shall she possess as her property. I give and donate to my heirs my crypt ---, they shall use it together; but if you will get pale-faced (= die) it also shall be for Primus and Sperantius. -" Tablet 2 transcription (incomplete) - accipiat Iulius Victor filius meus / H+++IM+DIOS viginti relicum fructum habeant Pri/mus et Sperantius fili mei et Antonilla mater eoru(m) / super lectilem meum vero++ R bonum et rusticum et / si quid movilia habeant Antonilla uxor mea et Speran/tius filius meus sane vero do dono Iulio Primo filio meo / orcas castillanas quinque et cathedras duas MAGIDAUMA / et chulurrium quem sibi comparabit alitus habeat; do le/go Antonillae uxori mae DES vestes quas hodie infra me ha/beo dalmaticas tres et sticauna et stramenta mea habeat / do lego Antonillae uxori mae oves sex quas propr/ia habeat et quidquid mihi excidit de rebus meis / quod non nominavi ad heredes meos pertineat fa/milia testamenti faciundi erga emit Iulius Iuli/anus, antestatus est Iulius Romantius libripen/de. Iulius Fiddin testamentum factum die et consule s(upra) s(cripta). Translation: "- may take my son Julius Victor - - - twenty of the remaining fruit trees shall have my sons Primus and Sperantius and their mother Antonilla. --- good and solid (furniture) shall have my wife Antonilla and my son Sperantius. I give and donate with clear mind to my son Julius Primus five Orca castillana (some kind of furniture) and two chairs and he shall have the chulurrius which he bought for himself. I give and donate to my wife Antonilla two apparels which I actually have with me, three dalmaticae and other clothes. I give and donate to my wife Antonilla six sheep which she shall have as her property. And all of my things which I did not make a mention of shall belong to my heirs - - - buys Julius Julianus. Witnessed by Julius Romantius as libripens. Julius Fiddin has made his will at the above mentioned day and year. "

A parcel-gilt silver diadem or brow-band, penannular with holes at the rounded ends for closure; the outer face decorated with a finely engraved running knotwork pattern between borders; three gilded studs to the front.

A parcel-gilt silver plaque pendant with facing seated figure, probably the goddess Freya, modelled in the half-round; the hands raised to grip lateral ribbed strands of hair, the garment formed as two crossed bands on the chest, the knees prominent and feet placed together; emerging from each strand of hair a feline with curled tail, ribbed body, foreleg curled over the neck, notched fingers and triangular face with lappet and snubbed snout; loop above the head, three holes to the edges.

A large facetted D-section gold hoop with expanding shoulders, ridged rectangular bezel; pentagonal panel to one shoulder with radiating strokes beneath, reserved image of crowned and nimbate Virgin Mary with nimbate infant Jesus; similar panel to the other shoulder, reserved Calvary scene with Corpus Christi and nimbate winged head above; left panel of bezel with reserved image of nimbate S. Peter holding a key; right panel with similar image of St. Paul with book and drawn sword; to the inner face engraved legend in Lombard script '*Crucem.Christi.Gero*' (I bear the cross of Christ).

A gold ring with wide tapering shank, letters 'K' and 'G' to the shoulders; flat ecliptic bezel with dot border framing coat of arms comprising of a half eagle and two stars separated by a wide diagonal line.

An amazonite cylinder seal with robed figure and eight lines of cuneiform text; the figure bearded with ankle-length robe, domed cap, implement in one hand; eight-line cuneiform Sumerian inscription (1) dšà-zu gada-idim 'Goddess Shazu with the weighty veil' (2) nir-til-til [m]e an-ki 'when you speak of the total dominations of the powers of heaven and earth' (3) dug 4-ga-zu hé-sar 'let it be written' (4) da-ga-an ma-da the totality - the land (5) kur hur-sağ til-bi 'the mountain, the mountain-range, all of it' (6) nam-en-bi hé-ak 'let its overlordship be exercised (by you)' (7) diğir-né ní-tuku-zu 'the one who reveres his goddess' (8) ka-ra-in-da-aš '(is) Karaindash'; supplied with a museum-quality impression.

An exceedingly rare chrome chalcedony cylinder seal with seated profile figure and Sumerian cuneiform inscription in eight columns; depicting a seated bearded divine figure facing left, holding a trident, three right-facing locusts above; the eight lines of scholarly Sumerian cuneiform text with a prayer to Ninurta for the prosperity of Kurigalzu's reign. Accompanied by Professor Lambert's transliteration and translation for each column which reads: (1) dkur-da-ru gada gìr / 'Ninurta, powerful lord' (2) saĝ kal šà-aš-DU / 'special chief, foremost' (3) ururu mah an-ta-ğál / 'the lofty city (?) being in heaven' (4) ur-saĝ dili-ni rib-ba / 'champion on his own standing out' (5) [diğir] ní-su-ši ri-a / 'the god moving with a halo of terror' (6) ku-ri-gal-zu / '(on) Kurigalzu' (7) nun nì tuku-tuku-zu / 'the prince who reveres you' (8) bala šà dùg-ga ğar-bi / 'place a reign of sweet heart'. The seal fitted with an antique gold pin passed through the original longitudinal perforation and a loop to enable it to be worn as a pendant; supplied with a museum-quality impression.

A carnelian cylinder seal with incised image of a profile bearded robed figure with four wings, hands raised to support an opposed pair of ibexes with gryphon-head above and fish bisecting a column of cuneiform text with two theophoric names; supplied with a museum-quality impression.

A banded agate cylinder seal with two figures and five lines of cuneiform text; two facing robed and bearded figures, one with right hand raised and the other with with a tool or khopesh; five lines of Sumerian text in archaising Babylonian cuneiform script, a prayer to Nanna for divine favour: (1) XX sağ-rig˟-ga '... as a present (?)' (2) diğir-ğu 10 šà-lá-me 'my god, you have pity (on me)' (3) [ğiš]gal-è en 6 -ğu 10 'towards (my?) position, my lord' (4) [ki]n igi-du 8 mušen e-na-x '[send] as (a sign of your) favour a bird' (5) diti sağ ku 5 -ba ğiš ku 5 'moon-god (?) the one who cuts wood. the chief of its cutting'; supplied with an impression and summary.

A domed chalcedony seal with intaglio scene of a horseman on a galloping steed with raised spear engaging a charging boar.

A large silver phiale mesomphalos with remains of erased inscription around the inside of the rim, intersecting bulbous petals to the base, and to the centre a central boss.