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2nd-3rd century AD. A bronze chariot fitting representing the bust of a Dionysian satyr or Dionysus himself with young face, long hair arranged in regular locks around the face, wearing a panther skin arranged like an exomis tunic leaving the left shoulder uncovered, positioned on a squared pedestal with platform for the application to the chariot's sides or back; loop on the hollow back for the fastening to the wooden structure of the chariot. See Ratkovi?, D., 'Wagon and Harness Bronzes from the Roman Collection of the National Museum in Belgrade' in Thiasos, Festschrift fur Erwin Pochmarski zum 65. Geburtstag, Wien, 2008, pp.793-815, s. pl.2,2, for similar item. 616 grams total, 16cm including stand (6 1/4"). From the private collection of Antony John Scammell (1937-2019); acquired on the UK art market from 1960-2000. This type of mount was probably used as bridle holders and placed near the driver’s seat, on the wagon platform or as a central decoration on the back of the wagon. The reconstruction of the wagon from the Vardar Valley has a bust of Athena placed on the upper horizontal bar of the roof structure as a decorative element. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. Fine condition.

4th-5th century AD. A silver amphora-shaped strap end of a military belt with a fastening hole in the upper part, Latin inscription 'NRBPQD' incised vertically on the front of the plate, probably the initials of the owner and his unit; a possible interpretation is {(NR = Numerus? B = Brittonum P (ublius) Q (uintus) D (ecius) Publius Quintus Decius of the Numerus of the Britanni}. See Southern, P., 'The Numeri of the Roman Imperial Army' in Britannia, Vol. 20, (1989), pp.81-140; Bishop, M. C., Coulston, J.C.N., Roman military equipment, from the Punic wars to the fall of Rome, London, 2006, figs.137 n. 12, for style of strap ends; Appels A., Laycock S., Roman buckles and military fittings, Witham, 2007, esp. p.256, fig.SL13.26; Humer F., Kremer G., Pollhammer E., Pülz A., AD 313 Von Carnuntum zum Christentum, Bad Voslau, 2014, pp. 204-205 n.420. 5.7 grams, 40mm (1 1/2"). From the private collection of Antony John Scammell (1937-2019); acquired on the UK art market from 2013; accompanied by the original receipt. This type of strap end is conventionally called 'amphora-shaped' because of its shape; in reality the strap end hanging down at the front of the soldier is considered to be a symbol for the phallus. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. Fine condition.

18th century AD. A two panel wooden portable camp painted icon, representing six scenes of life of Christ and Saints, divided on three levels: the top level is representing the Resurrection of Christ (top left, Jesus Christ rising from death, standard cross in the left hand, Adam and Eve on his right and left), the Crucifixion (top right, Jesus on the Cross in the middle, Saint Mary and Saint John on sides); the middle level representing Saint Gorgis (Saint George) killing the Dragon and Saint Fasiledes; the third level Saint Tewedros (Theodore) killing the enemy of Faith and Saint Geladios, all four saints on horseback. See Jager, O. and Deininger-Englhart. L., 'Some notes on illuminations of manuscripts in Ethiopia' in Rassegna di Studi Etiopici, Vol. 17, 1961, pp.45-60; The British Library, The Christian Orient, London, 1978, for similar style of icons; Aregay, M.W., 'Military Elites in Medieval Ethiopia' in Journal of Ethiopian Studies, Vol. 30, No.1, June 1997, pp.31-73. 464 grams total, 32.7-33cm (13"). Ex central London gallery; formerly in a private collection, New York, USA, 1999. As at the time of the Christian Roman Empire, the Ethiopian Emperor went to war with priests and religious symbols of the Orthodox Faith, like this camp icon for personal prayer or for blessing of the army before the battle. The military character of this icon is underlined by the presence of the four principal military Saints of the Orthodox world, Gorgis, Demetrios, Fasiledes and Thewdros, all in the dress of 17-18th century army élite. [2, No Reserve] Fine condition.

3rd century AD. A group of four lead votive trapezoidal and square plaques showing scenes of Danubian cult: on one plaque the god Sol and the goddess Luna are depicted on the right and the left side of the upper part, on another one only the facing solar bust at the centre of the upper section; at the centre of three plaques facing Helen of Sparta, the divine daughter of Leda and Zeus, welcoming her divine brothers, the twins Castor and Pollux, both personifying the Danubian rider; on three plaques cavalrymen, advancing, holding the draco standard of the Roman legions; on one plaque Helen is alone on the left side of the section, welcoming one of her brothers who advances with a vexillum on his shoulders; one plaque with a cockerel, the sacred animal of the sun, vegetation and animal symbols representing the offerings to the gods on the field; the eagle of Zeus at the top of three plaques; architectural elements on the background of three plaques. See Tudor, D., Corpus Monumentorum Religionis Equitum Danuviorum, 2 vols., Leiden 1969-1976; V. Vasilev, 'Two Lead Plaques with a Depiction of a Danubian Horseman from the Collection of the National Museum of the History of the Ukraine' in Ancient Civilizations from Scythia to Siberia 10,1-2, 2004, pp.67-76; Beutler F., Farka C., Gugl C., Humer F., Kremer, G. and Pollhammer, E.(ed.), Der Adler Roms, Carnuntum und die Armee der Caesaren, Bad Voslau, 2017, cat.67, for a similar plaque in bronze. 433 grams total, 79-94mm (3 - 3 3/4"). From the private collection of Antony John Scammell (1937-2019); two acquired from A. G. & S. Gillis, Barnsley, UK, in 2002; and two from John Cummings Ltd, Grantham, UK; accompanied by the original invoices for the four plaques. The plaques contain a complex iconography of divine figures and symbols, probably to be associated with Thracian or Dacian beliefs of the Lower Danube region, but also with the Greek Myth of the divine twins Castor and Pollux (the Dioskouroi), an important element of the Roman religion too. Presiding over the whole scene is usually the Sol Invictus (the unconquered sun-god) and his sister the Moon (Selene"). His cult originated in the Near East and gained increasing influence under imperial patronage during the third century AD. The state worship of Sol (Greek Elios) was slowly substituted by Constantine's favour towards Christianity since AD 312. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. [4] Fine condition.

1900-1700 BC. A clay tablet containing a forty-one line extract from a Royal hymn, which claims to be written by En?edu'anna, a daughter of the great king Sargon of Akkad; accompanied by a copy of a typed and signed scholarly note by the late W.G. Lambert, Professor of Assyriology at the University of Birmingham, 1970-1993, which states: 'Clay Tablet, 102 x 55 mm., with Section of Sumerian Royal Hymn. This tablet is joined from two pieces with a little loss of text at the break and also due to other damage. However, of the 41 lines of cuneiform script which it contains, the majority are complete and legible. The tablet has a 40-line extract from a hymn which claims to be written by En?edu'anna, a daughter of the great king Sargon of Akkad (c. 2235-2279 B.C."). The total composition consists of 153 lines, and this tablet gives lines 40-79. This tablet is Old Babylonian, c. 1900-1700 B,C., and after the extract has a single line giving a date, but only the day of the month remains. En?edu'anna is claimed as author of quite a few Sumerian texts which survive, and though it is always possible that she employed professional scribes to compose the texts, the very personal matter in some of them does give the impression that they do in fact reflect her thoughts. This hymn is usually known today, as it was in the ancient world by the first phrase, Nin-me-sharra, 'Lady of all the cosmic regulations.' It is in fact is (sic) praise of the goddess Inanna. En?edu'anna was appointed by her father to be high priestess of Nanna, moon-god of Ur, and she held that post for a long time, until the reign of her nephew Nar?m-Sîn, but in a rebellion against Nar?m-Sîn Ur was led by a man Lugal-anne, and according to this hymn he deposed En?edu'anna from her office, which is not surprising. Translation [Lady] who makes glad the [reins], lady [who makes rejoice] the heart, Whose anger is not appeased, the daughter of [Sîn,] the great one, Lady who excels over the land, who has [refused] you worship? In the mountain where you worship is withheld, grain is taboo, Its (the mountain's) great gate you have turned to ashes. Its rivers bear blood for you: its people have nothing to drink. It leads to you its army captive, Its troops break up for you of their own accord. Its strong young men [go before you] of their own accord. A storm has taken over[the city's] dancing, The men and domestic animals are driven before you as captives. Over the city of which it was not said, 'The land is yours,' Of which it was not spoken, 'It belongs to the father who begat you,' You have uttered your holy command, [have turned it back from your way], [Have caused] your foot [to be removed] from its animal pens. Its women [do not speak] pleasantly with their husbands, By night they do not confer [in love], [They do not reveal] the holy things of their bodies. Aggressive wild cow, [daughter of Sîn the great one], Lady superior to An, [who has refused your worship?] One of the right cosmic regulations, great lady [of ladies,] Who came forth from the holy womb, [superior to] the mother[who bore you], Extremely wise one, lady of the lands, Life of the abundant peoples, let me [chant] your holy song! Faithful deity, fitted for the cosmic regulations, It is magnificent to speak of you with power! Merciful, truly pure of heart, let me speak of your cosmic regulations. I enter my holy sanctum, I, high priestess, I En?edu'anna, I carry the basket, I sing the hymn, But now [I am put] in the retreat and have to live thus. The light is extinguished, the day is darkened, Shadows come near, the storm covers (everything"). My honeyed mouth speaks confusion, My pleasant disposition has turned to dust. Sîn, what is this Lugal-anne to me? Speak to An that An may release me, You must [say] to An, 'Now!' [that An may release me.] [This woman will despoil the manhood of Lugal]-anne. [Mountain and flood lie at her] feet. [That woman is] exalted, [she will make the city abandon him.] [Month ....], 18th day, [year .....] This is an important new addition to the textual history of this fascinating personal hymn said to have been written by the king's own daughter.' 168 grams, 10.1cm (4"). Ex central London gallery; acquired 2000 from a UK dealer; acquired by them from an Oxford academic, catalogue number c/1178; examined by the late Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s; and accompanied a copy of a typed and unsigned two page scholarly note and translation by the Professor; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10254-166488. [No Reserve] Fair condition, repaired. Excessively rare.

1st-2nd century AD. A small simpulum with a straight pan and flat bottom bearing strongly incised circles on the outside, on the back of the handle, which shows two side flares, a small sieve decorated with a line of points. Cf. Tassinari, S., La Vaisselle de Bronze, Romaine et Provinciale, au Mysée des Antiquités Nationales, XXIXe supplément de Gallia, Paris, 1975, item 38. 182 grams total, 13cm including stand (5"). From the private collection of Antony John Scammell (1937-2019); acquired on the UK art market from 1960-2000. The simpulum or simpuvium was a small vessel or ladle with a long handle from the Roman era, used at sacrifices to make libations, and to taste the wines and other liquors which were poured on the head of the sacrificial victims. The simpulum was the sign of Roman priesthood, and one of the insignia of the College of Pontiffs. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. Very fine condition.

Late Period, 664-332 BC. An old diorama formed with two bronze figures, Osiris wearing the tall plumed Atef crown with uraeus, standing with arms crossed holding sceptres; Isis seated, suckling the infant Horus on her lap; mounted on a tiered modern wooden stand with faux-hieroglyphs, marked to the reverse 'Bronze cult figures of Osiris, Isis and Horus, Saite Period, circa 700-550 B.C.' and to the underside 'The Osiris was found beside the sacred lake at the temple at Karnak, Dec 1916'. 114 grams total, 10.5cm including stand (4"). From the private collection of Antony John Scammell (1937-2019); acquired on the UK art market from 1960-2000. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. Fine condition.

4th-5th century AD. A group of five redware ceramic bowls of Late Roman C-ware from Asia Minor, the smallest with carinated profile, regular horizontal reeding on the flange and radiating internal diagonal strokes. See Brown, A.C., Catalogue of Italian Terra-Sigillata in the Ashmolean Museum, Oxford, 1968; Webster G., CBA research report n.6, third edition: Romano-British coarse pottery, a student's guide, London, 1976; Ergün L., Gülseren K.S., 'Terra Sigillata and Red-Slipped Ware from Hadrianopolis in Southwestern Paphlagonia' in Anatolia Antiqua, Tome 20, 2012, pp.45-120. 3 kg total, 16.5 - 34.5cm (6 1/2 - 13 1/2"). From the private collection of Antony John Scammell (1937-2019); acquired on the UK art market from 1960-2000. Terra sigillata is used in archaeology as a general term for some of the fine red Ancient Roman pottery with glossy surface slips made in specific areas of the Roman Empire: African red slip ware (ARS) was the final development of terra sigillata. While the products of the Italian and Gaulish red-gloss industries flourished and were exported from their places of manufacture for at most a century or two each, ARS production continued for more than 500 years. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. [5] Fine condition.

Late 2nd century AD. A bronze situla with flat bottom, the convex basin at the base becoming cylindrical, slightly flared at the mouth; the vessel is complete with the handle (ansa), ornamented with a decorative pattern of alternated triangles inscribed in a band all around the upper cylindrical part. Cf. Tassinari, S., La Vaisselle de Bronze, Romaine et Provinciale, au Mysée des Antiquités Nationales, XXIXe supplément de Gallia, Paris, 1975, items 117, 123-124; Boucher, S. & Tassinari, S., Musée de la Civilisation Gallo-Romaine à Lyon: Bronzes Antiques. Tome 1 Inscriptions, Statuaire, Vaisselle, Paris, 1976, figs.148-150. 113 grams,10cm (4"). From the private collection of Antony John Scammell (1937-2019); acquired from Artemission, London, UK, in 2011; accompanied by the original certificate of authenticity. Situla (plural situlae), from the Latin word for bucket or pail, is the term in archaeology and art history for a variety of elaborate bucket-shaped vessels from the Iron Age to the Middle Ages, usually with a handle at the top. All types may be highly decorated, most characteristically with reliefs in bands or friezes running round the vessel. Roman styles favoured a simple shape curving from the base, becoming vertical at the top, with a wide mouth and no shoulder, but sometimes a projecting rim. These had a variety of uses, including for washing and bathing. Any decoration was often concentrated on the upper part of the sides. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. Very fine condition.

Late 9th century BC-early 7th century BC. A broad hammered bronze helmet of conical shape, decorated to both sides of the bowl with chased low relief representing fighting divinities or warriors; two bronze rings for fastening the leather chin-strap to both sides; rows of pierced holes to the edges for fastening the leather lining; mounted on a custom-made display stand. See Barnett, R.D. and Falkner, M., The Sculptures of Assur-nasir-apli II (883-859 B.C.), Tiglath-pileser III (745-727 B.C.), Esarhaddon (681-669 B.C.) from the Central and South-West Palaces at Nimrud, London, 1962; Born H. and Seidl U., Schutzwaffen aus Assyrien und Urartu, Sammlung Axel Guttmann IV, Mainz, 1995; Christie’s, The art of the warfare, the Axel Guttmann collection, Part I, Wednesday 6 November 2002, London, 2001; Dezs?, T., Near Eastern Helmets of the Iron Age, (British Archaeological Reports, S992), Oxford, 2001; Gorelik, M., Weapons of Ancient East, IV millennium BC-IV century BC, Saint Petersburg (2003) in Russian; Dezs?, T., The Assyrian Army, I. The structure of the Neo-Assyrian army as reconstructed from the Assyrian Palace Reliefs and Cuneiform Sources, 2. Cavalry and Chariotry, Budapest, 2012; similar helmets in Gorelik, 2003, pl. LXI, nn.3,95. 4.4 kg, 58.5cm including stand; helmet: 1.9 kg, 25cm (23"). From a private collection formed in the Netherlands; previously in a European collection formed prior to 1980; accompanied by an archaeological report by military specialist Dr Raffaele D'Amato; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10198-165156. This rare and wonderful helmet is an unusual example of conical bowl with multiple rim-holes for the attachment of a lining fabric. Pointed conical helmets like this were worn both by cavalry (Barnett-Falkner, 1962, pls. LXIV-LXV; Dezs?, 2012, pp.14,19) and infantry of Urartian and Assyrian armies. Judging from the cavalry depictions of Urartian bronze helmets in Assyrian art, Urartian soldiers were equipped with an Assyrian-type pointed helmet, a rounded bronze shield, and two spears. Further incised representations on Urartian bronze helmets show cavalrymen wearing pointed helmets, equipped with lances, their upper body covered by a rounded bronze shield (Dezs?, 2001, cat.n.91-99"). Fine condition.

1st-2nd century AD. A terracotta oil lamp shaped as a head of a comic actor wearing a mask of a satyr or slave; thick hair, knit eyebrows, small holes for eyes, large open mouth with typical striated band around it, suggesting a beard; leaf-shaped handle ornament with large looped plain ring behind; short round-tipped volute-nozzle; flat oval base marked off by oval groove. See Bussière, J., Lindros Wohl, B., Ancient Lamps in the J. Paul Getty Museum, Malibu, 2017, p.435. 240 grams total, 12cm including stand (4 3/4"). From the private collection of Antony John Scammell (1937-2019); acquired from Dick Meijer Antiquiteiten, Amsterdam, Netherlands, in 2014; previously in a private collection from the north of the Netherlands; collected between 1950-1990; accompanied by the original certificate of authenticity. Such lamps with figurines first appear in the Hellenistic period possibly originating in Athens. Found in all parts of the Mediterranean basin, they were particularly popular during the first and second centuries A.D. Egyptian and Italian workshops seem especially strong. In the fourth century, partly due to growing Christian influence, many types of these artefacts disappeared. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. Fine condition, restored.

1st century AD and later. A mixed group of five cut and polished gemstones: one carnelian ovoid-shaped stone mounted on a fragmentary bezel, bearing the intaglio design of two fish flanking a Christian cross; one ellipsoidal carnelian stone bearing the intaglio design of a deer beneath a tree; one ovoid-shaped carnelian stone bearing an enigmatic intaglio design, possibly foliage; one ellipsoidal red jasper stone bearing the intaglio design of a warrior, seated, helmetted, shield and spear to his side, holding a severed head, a torso impaled on a spike before him; one ellipsoidal nicolo stone bearing intaglio design of Mars or Jupiter standing. 5 grams total, 11-16mm (1/2 - 3/4"). From the private collection of Antony John Scammell (1937-2019); acquired on the UK art market from 1960-2000. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. [5] Fine condition.

3rd century AD. A gold ring with flat-section hoop with ropework borders and ribbing; expanding shoulders with openwork scrolls; oval-shaped bezel with ropework border holding nicolo gemstone with intaglio of Dionysus. Cf. Chadour, A.B., Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994, item 414, for almost identical type. 5.03 grams, 21.44mm overall, 16.47mm internal diameter (approximate size British L, USA 5 3/4, Europe 11.24, Japan 10) (3/4"). From the private collection of Antony John Scammell (1937-2019); acquired on the UK art market from 1960-2000. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. Fine condition. [A video of this lot is available to view on Timeline Auctions website.]

Late Period, 664-332 BC. A glazed composition shabti with tripartite wig and false beard, hand-tools in the crossed hands and seed-bag to the shoulder, ten rows of hieroglyphs from The Book of the Dead on the body, plain dorsal pillar and base. 165 grams, 17cm (6 3/4"). From the private collection of Antony John Scammell (1937-2019); acquired on the UK art market from 1960-2000. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. Very fine condition. [A video of this lot is available to view on Timeline Auctions website.]

3rd century AD. A group of four lead votive trapezoidal and square plaques showing scenes of Danubian cult: on two plaques the god Sol and the goddess Luna are depicted in profile on the right and the left side of the upper part of the section; on the two other plaques the sun at the top section driving the sun-chariot with four-horse (quadriga); at the centre of all plaques facing Helen of Sparta, the divine daughter of Leda and Zeus, welcoming her divine brothers, the twins Castor and Pollux, both personifying the Danubian rider; on one plaque both the riders advancing, holding the draco standard of the Roman legions; a soldier armed like a third century legionary is following the left cavalryman; one plaque with a cockerel, the sacred animal of the sun, foliage and animal symbols representing the divine power and the offerings to the gods on the fields, with scene of banquets; the eagle of Zeus at the top of two plaques; architectural elements on the background of all plaques. See Tudor, D., Corpus Monumentorum Religionis Equitum Danuviorum, 2 vols., Leiden 1969-1976; V. Vasilev, 'Two Lead Plaques with a Depiction of a Danubian Horseman from the Collection of the National Museum of the History of the Ukraine' in Ancient Civilizations from Scythia to Siberia 10,1-2, 2004, pp.67-76; Beutler F., Farka C., Gugl C., Humer F., Kremer, G. and Pollhammer, E.(ed.), Der Adler Roms, Carnuntum und die Armee der Caesaren, Bad Voslau, 2017, cat.67, for a similar plaque in bronze. 557 grams total, 77-97mm (3 - 3 3/4"). From the private collection of Antony John Scammell (1937-2019); one acquired from A. G. & S. Gillis, Barnsley, UK, in 2000; and one acquired from Zeus Antiquities, Beverley Hills, USA, in 2005; both accompanied by original invoices and certificate of authenticity from Zeus Antiquities. The plaques contain a complex iconography of divine figures and symbols, probably to be associated with Thracian or Dacian beliefs of the Lower Danube region, but also with the Greek Myth of the divine twins Castor and Pollux (the Dioskouroi), an important element of the Roman religion too. Presiding over the whole scene is usually the Sol Invictus (the unconquered sun-god) and his sister the Moon (Selene"). His cult originated in the Near East and gained increasing influence under imperial patronage during the third century AD. The state worship of Sol (Greek Elios) was slowly substituted by Constantine's favour towards Christianity since AD 312. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. [4] Fine condition.

1st-5th century AD. A glazed wooden display case with mounted bronze military fittings comprising: two panels of squama scale armour; two buckles with openwork plates and a fitting of the related belt; a large belt buckle with scrolls; an amphora belt strap end; five propeller belt stiffeners; a lorica segmentata lobate hinge; a belt buckle with embossed emperors; a double buckle fastener; reputedly from Germanic provinces. See Bishop, M. C., Coulston, J.C.N., Roman military equipment, from the Punic wars to the fall of Rome, London, 2006; Radman Livaja, I., Militaria Sisciensia, Finds of the Roman military equipment in Sisak in the holdings of the archaeological Museum in Zagreb, Zagreb, 2004; Miks, C., Studien zur Romischen Schwertbewaffnung in der Kaiserzeit, I-II Banden, Rahden, 2007; Appels A., Laycock S., Roman buckles and military fittings, Witham, 2007; D'Amato, R., Arms and Armour of the Imperial Roman Soldier, London, 2009. 955 grams total, 30 x 21cm (11 3/4 x 8 1/4"). From the private collection of Antony John Scammell (1937-2019); one item acquired from Saxby's Coins, Tamworth, UK, in 2015; and for the armour from H. Vincent McCarthy, Bournemouth, UK, in 2001; accompanied by copies of two original invoices. A superb collection of military kit ranging through all periods of the classical and late Roman military equipment: the lobate hinge of a Corbridge type segmentata introduces the defensive protections of the 1st century AD, while the later protection is represented by the 2nd-3rd century semi-rigid scale armour wide fragments, constructed from scales wired to each of their four neighbours, above and below as well to either side. The pieces of intricate belt openwork mounts well exemplify the Antonine and early Severian belt styles, while the belt stiffeners and the beautiful massive buckle and amphora shaped pendant give us a wonderful idea of late Roman military belts, as well as the decorative double fastener and the magnificent buckle with the image of the West and East Emperors. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. [15] Very fine condition.

1935-1924 BC. A ceramic foundation cone with impressed cuneiform inscription recording the erection of a temple at Enisa in Mabgarum; mounted on custom-made stand with explanatory text. 350 grams total, 19cm including stand (7 1/2"). From the private collection of Antony John Scammell (1937-2019); acquired from C.J. Martin (Coins) Ltd in 1997; accompanied by a copy of the original C.J. Martin invoice and information stand. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10250-166195. Fine condition.

Dated circa 2031 BC. A rectangular clay tablet inscribed with 221 lines of Sumerian cuneiform for a monthly list of activities involving copper; accompanied by a copy of a signed scholarly note by the late W.G. Lambert, Professor of Assyriology at the University of Birmingham, 1970-1993, which states: 'Clay Tablet 170 x 171 mm, inscribed with a total of 221 lines of Sumerian Cuneiform in 10 columns five on each side. The upper right-hand comer is missing, and the lower right-hand portion is composed of two pieces rejoined with some loss of surface at the joints. However, the greater part of the tablet remains, and is well preserved, being written in a clear scribal hand. This is an administrative document from the town of Umma, in the far south of Sumer, being dated to the 7th year of Shu - Sin, fourth king of the Third Dynasty of Ur, e. 2031 B.C. It is a monthly list of activities involving copper, being dated to the 20 month of the year (April/ May by our calendar"). At this time Sumer was bureaucratically run by the central government, and the government dominated many aspects of the economy. Thus metalworking, which depended on imports of ore, was centrally run. The craftsmen were provided with the materials, and they produced the tools and weapons needed for the workers army. But everything had to be recorded in writing, and this document lists the large number of individual small tablets written during this month recording so many of this or that tool of copper, and the name of the responsible person written on the tablet. It is not stated whether these documents record the receipt of finished tools from the craftsmen who made them, or the issue of tools to craftsmen who needed them for daily use. In the ancient world this was too well known to be recorded. Obviously both kinds of documents must have existed, so until there is much more known it is best to leave this matter open. The tablet attests to the vast amount of organised activity in Sumer at this time. TRANSLATION 1 edim. 3 minas; 3 gravers, 2 minas; 3 axes, 2 minas; 3 sickles, 12 minas; document of Lugale - bansha 22 hows: 65 sickles, 12 minas; 60 axes: document of Abba - gina 120 hoes: 20 sickles: document of Gir 8 hoes: document of Lugal - nisage [...] hoes: 10 sickles: document of Ur-Urra [...] axes, [...] sickles; 3 shekels of silver: document of Lugalitida, forman 12 swickles: document of Agu [..] hoes: [...] sickles: document of Lugal - hegal 12 sickles, 80 silas of ritual flour, document of Ur-Nintu 60 hoes; 10 sickles: document of Irmu, animal - flattener 13 hoes, 65 sickles: document of Sangani 12 sickles. 12 minas: document of Lugal - igihush 10 sickles document of A'akalla foreman 17 sickles, 12 minas: document of Shara - amu, foreman 38 sickles: document of Bashaga 1 sheep for the butler, 1 axe, 1 1/2 minas; 120 sickles, 12 minas; document of Ikalla 1 axe, 2 minas; 3 hoes, 2/3 of a mina: document of Ur- Mes, brewer 33 sickles: document of Lu-balasig, potter 4 sickles: document of Dagu 2 sickles: document of Ur- Sin 60 sickles document of Ur- dingiregal 1 talent of copper: document of Ur - Numushda 1/3 of a mina of [...]: document of [...] 5[.....]: document of Lu- [.....], chamberlain 6 sickles: document of Ur - Geshtinanaka, chamberlain 60 hoes; 180 sickles document of Ur-Amma, ..... 5 sickles: document of Ur - Amma, son of Nadi 3 sickles: document of Lugal - kuzu, his assistant 60 hoes; 60 sickles: document of Ur-gigir, butler 1 axe, 11/2 minas: document of Ur-Amma, builder 60 sickles: document of Ur - Ba[ba] 3 [...] document of A [...], animal-fattener 2 sickles: document of Lugal - azida, his brother (gap of about 6 lines) 1 [...]: document of U[r - ...], son of [...] 29 1/3 minas of [copper]; 1/3 mina of [tin/lead], 10 sickles: document of Ur- [.....] singer 21 [...]: document of [...] 9 [...]; document of Shara - [....] 4 [...]: document of Lugal - azida, assistant 2 sickles: document of Ur- Shara, son of Shehskalla [...] sickles; [...] + 20 hoes: document of Bidugga 1 axe; 2 hoes: document of Nabsha, builder (gap of about 15 lines) [...]; 2 axes: document of Lushaga 2 hoes; 6 sickles; 1/2 shekel of silver: document of Shara - amu, officer 1 hoes; 2 sickels; 1/2 shekel of silver: document of Ur- Dingiregal 1 axe [85 sickles]; 2 gur of [barley] flour; 4 gur 180 sila of [....]; 1[...]; 22 minas of [copper]: document of Sheshkalla, son of [....] [....] minas of copper: document of Lugal - E'igizumahe, son of [...] 1 axe: 1 gur of barley flour: document of Lu - Shara, son [...] 1 sickle; 1/2 shekel of silver: document of Magurre 10 [...] [...] (gap of about 15 lines) [...]: document of Ur - Emash, ..... 10 sickles; 2 shekels of silver: document of Ur - Alama 11 (?) [...] (gap of about 2 lines) [...]1 axe: document of Sharakam 60 sickles: document of Ku - Shara 10 sickles; [...] hoes; [...] axes: 3 shekels of silver: document of Sheshklala, son of [...] -... 10 [.....]; document of [...] 1[...]: document of B[idugga] 3 [.....]; document of L[u - ...] 1 [......]; document of [....] (3 lines missing) 1 graver, 1/2 a mina: document of Sheshkalla, barber 3 sickles: document of Adu, son of L[u-dugg]a 8 [...]; 2 gur of barley: document of Ur- [...] 3 sheep; 2 goats; 1 talent of copper, 1 axe; 2 sickles: document of Lugal - gude, overseer of cattle 9 sickles, document of Lu - sig.... 2 shekels of silver; 10 shekels of tin/lead; 6 shekels of copper: document of Bazige, carpenter 2 gur of barley; 1 mina of bronze: 1 1/2 minas of copper: document of Asog. carpenter 18 shekels of bronze; 1/2 mina of copper: document of Lugal - mu'i mu'izu, carpenter 1 sickle document of Ur- [....] 1 sheep; 20 minas of ......:1 1/3 minas of copper, 120 sila of barley: document of Nabasa 18 goats: document of Kugani, his brother 4 sickles; 2 gur of barley flour; 1 sheep: document of Shakuge, gudu - priest 3 sickles: document of Ur - Shulpa'e, administrator 2 sickles: document of Ur- Asalluhe, foreman of the hired men 2 hoes; 1 sickle document of Ur - Ninmugga 1 mina of copper: document of Lugal - kuzu, son of Zanzani 1 hoe: document of Lugal - nilagare, brewer 1 sheep: document of Ur- Halmudu 2 sickles: document of Lugal - nilagare, .. 1 1/2 shekels of silver: document of the .....s of Lagash 1 gur, 220 sila of goats: document of Lu - zumu 15 minas of copper, document of Gilzan, smith 20 minas of copper: document of Sheshani, smith 1 goldsmith's ..... 8 minas; 10 minas of copper: document of Lugalemah, smith Continuing check Month: placing the bricks in the mould Year: after the magnificent stele was erected. First, the numerical system used allows the simple numerals such as 1, 2 etc to be either 1, 2 or 60, 120 and I in the lack of any summing up of figures of this type, there is often uncertainty, and our choice of 1 or 60 is always open to reconsideration. Secondly, the professions of the men named as on the documents suggest recipients of tools rather than makers of them in most cases, but not in the case of the smiths. These two points illustrate the amount of work and study needed to gain all the information contained in this text. It is a mine of information, but in need of deep research.' 1.3 kg, 17 x 17cm (6 3/4 x 6 3/4"). Ex central London gallery; acquired 2000 from a UK dealer; acquired by them from an Oxford academic, catalogue number c/1178; examined by the late Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s; and accompanied by an original typed and signed three page scholarly note and translation by the Professor; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10165-166487. Very fine condition, repaired.

3rd century AD. A group of four lead votive trapezoidal and square plaques showing scenes of Danubian cult: on one plaque the god Sol and the goddess Luna are depicted respectively on the left and the right side of the upper part, on another plaque the sun is facing represented driving the sun-chariot with four-horse (quadriga); at the centre or upper section of all plaques facing Helen of Sparta, the divine daughter of Leda and Zeus, welcoming her divine brothers, the twins Castor and Pollux, both personifying the Danubian rider, followed in three cases by an armed Roman legionary; on one plaque the left cavalryman is advancing, holding the draco standard of the Roman legions; vegetation and animal symbols representing the offerings to the gods and scenes of sacrifice on the fields; the eagle of Zeus at the top of one plaque; architectural elements on the background of all plaques. See Tudor, D., Corpus Monumentorum Religionis Equitum Danuviorum, 2 vols., Leiden 1969-1976; V. Vasilev, 'Two Lead Plaques with a Depiction of a Danubian Horseman from the Collection of the National Museum of the History of the Ukraine' in Ancient Civilizations from Scythia to Siberia 10,1-2, 2004, pp.67-76; Beutler F., Farka C., Gugl C., Humer F., Kremer, G. and Pollhammer, E.(ed.), Der Adler Roms, Carnuntum und die Armee der Caesaren, Bad Voslau, 2017, cat.67, for a similar plaque in bronze. 822 grams total, 9.1-12.3cm (3 1/2 - 5"). From the private collection of Antony John Scammell (1937-2019); one acquired from Dr. Bron Lipkin, Collector Antiquities, London, UK, in 2009; accompanied by the original invoice. The plaques contain a complex iconography of divine figures and symbols, probably to be associated with Thracian or Dacian beliefs of the Lower Danube region, but also with the Greek Myth of the divine twins Castor and Pollux (the Dioskouroi), an important element of the Roman religion too. Presiding over the whole scene is usually the Sol Invictus (the unconquered sun-god) and his sister the Moon (Selene"). His cult originated in the Near East and gained increasing influence under imperial patronage during the third century AD. The state worship of Sol (Greek Elios) was slowly substituted by Constantine's favour towards Christianity since AD 312. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. [4] Fine condition.

1st-3rd century AD. A mixed group of three ceramic redware vessels comprising: one candle holder(?) with carinated body, cotton-reel shaped neck, shallow foot, ribbed strap handle, flaring rim and internal shelf; one bell-shaped beaker with tall foot and two concentric circumferential bands around the rim; one piriform vessel with flared foot, disc rim and strap handle comprising three ribs. 867 grams total, 9.3-18.5cm (3 1/2 - 7 1/4"). From the private collection of Antony John Scammell (1937-2019); acquired on the UK art market from 1960-2000. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. [3] Fine condition, cup and jug repaired.

12th-13th century AD. A ceramic jug with piriform body, bell-shaped neck, round-section handle and deep foot; pained blue with black painted geometric motifs and circumferential bands; attached is a tag with a handwritten note and a fragment of paper with inked calligraphic writing which was found adhering to the base of the jug; also accompanied by a photograph of the jug sent to the Victoria and Albert Museum together with a typed and signed reply dated 1971 from the museum's keeper in the department of ceramics, describing the jug as 'probably from the Sultanabad district.' 730 grams total, 19.5cm (7 3/4"). From the private collection of Antony John Scammell (1937-2019); acquired on the UK art market before 1971; previously found 1968 or before; accompanied by an old photograph, and letter to Mr Scammell from R. J. Charlston (keeper of department of ceramics) at the Victoria and Albert Museum concerning the piece dated 28 April 1971. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. Fair condition.

2nd-3rd century AD. A silver-gilt beneficiarius mount with tapering and collared median spine, leaf-shaped plaque with two lateral piercings, lateral spurs above and below; mounting lug to the reverse. See Webster, G., The Roman Imperial Army of the First and Second Centuries, Oklahoma, 1998, p.139, for discussion. 10.7 grams, 84mm (3 1/4"). From the private collection of a British gentleman based in London, formed in the 1980s. The Beneficiarius was a specially-commissioned soldier whose duties included undertaking a specific role, such as a post in the military police. The insignia included a disc with spikes and two circular holes, shown on a military altar. [No Reserve] Fine condition.

3rd century AD. A group of four lead votive trapezoidal, round and square plaques showing scenes of Danubian cult: on all the plaques the god Sol and the goddess Luna are depicted respectively on the right and the left side of the upper part, sometimes in profile sometimes facing; at the centre of all plaques facing Helen of Sparta, the divine daughter of Leda and Zeus, welcoming her divine brothers, the twins Castor and Pollux, both personifying the Danubian rider; on three plaques the left cavalryman is advancing, holding the draco standard of the Roman legions; two plaques with a cockerel, the sacred animal of the sun, foliage and animal symbols representing the offerings to the gods; the eagle of Zeus at the top of three plaques; architectural elements on the background of all plaques. See Vasilev, V., 'Two Lead Plaques with a Depiction of a Danubian Horseman from the Collection of the National Museum of the History of the Ukraine' in Ancient Civilizations from Scythia to Siberia 10,1-2, 2004, pp.67-76; Beutler, F., Farka C., Gugl C., Humer F., Kremer, G. and Pollhammer, E.(ed.), Der Adler Roms, Carnuntum und die Armee der Caesaren, Bad Voslau, 2017, cat.67, for a similar plaque in bronze. 301 grams total, 71-86mm (2 3/4 - 3 1/2"). From the private collection of Antony John Scammell (1937-2019); two acquired from A. G. & S. Gillis, Barnsley, UK, in 2001; accompanied by a copy of the original invoice. The plaques contain a complex iconography of divine figures and symbols, probably to be associated with Thracian or Dacian beliefs of the Lower Danube region, but also with the Greek Myth of the divine twins Castor and Pollux (the Dioskouroi), an important element of the Roman religion too. Presiding over the whole scene is usually the Sol Invictus (the unconquered sun-god) and his sister the Moon (Selene"). His cult originated in the Near East and gained increasing influence under imperial patronage during the third century AD. The state worship of Sol (Greek Elios) was slowly substituted by Constantine's favour towards Christianity since AD 312. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. [4] Fine condition.

2nd century BC. A squat hemispherical Samian ware cup with rosette and acanthus-leaf motifs to the centre, bands of egg-and-dart moulding, rosettes and other detailing. See Baur, P.V.C., 'Megarian Bowls in the Rebecca Darlington Stoddard Collection of Greek and Italian Vases in Yale University' in American Journal of Archaeology Volume 45 Issues 2, pp.229-248, Yale 1941, s. fig.8, for type. 144 grams, 13cm (5"). From the private collection of Antony John Scammell (1937-2019); acquired on the UK art market from 1960-2000. The actual cup was probably realised in a Pergamene fabric. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. Fine condition, rim chipped.

2nd-3rd century AD. A gold ring with bifacial 'barley' hoop supporting oval bezel with ropework border and eight clusters of three granulated beads below hatched setting holding cut and polished green glass cabochon with intaglio male bust. 5.49 grams, 21.25mm overall, 18.71mm internal diameter (approximate size British O, USA 7, Europe 14.98, Japan 14) (3/4"). From the private collection of Antony John Scammell (1937-2019); acquired from John Cummings Ltd, Grantham, UK, in 2000; accompanied by the original invoice. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. Very fine condition. A large wearable size.

1st century BC- 1st century AD. A bronze hanging lamp with handle and ornament most likely moulded and added after casting; ornamented handle in the shape of a bevelled crescent with a small globule at each end; large ring behind, globular body with rounded plain rim, large plain-lipped filling-hole, lid missing, round-tipped nozzle, flat nozzle top with bevelled sides, raised base forming solid circular foot, four suspension chains united by a cross-shaped hook, fixed on the sides of the lamp. See Bussière, J., Lindros Wohl B., Ancient Lamps in the J. Paul Getty Museum, Malibu, 2017. 135 grams, 19cm (7 1/2"). From the private collection of Antony John Scammell (1937-2019); acquired from Brigantia, York, UK, in 2007; accompanied by the original invoice and certificate of authenticity. Just as the dates of bronze lamps are marked by uncertainty, so often is the place of production. It can be assumed that Early Imperial lamps were mostly produced in Italy, as were the lamps from the second to fourth century A.D. The Late Roman products, on the other hand, seem to derive primarily from the eastern Mediterranean. The types of the first and second centuries spread rapidly to other parts of the empire, as confirmed by general parallels found and by the geographical places of manufacture or origin (primarily Asia Minor"). Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. Fine condition.

2nd-6th century AD. A glazed wooden display case with display of nine bronze horse harness mounts. See Flinders-Petrie, W.F., Objects of daily use, London, 1927; Bishop, M. C., Coulston, J.C.N., Roman military equipment, from the Punic wars to the fall of Rome, London, 2006; Radman Livaja, I., Militaria Sisciensia, Finds of the Roman military equipment in Sisak in the holdings of the archaeological Museum in Zagreb, Zagreb, 2004; Miks, C., Studien zur Romischen Schwertbewaffnung in der Kaiserzeit, I-II Banden, Rahden, 2007; Appels A., Laycock S., Roman buckles and military fittings, Witham, 2007. 1.2 kg total, 30 x 21cm (11 3/4 x 8 1/4"). From the private collection of Antony John Scammell (1937-2019); acquired on the UK art market from 1960-2000.A superb collection of military horse harness mounts ranging through a wide period of the classical and late Roman military equipment: the group is composed of two magnificent 3rd century bridle cheek pieces, with various kidney and pelta-shaped cut-outs; a 3rd century openwork bridle fastener; a 2nd-3rd century openwork phalera, five harness junction elements (bronze belt hooks) of 4th-6th century AD (Flinders-Petrie, 1927, pl.XVIII, no.11). Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. [9] Very fine condition.

1st-3rd century AD. A mixed group of four ceramic vessels, comprising: a piriform vessel with shallow foot, broad neck and flat rim flanked by two handles; a biconvex vessel with circumferential ribs, cylindrical neck, disc rim and strap handle with ribs; a carinated piriform vessel with a series of raised circumferential ribs, flared rim and strap handle; a biconvex vessel with flared foot, cylindrical neck, rolled rim and strap handle. 1.4 kg total, 13-20.5cm (5 - 8"). From the private collection of Antony John Scammell (1937-2019); acquired on the UK art market from 1960-2000. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. [4] Fine condition.

3rd century AD. A rectangular lead panel fragment of a child's sarcophagus with ropework border to the upper edge and fluted column to the left edge; raised religious imagery including a central mask of Dionysus flanked by vineleaves and S-curled dolphins in profile, facing bearded mask of Silenus above and willow leaf below; mounted on a custom-made wooden stand. See McCann, A.M., Roman Sarcophagi in the Metropolitan Museum of Art. New York: Metropolitan Museum of Art, New York, 1978; M. Myth, Meaning, and Memory on Roman Sarcophagi, Berkeley: University of California Press, 1995. 3.2 kg total, 26cm including stand (10 1/4"). From the private collection of Antony John Scammell (1937-2019); acquired from Phoenician Holyland Antiquities, New York, USA, in 2015; accompanied by the original certificate of authenticity and import receipt. The quality of the work shows that it belongs to a sarcophagus of remarkable quality, probably of a wealthy family's child. The figures stand out in low relief, but emerge thanks to effects of contrasts of light and shade. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. Fine condition.

Mid 3rd-2nd millennium BC. A carinated bowl with everted rim and shallow circular foot; the upper body with comb tooth decoration around the circumference. 678 grams, 20cm wide (8"). From the private collection of Antony John Scammell (1937-2019); acquired on the UK art market from 1960-2000. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. Very fine condition.

A framed and glazed signed photo of actor Clive Dunn in Dad's Army uniform and depicting fellow actors from the same TV program, approx 24cm x 29.5cm.

An Only Fools And Horses DVD box set, a sealed Dad's Army DVD box set and a small selection of CDs.

INDIE/ ALT/ PUNK/ WAVE - 7" COLLECTION. A super collection around 75 7" singles. Artist/ titles include The Stone Roses - Waterfall, Arctic Monkeys - Crying Lightning, Franz Ferdinand - The Fallen, The Undertones - Jimmy Jimmy, Wazmo Nariz - The EP, Dr Feelgood, The Stranglers, Ramones, Richard Hell & The Voidoids, Orange Juice, Ruts, The B-52's, Sex Pistols, The Autonomists/ FDK, The Inbreds, Vendetta, Penetration, Inca Babies, Salt Solution, Archie Legget, Prince, Fabulous Foodles, Coldplay, Marc Almond, The Police, Kate Bush, Eddie & The Hot Rods, The Damned, The Chesterfields, New Model Army, The Alarm. Condition is generally VG to Ex+.

DANCE/ HOUSE/ HIP HOP/ DOWNTEMPO LP & 12". A groovin' collection of around 97 mostly 12" but does include some LPs. Artist/ titles include Soul II Soul - Club Classics Vol 1, Grace Jones - Island Life, Bobby Womack - Where Do We Go From Here (Promo), Barry White - Just The Way You Are, Aretha Franklin & George Benson - Love All The Hurt Away, Obai Kajue - Imagination, Aswad inc The Aswad Alternative (Promo), Dancehall Mood (promo), Mark B & Blade - The Unknown, The Disposable Heroes of Hiphoprisy - Language Of Violence (promo), Barry White, The Love Unlimited Orchestra, Sweet Exorcist, Baaba Maal, Jurassic 5, Uncle Jamm's Army, Portishead (promo), Gunshot, KLF, Full Moon Scientist. Condition is generally VG to Ex+.

CLASSIC ROCK/ POP/ SYNTH POP LP COLLECTION. A smashing collection of around 59 LPs. Artist/ titles include Prince Sign O The Times (925 577-1), The Cure - Disintegration (FIXH 14), Tubeway Army - Replicas (BEGA7), Depeche Mode (x2) inc 101 (Stumm 46101) & Violator (Stumm 64), The Police (x3) inc Zenyatta Mondatta (2 copies) & Ghost In The Machine. The Style Council (x2) inc Home & Abroad & Our Favorite Shop, Terence Trent D'Arby ?- Introducing The Hardline According To (Picture Disc), The Traveling Wilburys (925 796-1), Soft Cell, Joe Jackson, Eurythmics, U2, Simple Minds, The Blow Monkeys, ABC, China Crisis, UB40, Toto, Duran Duran, Howard Jones, Fine Young Cannibals, Everything But The Girl, Taylor Rhodes, Ian Dury & The Blockheads (x2), Fun Boy Three, Prefab Sprout (x2), Frankie Goes To Hollywood, Squeeze. Condition is generally VG to Ex.

PUNK/ ALT/ WAVE/ INDIE - 7" COLLECTION. A rockin' good collection of around 130 7" singles. Artists include The Undertones, Strawberry Switchblade, The Jam, The Stranglers, Duran Duran, St Etienne, The Beat, China Crisis, Blondie, PIL, Sex Pistols, The Jesus and Mary Chain, Siouxsie and the Banshees, New Model Army, Tubeway Army, Spear Of Destiny, Psychedelic Furs, White Stripes, That Petrol Motion, The Specials, The Human League, Sparks, Wilko Johnson, Scritti Politti, Julian Cope, The Knack, The Maisonettes, Dead Kennedys, The Kane Gang, Tears For Fears, The Style Council, Prefab Sprout, Prince, Bangles, Pet Shop Boys, The Damned, Squeeze, Razorlight. Condition is generally VG to Ex.

TUBEWAY ARMY SIGNED LP. A copy of Tubeway Army - Replicas (BEGA 7) signed to reverse of sleeve by Gary Numan, Paul Gardiner, Russell Bell, Cedric Sharpley, Chris Payne. Authenticated by Roger Epperson prior to this sale.

CLASSIC ROCK/ POP - LP COLLECTION. A lovely collection of around 110 classic titles from the 50s to the 80s. Mostly LPs but does include some 12" singles. Artist/ titles include Fleetwood Mac - Rumours, Elton John inc Goodbye Yellow Brick Road and Captain Fantastic. Paul Simon - Graceland, Elvis Presley inc GI Blues. The Kinks - Word Of Mouth (03.206685.40, sealed), David Bowie - The Best Of, Blondie - Parallel Lines, U2 inc Under A Blood Red Sky, The Unforgettable Fire. Jeff Wayne's The War Of The Worlds. Eagles. Tubeway Army, The Selecter, Gallagher and Lyle, Madness, Madonna, Pretenders, Eurythmics, Rolling Stones, Chris De Burgh. Condition is generally VG to Ex.

ROCK/POP (MAINLY 70s) ARTISTS - LPs WITH ACETATE. Cool bundle of 9 x LPs with 1 x 10" LP acetate and 1 x 7". Titles are The Hy-Kells (7 track unreleased 10" LP acetate, pressed by Zel-La Records Birmingham, track listings hand written on the label - VG with a number of surface marks, no heavier scratches), D.H.U.K (the band that The Hy-Kells would become) - S/T (scarcely seen self-released LP, SRTW 83 CUS 1719 - VG with some surface marks, nothing heavier/with inserts/VG some creasing, signed by Brian Kelsall on the reverse), Stackridge - S/T (black/blue hexagon labels, MDKS 8002), ELP - Pictures At An Exhibition, Fleetwood Mac - Rumours (K 56344), Status Quo (x4) - Dog Of Two Head, In The Army Now, 12 Gold Bars and In My Chair (7"), Conspiracy Of Hope (comp) and Manfred Mann's Earth Band - Watch (BRON 507). Condition is generally VG to Ex.

ASSORTED COLLECTABLES comprising a Sorrento ware trinket box, with a Swiss musical movement, 22cm wide; two minature books, 100 Pictures from the Holy Land and The Book of Psalms, each with olive wood covers, 6.25cm x 4.25cm and 5.25cm x 3.5cm respectively; a bone and metal alloy travelling corkscrew; and a brass Royal Army Service Corps cap badge, (5).

ASSORTED COLLECTABLES comprising a Second World War U.S. Army / Airborne wrist compass by Taylor, complete with leather strap, in plain card box of issue; together with a quantity of Brooke Bond trade card sets; and a quantity of G.B. first day covers, circa 1973-80.

Britains: A boxed Britains, Types of the British Army Display Set, No. 51, 1930's, box heavily worn, complete with ten figures.

Britains: A boxed Britains, Types of the British Army, Royal Army Medical Corps, Red Cross, No. 1470, 1934 Version, one horse leg broken but present, one driver head detached but present, with original box.

Britains: A boxed Britains, Types of the Austro-Hungarian Army, Infantry of the Line, Austrian Infantry, No. 177, 1934 Version, eight figures, green label, slight wear to box, small tearing to label. 

Britains: A boxed Britains, British Army Covered Tender with Driver, Caterpillar Type, No. 1433, complete within original box.

Crescent: A collection of five Crescent Indian Army Mounted figures, early-mid 20th century, general paint wear to all figures, one black horse missing back leg. (5)

Britains: A boxed Britains, Types of the Greek Army, Greek Cavalry, No. 170, possibly 1925 Version, five figures in total, complete with original insert, wear to box commensurate with age.

Britains: A collection of assorted Britains Highlanders, dated 1903 to bases, fifteen figures, slight paint losses and wear commensurate with age, contained within Britains, Types of the British Army, No 252, with insert.

Britains: A boxed Britains, Types of the British Army, The Royal Horse Artillery, No. 39, 1931 Version, complete in original box, with part original insert. slight damage to figures.

Britains: A boxed Britains, Famous Regiments of the British Army, The Prince of Wales' Own North Staffordshire Regiment, No. 1566, 1937-39 Version, light green label, eight figures, wear to box lid, label nearly fully intact.

Britains: A boxed Britains, Camel Corps of the Egyptian Army, No. 48, 1919 Version, complete with original insert and three extra figures, damage to box lid, slight paint losses to figures.

Britains: A boxed Britains, Beetle Lorry, Mechanised Transport of the British Army, No. 1877, complete within original box.

Britains: A boxed Britains, Types of the Colonial Army, Australian Infantry at the Present, Service Dress, No. 1545, eight figures, complete with original insert.

Britains: A boxed Britains, Types of the British Army, Band of the Royal Marines, No. 1288, 1936 Version, complete with original insert, twenty-one figures.

Britains: A boxed Britains, Type of the Montenegrin Army: Montenegrin Infantry, No. 174, 1913 Version, one figure having loss to right arm, complete with original insert, bases dated 1904; together with a collection of eight Montenegrin Infantry Soldiers, 1925 Version, wear and loss to figures, sixteen figures total, box slightly worn to edge.

Britains: A boxed Britains, Types of the Colonial Army, New Zealand Infantry, Service Dress, No. 1543, blue label, eight figures, complete with original insert.

Britains: A Britains, Royal Army Medical Corps, Horse Drawn Ambulance, circa 1920; together with a Britains, Army Service Corps 'Review Order', one figure missing, horses dated 1906 to base. (2)

Britains: A boxed Britains, Types of the Austro-Hungarian Army, Austrian Lancers, No. 175, each figure dated 1.11.1902 to base, five figures total, complete with original insert, slight general wear to box, commensurate with age.

Britains: A boxed Britains, Types of the British Army: Green Howards, No. 255, 1928-1934 Version, complete with original insert, nine figures, slight wear to label.

Dinky: A boxed Dinky Toys Articulated Lorry 921, very good, small chips to trailer. 10 Ton Army Truck 622, very small chip to bottom of front mudguard. Fire Engines 955, rubs to raised edges, box lid only, no box. Along with Armoured Personnel Carrier, Armoured Car, Scout Car, Austin Champ, unboxed.