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ITEM: RingMATERIAL: GoldCULTURE: RomanPERIOD: 2nd - 3rd Century A.DDIMENSIONS: 14 mm x 15 mm, 0,6 gr.CONDITION: Good conditionPROVENANCE: Ex German private collection, H.L., acquired before 2000Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman rings crafted from special gold materials were symbols of wealth, power, and sometimes even political status, reflecting the significance that Romans attached to jewelry as markers of identity and social prestige. The finest Roman gold rings were often made from high-purity gold alloys sourced from imperial mines or imported from distant parts of the empire, where mineral wealth was abundant. Roman goldsmiths employed various techniques to craft these rings, including casting, hammering, and engraving, and they sometimes incorporated gemstones such as garnet, emerald, or sapphire to add further value and beauty. Gold rings, particularly those worn by members of the senatorial or equestrian classes, displayed intricate designs and high-quality materials that distinguished the wearer’s elite status in Roman society, where luxurious materials were a key way to visually communicate rank and influence.Some gold rings in ancient Rome served a practical purpose beyond decoration, functioning as signet rings or seals used to authenticate documents and letters. The face of these rings would be engraved with unique designs, often incorporating family crests, personal symbols, or initials that represented the individual or family. These rings were used to press an impression onto wax seals, ensuring the security and authenticity of important communications. Signet rings made from special gold alloys signaled both the authority of the document and the high rank of the sender, making them highly prized among the Roman elite. This dual purpose of beauty and functionality allowed these rings to become personal emblems of trustworthiness, binding the individual’s word with their seal.

ITEM: KantharosMATERIAL: Pottery, Bucchero-wareCULTURE: EtruscanPERIOD: 6th Century B.CDIMENSIONS: 113 mm x 154 mm x 105 mmCONDITION: Good condition, repairedPROVENANCE: Ex Austrian private collection, acquired between 1960 - 1990Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.The Etruscan kantharos was a distinctive type of drinking cup that held both practical and symbolic significance in Etruscan culture. Characterized by its tall, narrow body and two high looped handles, the kantharos was typically made from ceramic, bronze, or, in rarer instances, precious metals. This vessel form, which was also common in Greek pottery, was designed for drinking wine and was likely used in both everyday settings and formal banquets or ritual gatherings. The presence of kantharoi in Etruscan tombs suggests that they were seen as essential items for the afterlife, perhaps due to their association with social rituals and feasting. Often elaborately decorated with geometric patterns, mythological scenes, or figures from Etruscan religion, these vessels reflected the Etruscans' appreciation for artistic detail and skilled craftsmanship.In addition to their role in dining and socializing, kantharoi held symbolic associations with Dionysus (Bacchus in Roman mythology), the god of wine, ecstasy, and fertility. In Etruscan culture, which borrowed and adapted many elements from Greek religious beliefs, the kantharos likely carried connotations of divine pleasure, transformation, and the connection between mortals and the gods. The Etruscans viewed wine as a sacred drink with the power to transcend the everyday and bring participants closer to the divine realm. Consequently, the kantharos became more than just a drinking vessel; it embodied the concept of wine as a bridge to spiritual experience. This symbolism can be seen in Etruscan artwork, where figures are often shown holding or drinking from kantharoi in what appear to be ritualistic or celebratory contexts.Kantharoi discovered in Etruscan tombs and archaeological sites offer valuable insights into Etruscan social customs, artistic techniques, and cultural exchanges with the Greek world. Many Etruscan kantharoi display Greek-inspired iconography, revealing the influence of Greek artisanship and mythology on Etruscan pottery.

ITEM: Scarab with falcon, uraeus, men-sign (Amun-Re)MATERIAL: SteatiteCULTURE: EgyptianPERIOD: New Kingdom, 1550 - 1070 B.CDIMENSIONS: 12 mm x 8 mmCONDITION: Good conditionPROVENANCE: Ex American egyptologist collection, active in the early part of the 20th century, brought to the US with the family in 1954.Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice. The Egyptians saw the Egyptian scarab (Scarabaeus sacer) as a symbol of renewal and rebirth. The beetle was associated closely with the sun god because scarabs roll large balls of dung in which to lay their eggs, a behavior that the Egyptians thought resembled the progression of the sun through the sky from east to west. Its young were hatched from this ball, and this event was seen as an act of spontaneous self-creation, giving the beetle an even stronger association with the sun god’s creative force. The connection between the beetle and the sun was so close that the young sun god was thought to be reborn in the form of a winged scarab beetle every morning at sunrise. As this young sun god, known as Khepri, rose in the sky, he brought light and life to the land.Scarab amulets were used for their magical rejuvenating properties by both the living and the dead. Scarabs were used by living individuals as seals from the start of the Middle Kingdom (ca. 2055 BCE) onwards. The most common inscription for these scarabs was the owner’s name. The incised design was often a schematic combination of hieroglyphs and geometric patterning. Patterns could often denote the specific administrative office held by the wearer.Scarabs were also often rendered naturalistically in the round. The regenerative powers of scarabs of this nature could be used by either the living or the dead for healing and protection during quotidian activities or during a deceased person’s passage into the afterlife. The striking red/orange color of this amulet’s carnelian strengthens its solar associations.

ITEM: Medusa head appliqueMATERIAL: BronzeCULTURE: RomanPERIOD: 2nd - 3rd Century A.DDIMENSIONS: 25 mm x 38 mm diameterCONDITION: Good conditionPROVENANCE: Ex German private collection since the early 1980sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.The Roman depiction of Medusa, a figure from Greek mythology, was an enduring and significant image in Roman art, especially in the context of both mythology and protective symbolism. Medusa, one of the three Gorgons, was famously transformed into a monster with snakes for hair and the power to turn anyone who gazed upon her into stone. While the mythological story of Medusa’s transformation and her eventual slaying by the hero Perseus originates in Greek mythology, the Romans adopted and adapted the image of Medusa in a variety of artistic forms. Medusa was often portrayed with a striking, menacing face, her hair a tangle of snakes, symbolizing both her power and her curse.In Roman art, Medusa's image was often used in decorative works, such as reliefs, mosaics, and especially on bronze and marble sculptures. One of the most famous representations of Medusa in Roman art is the Gorgon’s head, which was frequently featured as an apotropaic symbol, used to ward off evil and protect spaces. This "evil eye" function, associated with Medusa, was a significant part of Roman belief, as the face of Medusa was thought to have protective qualities when placed on items like shields, doorways, and public buildings. This use of her image as a protective charm highlights how Roman interpretations of mythology often merged with practical concerns about health, safety, and the unseen dangers of the world.Medusa also appeared in Roman portraiture, particularly in the form of large, dramatic representations of her head as a motif, often seen on coins and jewelry. Roman emperors, such as those during the Julio-Claudian dynasty, used Medusa's image to convey a sense of power, control, and protection, integrating the Gorgon into imperial propaganda. For example, the emperor Nero sometimes had coins minted with Medusa’s head, likely to symbolize the ruler’s connection to divine or supernatural protection. The dual nature of Medusa—both a symbol of danger and a protector—mirrors the complexities of Roman imperial power, where rulers needed to balance fear and reverence in their image.

ITEM: Level with plumb bobMATERIAL: BronzeCULTURE: RomanPERIOD: 4th - 5th Century A.DDIMENSIONS: 120 mm x 92 mmCONDITION: Good conditionPROVENANCE: Ex European private collection, acquired before 2000sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.The Roman level, often used in conjunction with a plumb bob, was a tool essential to Roman engineering and construction, allowing builders to establish precise horizontal lines. This simple yet effective instrument typically consisted of a wooden or metal frame in the shape of an “A” or a right triangle, with a string and plumb bob suspended from the apex. By observing where the plumb line intersected with markings on the frame, Roman engineers could verify that their structures were level, an essential step for everything from roads and aqueducts to temples and public buildings. This tool’s straightforward design and functionality exemplify the Romans' ability to achieve architectural precision with basic technology.The use of the Roman level with a plumb bob was integral to the construction of Rome’s architectural masterpieces. This tool helped achieve the structural stability seen in roads, aqueducts, and multi-story buildings, where maintaining horizontal lines was critical for even weight distribution. The Roman level was particularly useful in large-scale civil engineering projects, such as the construction of aqueducts, which required precise gradients over long distances to ensure water flow. By using the level to maintain a consistent angle, engineers could create a slight slope that allowed water to flow across valleys and plains, providing urban centers with reliable water access. This simple tool thus played a role in sustaining the infrastructure that fueled the Roman Empire’s growth.

ITEM: Wagon applique in shape of eagle and duck headMATERIAL: BrnzeCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 65 mm x 48 mmCONDITION: Good conditionPROVENANCE: Ex English private collection, acquired between 1970 - 1990Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.A Roman wagon applique shaped like an eagle or duck head served as an ornamental piece, typically attached to ceremonial or military vehicles. These appliques were often crafted in bronze and designed to convey power, protection, and prestige. The eagle, in particular, held significant symbolism in Roman culture, representing Jupiter, the king of the gods, and becoming a symbol of the Roman Empire itself. Thus, an eagle-shaped applique would signal strength, dominance, and divine favor. Meanwhile, a duck head shape could represent themes related to water, fertility, or pastoral life, as ducks and other animals had their own symbolic value within Roman mythology and art.The detail and craftsmanship of such appliques reveal the Roman commitment to artistry and symbolism in even practical items like wagons and chariots. These items were likely attached to vehicles used in parades, religious ceremonies, or military contexts, allowing the display of Roman iconography in public spaces. The combination of both an eagle and duck head might reflect dual themes, such as the unification of military prowess (eagle) with peaceful or prosperous associations (duck), creating a dynamic piece that embodied multiple aspects of Roman ideology. The use of bronze also suggests durability and the intention to convey wealth and power, as bronze was both visually impressive and resistant to wear.Artifacts like these appliques provide insight into Roman decorative arts and the importance of symbolic expression in everyday objects.

ITEM: Ostracon with Greek textMATERIAL: PotteryCULTURE: EgyptianPERIOD: Ptolemaic period, 3rd - 1st Century B.CDIMENSIONS: 82 mm x 95 mm 6 mmCONDITION: Good conditionPROVENANCE: Ex Swedish private collection, John Ingels (1925 - 2016), John Ingels worked as a painter, curator, filmmaker and tour guide with heart and soul in his home region of Leksand. He eventually became very popular and acquired archaeological artefacts during his stays in Egypt and Italy. He made the 1962 film ‘Egyptian Monuments’ with the important purpose of saving the temple of Abu Simbel. Several of the objects from this auction were exhibited in local shops and installations in Leksand during the 1970s and 1990s. Some of the objects were acquired abroad in England, Egypt and Israel, among others, and were brought to Sweden in the 1960s.Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Egyptian ostraca were pieces of pottery shards or limestone flakes used as writing or drawing surfaces in ancient Egypt, often serving as practical and affordable alternatives to papyrus. The term "ostracon" (plural: ostraca) originates from the Greek word for "potsherd," and these pieces were widely used in daily life for notes, drafts, or sketches. Since ostraca were readily available, they became popular for informal or temporary writings, including accounts, personal letters, and even school exercises. This usage was common among scribes, who would practice their writing or create quick drafts before committing text to more valuable materials. The durability of pottery and stone has allowed many ostraca to survive through the centuries, providing unique insights into the everyday life of ancient Egyptians.Ostraca also played a significant role in Egyptian art and storytelling, as many of them contain sketches, religious imagery, and even preliminary designs for tomb paintings or statues. Artists often used ostraca to practice intricate figures or scenes, including depictions of gods, animals, or mythological events. Some ostraca reveal humorous scenes or caricatures, suggesting that Egyptian artists had a playful side as well. For instance, some ostraca display animals in human-like activities, such as mice acting as soldiers or cats interacting with geese, which may have served as comic relief or satire. These sketches showcase the skill and imagination of Egyptian artists, while the variety of subjects reveals the broad scope of Egyptian society's interests and beliefs.

ITEM: KeyMATERIAL: BronzeCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 60 mm x 32 mmCONDITION: Good conditionPROVENANCE: Ex German private collection, Dr. K.B., Munich, since the 1970sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman keys were essential tools for securing locks on doors, chests, and personal items, reflecting the Roman emphasis on security, privacy, and property ownership. Made primarily from iron, bronze, or sometimes brass, Roman keys varied in design, but they generally consisted of a long shaft with a curved or looped head that engaged with the lock mechanism. The keys were often large and heavy, particularly those used for doors or storage chests, and they were frequently carried as symbols of authority, wealth, and access. Roman keys were also integral to the organization of private and public spaces, from households to temples, demonstrating how the Romans valued controlled access to both physical property and private life.The design of Roman keys was functional yet varied, with some keys featuring intricate, ornate designs, while others were more utilitarian. Large, ornate keys were often used by the wealthy or in the context of important state or religious buildings, while smaller, simpler keys were used by ordinary citizens. The variation in size and decoration of Roman keys reflects the different types of locks they were designed for, from the elaborate locking mechanisms used in villas and public buildings to simpler locks for personal use. Many Roman keys found in archaeological excavations bear decorative elements such as animal heads, religious symbols, or family crests, which were sometimes engraved into the head of the key, showcasing the owner’s identity, status, or affiliations.In addition to their practical and decorative purposes, Roman keys have an important symbolic role in Roman culture. They were sometimes depicted in art, especially in funerary contexts, to signify ownership, protection, and the safeguarding of personal or family treasures.

ITEM: Kantharos, Saint-Valentin Class MATERIAL: Pottery CULTURE: Greek PERIOD: 4th Century B.C DIMENSIONS: 128 mm x 184 mm x 133 mm CONDITION: Good condition. Reassembled from the original fragments, in one handle a restored missing fragment PROVENANCE: Ex German private collection, K.M., 2023, from the estate of private collection of F.M., France, since at least 2011. Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice. The Greek kantharos is a distinctive type of drinking vessel that was especially popular in ancient Greece, primarily associated with the god Dionysus, the deity of wine, festivity, and ecstasy. The kantharos is characterized by its deep, often rounded bowl, tall, looped handles that extend above the rim, and its pedestal or footed base, which made it both a functional and ornamental object. Used in various settings—from religious ceremonies to the communal symposium (drinking party)—the kantharos symbolized rebirth and the god’s power to transcend life and death, becoming an essential item for celebrating Dionysian rituals. Typically decorated with either a black-glaze or painted in the red-figure style, many kantharoi feature designs relevant to Greek mythology or everyday life, depicting images of gods, animals, or floral motifs. The black-glaze version, in particular, provided an elegant, glossy finish, making it both striking and practical for its intended ceremonial use. In red-figure examples, artists had more freedom to illustrate narrative scenes involving Dionysus, his satyrs, or other figures from the Bacchic retinue. Such designs transformed the kantharos into more than just a vessel—it became a storytelling medium, revealing aspects of Greek beliefs, values, and artistic skills.

ITEM: Brazier fragment with Odysseus maskMATERIAL: PotteryCULTURE: Greek, HellenisticPERIOD: 3rd - 1st Century B.CDIMENSIONS: 122 mm x 203 mmCONDITION: Good conditionPROVENANCE: Ex French private collection. Maurice Fallies (1883-1965) and thence by family descent. Fallies was an artist active in the early to mid 20th Century and known mostly for his paintings of Paris street scenes.PARALLEL: BRITISH MUSEUM Collection, Accession number 1868,0405.127Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Odysseus, the legendary hero of Homer’s Odyssey, endured as a central figure in Greek culture long beyond the classical period, especially within the Hellenistic world, which saw a revitalized interest in mythological heroes. In this period, roughly from the 4th to the 1st centuries BCE, Odysseus' character took on new dimensions that aligned with the Hellenistic values of intellect, adventure, and resilience. Artists, poets, and historians explored his tales with renewed perspective, often portraying him as a clever strategist rather than a mere warrior. This portrayal reflected a broader Hellenistic admiration for wisdom and cleverness, qualities associated with Odysseus’ ability to navigate diverse cultural encounters, tricky political landscapes, and, famously, to outwit monstrous challenges.The Hellenistic period saw a flourishing of art and literature, where Odysseus appeared frequently in sculptural and literary works. Sculptors often depicted him in thoughtful or pensive poses, reinforcing his reputation as the “man of twists and turns.” This contrasted with earlier depictions, which often focused on heroic postures or scenes of battle. The Hellenistic reinterpretation of Odysseus spoke to the complexities of the human experience, as well as the nuanced understanding of heroism. He was no longer portrayed merely as a victorious warrior but rather as a figure of endurance and intelligence. This perspective is also seen in the expanded literature of the time, where poets and playwrights would highlight his psychological depth, his inner struggles, and his resilience in the face of the gods’ manipulation.The legacy of Odysseus in Hellenistic culture underscored the shift from the communal, martial values of earlier Greek society to the more personal, intellectual pursuits characteristic of the Hellenistic ethos. This was also a time of intense cultural exchange, and Odysseus, often seen as a "wanderer," was a fitting emblem for a world increasingly interconnected by trade, politics, and philosophical exchange. His stories became a means of examining cultural identity and the nature of human resilience.

ITEM: Oil lamp depicting a lion, Type Bussière E IX 31 - Atlante X A1 aMATERIAL: PotteryCULTURE: Late Roman, ChristianPERIOD: 5th - 7th Century A.DDIMENSIONS: 50 mm x 70 mm x 115 mmCONDITION: Good conditionPROVENANCE: Ex French private collection, acquired between 1970 - 1990Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Christian oil lamps, primarily dating from the late Roman period into the Byzantine era, played a dual role in both practical illumination and religious symbolism. These lamps were often simple in design, reflecting the modest roots of early Christianity. Made typically of clay or metal, they had small, flat bodies with one or two nozzles where wicks could be inserted, and they were fueled by olive oil. As Christianity spread throughout the Roman Empire, Christian iconography began to appear on these lamps, with motifs like crosses, fish, doves, and other symbols representing faith and the promise of salvation. These lamps were used in Christian households, places of worship, and even catacombs, where they provided light and carried symbolic meaning, illuminating spaces as well as representing spiritual enlightenment.The decoration of Christian oil lamps varied widely depending on the time and region. Early examples often used simpler motifs, but as Christianity became more widely accepted, the symbols on these lamps grew more elaborate and distinctively Christian. In the Byzantine period, for instance, lamps might display scenes from biblical stories, the Chi-Rho (a symbol for Christ), or other sacred imagery. Archaeological finds of these lamps in churches and graves underscore their spiritual role, often being placed with the deceased as symbols of hope and eternal life. These lamps helped Christians subtly express their faith, especially in the pre-Constantinian period when they faced persecution.Christian oil lamps also reflected the evolving role of religious art and worship in Christian communities. Beyond functional lighting, these lamps served as teaching tools for the illiterate, using symbols to communicate complex theological concepts.

ITEM: Seal with Ptah, Anubis and vultureMATERIAL: StoneCULTURE: EgyptianPERIOD: Middle Kingdom, 2040 – 1782 B.CDIMENSIONS: 39 mm x 45 mm x 32 mmCONDITION: Good conditionPROVENANCE: Ex Museum Exhibiton of the Arbeitsgruppe für Biblische Archäologie, Germany (Deaccession)Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice. Lahun, Ptah, and Anubis are three significant figures from ancient Egyptian civilization, each with its unique role and importance.Lahun (or Senusret II's Pyramid at Lahun): Lahun is an archaeological site in Egypt known for its historical significance, most notably for Senusret II's pyramid complex built during the Middle Kingdom period. This pyramid served as the final resting place for the pharaoh and included a mortuary temple and a causeway. The site provides valuable insights into the architectural and funerary practices of the time, showcasing the Egyptians' mastery in constructing grand burial monuments.Ptah: Ptah is an important deity in Egyptian mythology, revered as the creator god of Memphis. He was associated with craftsmanship, creation, and the arts. Ptah was often depicted as a mummified figure holding a staff, symbolizing his creative powers. He was a significant patron deity for artisans and craftsmen in ancient Egypt and was believed to have played a vital role in shaping the world.Anubis: Anubis is one of the most recognizable figures in Egyptian mythology, often depicted as a jackal-headed god. He was the god of mummification and the afterlife, guiding souls to the realm of the dead. Anubis played a crucial role in the funeral rites and judgment of the deceased, overseeing the weighing of the heart against the feather of Ma'at to determine one's fate in the afterlife. His presence in Egyptian funerary practices highlights the cultural significance placed on proper burial and the belief in an afterlife.These three elements - the archaeological site of Lahun, the deity Ptah, and the god Anubis - offer a glimpse into the multifaceted nature of ancient Egyptian civilization, spanning both the earthly realm and the spiritual world.

ITEM: RingMATERIAL: BronzeCULTURE: Iron Age, Central Asia, Amlash or BactrianPERIOD: 1st millenium B.CDIMENSIONS: 21 mm diameterCONDITION: Good conditionPROVENANCE: Ex English private collection, acquired from London Gallery (1970s - 2000s)Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.The Bactrian culture thrived in the region of Bactria, which encompassed parts of present-day Afghanistan, Uzbekistan, and Tajikistan, during the Bronze Age, roughly from the 3rd to the 2nd millennium BCE. Bactria served as a crucial crossroads along the ancient Silk Road, connecting the civilizations of the Mediterranean, Central Asia, China, and the Indian subcontinent. The culture is known for its advanced urban centers, sophisticated metallurgy, and rich artistic traditions. Bactrian art often depicted scenes of daily life, mythical creatures, and religious motifs. The Bactrians are also believed to have played a significant role in the spread of early Indo-Iranian languages and culture.On the other hand, Amlash culture was prevalent in the Amlash region of northern Iran during the Iron Age, dating roughly from the 1st millennium BCE. The Amlash culture is characterized by its distinctive pottery styles, including painted ceramics adorned with intricate geometric and zoomorphic designs. Archaeological evidence suggests that Amlash society was organized into small-scale agricultural communities, with evidence of terraced agriculture and irrigation systems. Additionally, Amlash culture is notable for its burial practices, which often included inhumation in cemeteries and burial mounds, sometimes accompanied by grave goods such as pottery vessels and metal objects.While the Bactrian and Amlash cultures developed in different time periods and geographical regions, they both represent important stages in the cultural evolution of the broader Central Asian and Iranian regions.

ITEM: RingMATERIAL: SilverCULTURE: RomanPERIOD: 1st Century A.DDIMENSIONS: 19 mm diameterCONDITION: Good conditionPROVENANCE: Ex French private collection, acquired between 1980 - 1990Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman rings were not only decorative items but also symbols of social status, personal identity, and practical utility within Roman society. Made from materials ranging from simple iron and bronze to more luxurious silver and gold, rings were worn by men and women alike and often carried significant meaning for the wearer. Wealthy individuals favored rings made of precious metals or adorned with gemstones like garnet, amethyst, and carnelian, which showcased their status and taste. Certain rings were inscribed with symbols, personal mottos, or images of gods, providing spiritual protection or conveying a personal connection to the divine. For Roman soldiers and officials, rings also served as indicators of rank and allegiance, reflecting Rome’s social hierarchies and values.Some Roman rings had a practical purpose as well, functioning as signet rings, which were used to imprint wax seals on official documents or private correspondence. These rings, typically engraved with unique designs, family crests, or initials, allowed the wearer to secure and authenticate messages. This practice was crucial for Roman officials, merchants, and anyone involved in legal or administrative tasks. The signet ring thus became a powerful tool that symbolized authority and personal integrity, as it was an extension of the wearer’s identity and their word. Archaeological discoveries of signet rings, sometimes still bearing traces of wax, illustrate their everyday utility and the Roman emphasis on personal security and record-keeping.

ITEM: Theatrical mask beadMATERIAL: GlassCULTURE: RomanPERIOD: 2nd - 3rd Century A.DDIMENSIONS: 25 mm x 16 mmCONDITION: Good conditionPROVENANCE: Ex Swedish private collection, R.S., acquired from German art marketComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.The Roman theatrical mask bead is a unique and significant artifact that reflects the rich cultural and social practices of ancient Rome, particularly in the realms of entertainment and personal adornment. These beads, which were often worn as jewelry or used in decorative pieces, featured the facial likenesses of theatrical masks associated with Roman drama. Roman theatre masks, typically representing characters from comedy and tragedy, were widely recognized symbols of the theatrical tradition, and their incorporation into personal items like beads suggests the integration of theatrical culture into daily life. These beads were usually made of materials such as glass, terracotta, or even precious metals, depending on the social status of the wearer.The use of theatrical mask imagery in Roman jewelry had both decorative and symbolic purposes. The masks themselves were part of a long tradition that originated in Greek theatre and continued through Roman performances, where actors would wear large masks to exaggerate emotions and to distinguish between characters. These masks typically represented two genres of drama: comedy (often depicted with a smiling face) and tragedy (depicted with a sorrowful or serious expression). By wearing beads shaped like these masks, Romans not only displayed their appreciation for the arts and theatre but also linked themselves to cultural traditions that celebrated drama and performance. This connection to theatre could also carry deeper meanings, such as invoking the powers of gods associated with the arts, or signaling the wearer's personal connection to the theatrical world.Roman theatrical mask beads were more than just decorative items; they were also symbols of cultural identity and social status. Such beads were popular among the Roman elite, who had access to luxury materials and could afford to incorporate fine craftsmanship into their jewelry. These beads were worn on necklaces, bracelets, and other forms of adornment, showcasing not only the wearer’s wealth but also their cultural sophistication. In addition to their use in personal jewelry, Roman theatrical mask beads were sometimes included in grave goods, indicating that they held a symbolic meaning beyond the living world.

ITEM: Jar handle of Samki, the son of Zephanyahu, official of king Hezekiah of Judah MATERIAL: Pottery CULTURE: Iron Age PERIOD: 700 B.C DIMENSIONS: 40 mm x 60 mm x 36 mm CONDITION: Good condition PROVENANCE: Ex Museum Exhibiton of the Arbeitsgruppe für Biblische Archäologie, Germany (Deaccession), Ex Shlomo Moussaieff private collection Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice. Samki, the son of Zephanyahu, was a figure mentioned in ancient Jewish and biblical texts, notably in the context of King Hezekiah's reign in Judah during the 8th century BCE. While his name appears infrequently in primary sources, his role as a minister or official in the royal administration of King Hezekiah suggests a position of significant responsibility. He is mentioned in the context of the events surrounding the Assyrian siege of Jerusalem in 701 BCE, a critical moment in Judah’s history. As a high-ranking minister, Samki would have likely been involved in the political, military, and administrative affairs of the kingdom, particularly during this period of intense external threat. The historical and biblical records focus primarily on the reign of King Hezekiah, who is known for his religious reforms and for resisting the Assyrian king Sennacherib's invasion of Judah. Samki, as a royal minister, would have been part of the inner circle of Hezekiah’s government, overseeing various aspects of governance. The Bible mentions various officials during this time, though Samki's specific duties or actions are not detailed in great depth. Given the turmoil of the Assyrian threat, it is likely that Samki's role involved managing the kingdom's defenses, assisting with diplomatic negotiations, or helping organize the resources needed for the defense of Jerusalem. Biblical references to Samki are brief, but they contribute to the broader understanding of the complex network of officials and ministers who supported King Hezekiah during a time of national crisis. In the biblical account, Judah’s survival during the Assyrian siege is portrayed as a result of Hezekiah’s faith and strategic planning, and officials like Samki would have played a key role in the execution of royal strategies. The absence of more detailed information about Samki suggests that, while he was likely an important figure in Hezekiah’s court, his legacy was overshadowed by the more prominent religious and military figures of the time, such as the prophet Isaiah and the king himself. Nevertheless, Samki’s inclusion in the historical record serves as a testament to the intricate administrative structure that existed in the kingdom of Judah during this pivotal period.

ITEM: Cosmetic spoonMATERIAL: BronzeCULTURE: RomanPERIOD: 1st – 3rd Century A.DDIMENSIONS: 100 mm x 21 mmCONDITION: Good conditionPROVENANCE: Ex English private collection, acquired from art dealer in 2003Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.The Roman cosmetic spoon, a delicate and specialized tool, was a staple in the personal care routines of ancient Roman women and men. Typically crafted from bronze, bone, or even precious metals like silver, these spoons featured a shallow, rounded bowl on one end, often attached to a slender handle that sometimes ended in a decorative shape, such as an animal or floral motif. The purpose of the cosmetic spoon was to apply small amounts of substances, such as oils, perfumes, and powdered cosmetics, with precision. The elegant, elongated design made it easier to handle, allowing users to apply beauty products in a refined and controlled manner.Cosmetic spoons served as part of a broader set of grooming tools, including tweezers, nail cleaners, and small mirrors, reflecting the high value Romans placed on personal hygiene and appearance. Roman beauty standards emphasized smooth, fair skin and often intricate hairstyles, so products like face powders, eye shadows, and scented oils were commonly applied. The cosmetic spoon would have been essential for mixing and applying such products, especially those that required precise application, such as kohl for lining the eyes or pigments for highlighting facial features. They were also used for mixing therapeutic ointments, further illustrating their importance in the daily rituals of self-care and healing.

ITEM: 'Manu fica' amuletMATERIAL: FaienceCULTURE: Roman, EgyptPERIOD: 1st - 3rd Century A.DDIMENSIONS: 20 mm x 8 mmCONDITION: Good conditionPROVENANCE: Ex German private collection, acquired between 1970 - 1990Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.The Roman manu fica amulet, also known as the "fig sign" or "fig-shaped hand" amulet, was a powerful and widely used symbol of protection in Roman society. Shaped to resemble a fist with the thumb placed between the index and middle fingers, the gesture is often associated with warding off the evil eye, a common belief in ancient Roman and Mediterranean cultures. The manu fica symbol was believed to protect the wearer from jealousy, misfortune, and the malevolent gaze of others, often serving as a talisman to keep away bad luck or curses. This gesture was so significant that it appeared not only in amulet form but also in various other objects like rings, pendants, and pottery, reflecting its widespread cultural importance.The use of the manu fica amulet was prevalent in both personal and public contexts. Roman soldiers, for example, often wore these amulets as protective charms during battles and long journeys, seeking divine or supernatural aid against the dangers they faced. Wealthy individuals and aristocrats also utilized these amulets to safeguard themselves from the negative effects of envy or malicious gossip, which were believed to be potent forces in Roman society. The manu fica was not only used as a protective device but also as a statement of defiance against misfortune, reflecting the Roman emphasis on resilience and control over external forces.The manu fica gesture itself, with its thumb between the index and middle fingers, was a form of folk magic that crossed cultural boundaries, appearing in Greek, Roman, and later European traditions. In Roman times, the amulet was often worn in everyday life and incorporated into a range of jewelry and personal items. In addition to its protective function, the manu fica could also be used as a sign of fertility or a symbol of good luck.

ITEM: Phallic amuletMATERIAL: BronzeCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 32 mm x 15 mmCONDITION: Good conditionPROVENANCE: Ex Spanish private collection, bought in English auction house. Ex English private collection, Oxfordshire, acquired from Alan Cherry of Bournemouth between 2003 - 2005Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman phallic amulets, known as fascina (plural of fascinum), were widespread symbols of protection, particularly against the evil eye, in Roman culture. These small, often intricately carved amulets typically depicted the male genitalia and were considered potent talismans for warding off negative influences and harmful magic. The Romans believed that the image of the phallus had the power to avert misfortune and bring good luck, due to its association with fertility, strength, and vitality. Phallic amulets could be made from materials such as bronze, bone, or terracotta, and were worn as jewelry or placed in homes, businesses, and even public spaces like crossroads and gates to ensure protective benefits.These amulets were not limited to personal adornment but were also incorporated into broader social and religious contexts. In Roman households, phallic symbols could be found on doorways or incorporated into the decor to protect the home from malevolent spirits. Additionally, children, who were considered particularly vulnerable to harm, were often given phallic amulets to wear around their necks or as part of their clothing to shield them from danger. The presence of these symbols in everyday life reflects the deeply ingrained superstitious beliefs in ancient Roman society, where the need for protection was a constant concern.Beyond their apotropaic (warding-off) function, phallic amulets also reflected Roman attitudes toward sexuality and masculinity. The open display of the phallus was not considered vulgar but rather a symbol of life, virility, and generative power. This frankness about sexual symbols stood in contrast to later cultural norms and reveals the Roman perspective on sexuality as a natural and essential force.

ITEM: Textile fragmentMATERIAL: LinenCULTURE: Egyptian, CopticPERIOD: 4th - 9th Century A.DDIMENSIONS: 206 mm x 125 mm (without frame)CONDITION: Good condition. Includes framePROVENANCE: Ex German private collection, W.F., Munich (1928 - 2015), acquired between 1970s - 1980sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice. Coptic textiles from the 4th to the 9th century are significant artifacts of late antiquity and early Christianity. These textiles, woven in Egypt, are known for their intricate weaving and vibrant colors. They feature a blend of indigenous Egyptian traditions and early Christian iconography, with motifs including Christian symbols, biblical scenes, and saints. These textiles offer insights into daily life, religious practices, and burial customs in the region. Their preservation in the arid Egyptian climate has made them invaluable for understanding the transition from the classical world to the medieval era and the spread of Christianity in Egypt and the wider Mediterranean.Coptic textiles are culturally and historically significant, reflecting the fusion of artistic traditions and religious influences during a transformative period.

ITEM: Oil lamp with inscription 'The light of Christ shines for all'MATERIAL: PotteryCULTURE: ByzantinePERIOD: 4th - 5th Century A.DDIMENSIONS: 30 mm x 60 mm x 87 mmCONDITION: Good conditionPROVENANCE: Ex Palestine private collection, acquired in the 1990sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.A Byzantine oil lamp inscribed with the phrase "The light of Christ shines for all" is a remarkable artifact that reflects the deep spiritual and theological beliefs of the Byzantine Empire. This inscription emphasizes the central role of Christianity in daily life and religious practices during the Byzantine period. Oil lamps were essential for both practical illumination and religious rituals, and incorporating a Christian message into their design highlights the integration of faith into everyday objects. The inscription serves as both a devotional statement and a reminder of the divine presence in the lives of believers, making the lamp a significant symbol of Christian piety and enlightenment.The design and craftsmanship of Byzantine oil lamps were highly refined, often made from materials such as clay, metal, or glass. These lamps frequently featured intricate decorations, including religious symbols, motifs, and inscriptions. The inclusion of the inscription "The light of Christ shines for all" on the lamp would have been achieved through engraving or molding, demonstrating the skill of Byzantine artisans. This inscription not only personalized the lamp but also reinforced the idea that light, both physical and spiritual, is a manifestation of Christ's presence and guidance in the world. The lamp's practical function as a source of light was thus imbued with deep religious significance.In addition to its spiritual message, the Byzantine oil lamp with this inscription provides valuable insights into the religious and cultural practices of the period. The lamp would have been used in private homes, churches, or during religious ceremonies, emphasizing the importance of maintaining a connection with the divine in various aspects of life. The presence of such an inscription also reflects the broader trend of incorporating Christian themes into art and everyday objects, illustrating how Byzantine art and material culture were deeply intertwined with religious beliefs.

ITEM: KeyMATERIAL: BronzeCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 82 mm x 30 mmCONDITION: Good conditionPROVENANCE: Ex German private collection, Dr. K.B., Munich, since the 1970sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman keys were essential tools for securing locks on doors, chests, and personal items, reflecting the Roman emphasis on security, privacy, and property ownership. Made primarily from iron, bronze, or sometimes brass, Roman keys varied in design, but they generally consisted of a long shaft with a curved or looped head that engaged with the lock mechanism. The keys were often large and heavy, particularly those used for doors or storage chests, and they were frequently carried as symbols of authority, wealth, and access. Roman keys were also integral to the organization of private and public spaces, from households to temples, demonstrating how the Romans valued controlled access to both physical property and private life.The design of Roman keys was functional yet varied, with some keys featuring intricate, ornate designs, while others were more utilitarian. Large, ornate keys were often used by the wealthy or in the context of important state or religious buildings, while smaller, simpler keys were used by ordinary citizens. The variation in size and decoration of Roman keys reflects the different types of locks they were designed for, from the elaborate locking mechanisms used in villas and public buildings to simpler locks for personal use. Many Roman keys found in archaeological excavations bear decorative elements such as animal heads, religious symbols, or family crests, which were sometimes engraved into the head of the key, showcasing the owner’s identity, status, or affiliations.In addition to their practical and decorative purposes, Roman keys have an important symbolic role in Roman culture. They were sometimes depicted in art, especially in funerary contexts, to signify ownership, protection, and the safeguarding of personal or family treasures.

ITEM: Lidded boxMATERIAL: PotteryCULTURE: Chinese, Hoi An shipwreckPERIOD: 15th Century A.DDIMENSIONS: 33 mm x 55 mm diameterCONDITION: Good conditionPROVENANCE: Ex Butterfield & Butterfiel auction with oficial Hoy An Hoard labels.Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Byzantine oil lamps, used widely from the early Byzantine period (circa 4th century CE) to the fall of the empire, were essential items for daily life, religious practices, and symbolic rituals. These lamps were typically made of clay, bronze, or occasionally glass, and fueled by olive oil, which was readily available in the Mediterranean. Byzantine lamps generally featured a closed, often circular body with a nozzle for the wick and a handle for easy transport. Many were decorated with Christian symbols, such as crosses, fish, and chi-rho monograms, reflecting the profound influence of Christianity in Byzantine culture. These lamps provided light in homes, churches, monasteries, and public buildings, illuminating both daily and sacred spaces within Byzantine society.The design and decoration of Byzantine oil lamps evolved over time, showing the influences of earlier Roman models as well as the rise of new artistic styles. Early Byzantine lamps retained Roman features, such as the use of terracotta and simple, functional forms. However, as Christianity became more established, the iconography shifted to incorporate Christian symbols, saints, and religious scenes. Some lamps were inscribed with prayers or invocations, which were thought to provide spiritual protection or blessings. Additionally, Byzantine lamps often bore intricate floral or geometric patterns that showcased the empire’s skilled craftsmanship. This decorative approach made Byzantine lamps not only functional lighting devices but also aesthetic objects that conveyed religious and cultural identity.Beyond their use as practical tools, Byzantine oil lamps had religious and symbolic significance. Oil lamps were used in churches to symbolize the presence of divine light and as offerings in Christian rituals, reflecting themes of enlightenment and spiritual guidance. They were also placed in tombs as part of burial rites, possibly to light the way for the deceased in the afterlife.

ITEM: Roundel with the head of Zeus AmmonMATERIAL: BronzeCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 33 mm diameterCONDITION: Good conditionPROVENANCE: Ex Dutch private collection, acquired between 1970 - 1990Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.The Roman depiction of Zeus Ammon, often referred to as Jupiter Ammon in Roman contexts, blends elements of Greek and Egyptian mythology, reflecting the cultural syncretism of the Roman Empire. Zeus Ammon is a fusion of the Greek god Zeus, the ruler of the heavens and the king of the gods, and Ammon, an ancient Egyptian deity associated with the sun and air. The combination of these two gods occurred particularly during the Hellenistic period when Alexander the Great visited the Oracle of Ammon at Siwah in the Egyptian desert. This cross-cultural melding was embraced by the Romans, who saw the unification of these deities as a powerful symbol of imperial rule and divine authority.In Roman art, Zeus Ammon is typically represented with features that combine both Greek and Egyptian iconography. He is often shown with the regal appearance of Zeus—broad, bearded, and powerful—yet he also possesses the distinctive ram's horns of the Egyptian god Ammon. This imagery conveyed the idea that Zeus Ammon held dominion not only over the Greek and Roman worlds but also over the Egyptian realm, symbolizing Rome's vast imperial reach. His representations were popular in Roman coins, statues, and reliefs, where the horned god was often depicted wearing a crown or holding symbols of power, such as the thunderbolt (a symbol of Zeus) or the scepter (a symbol of Ammon).The cult of Zeus Ammon was closely tied to the concept of divine kingship, and the emperor often associated himself with this deity to legitimize his rule. The idea of divine sanction was crucial in Roman imperial ideology, and by associating themselves with Zeus Ammon, emperors could evoke the authority of both the Greek pantheon and the ancient Egyptian tradition.

ITEM: RingMATERIAL: BronzeCULTURE: Iron Age, Central Asia, Amlash or BactrianPERIOD: 1st millenium B.CDIMENSIONS: 22 mm diameterCONDITION: Good conditionPROVENANCE: Ex English private collection, acquired from London Gallery (1970s - 2000s)Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.The Bactrian culture thrived in the region of Bactria, which encompassed parts of present-day Afghanistan, Uzbekistan, and Tajikistan, during the Bronze Age, roughly from the 3rd to the 2nd millennium BCE. Bactria served as a crucial crossroads along the ancient Silk Road, connecting the civilizations of the Mediterranean, Central Asia, China, and the Indian subcontinent. The culture is known for its advanced urban centers, sophisticated metallurgy, and rich artistic traditions. Bactrian art often depicted scenes of daily life, mythical creatures, and religious motifs. The Bactrians are also believed to have played a significant role in the spread of early Indo-Iranian languages and culture.On the other hand, Amlash culture was prevalent in the Amlash region of northern Iran during the Iron Age, dating roughly from the 1st millennium BCE. The Amlash culture is characterized by its distinctive pottery styles, including painted ceramics adorned with intricate geometric and zoomorphic designs. Archaeological evidence suggests that Amlash society was organized into small-scale agricultural communities, with evidence of terraced agriculture and irrigation systems. Additionally, Amlash culture is notable for its burial practices, which often included inhumation in cemeteries and burial mounds, sometimes accompanied by grave goods such as pottery vessels and metal objects.While the Bactrian and Amlash cultures developed in different time periods and geographical regions, they both represent important stages in the cultural evolution of the broader Central Asian and Iranian regions.

ITEM: Horse headMATERIAL: BronzeCULTURE: Greek, Archaic periodPERIOD: 7th - 6th Century B.CDIMENSIONS: 23 mm x 38 mm x 11 mmCONDITION: Good conditionPROVENANCE: Ex Dutch private collection, acquired between 1980 - 1990Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.The horse head motif was a prominent and revered symbol in Greek art during the Archaic Period, reflecting the importance of horses in Greek society and culture. Horses were symbols of wealth, power, and status, as only the elite could afford to own, care for, and breed these animals. They played an essential role in warfare, transportation, and competitive sports, particularly in chariot racing, which became a prestigious event in Greek games. During the Archaic Period, from around 800 to 480 BCE, depictions of horse heads began to appear in various art forms, including pottery, sculptures, and decorative elements, symbolizing the power and nobility associated with the horse and its rider.Sculptural representations of horse heads from this period often reveal the evolving style of Archaic Greek art, which combined stylized forms with increasing naturalism. Horse head sculptures and reliefs from the Archaic Period typically display a strong sense of geometric balance, with rounded, well-defined contours that emphasize the animal's nobility and strength. These sculptures often feature detailed treatment of the mane, eyes, and muzzle, while maintaining a sense of idealized symmetry characteristic of the Archaic aesthetic. Some horse head sculptures served as votive offerings in sanctuaries, particularly in sites dedicated to gods associated with horses and chariots, like Poseidon. Such pieces were crafted to honor deities, secure favor in competitions, or express gratitude, showcasing the horse's sacred and esteemed status.

ITEM: RingMATERIAL: BronzeCULTURE: GreekPERIOD: 4th - 3rd Century B.CDIMENSIONS: 18 mm x 20 mmCONDITION: Good conditionPROVENANCE: Ex Dutch private collection, acquired between 1970 - 1990Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Greek rings, crafted in various metals such as gold, silver, and bronze, were popular adornments in ancient Greece and carried deep personal, social, and symbolic significance. The design and function of these rings evolved over time, with early rings often simple in style, becoming more elaborate by the Classical and Hellenistic periods. In addition to personal adornment, rings frequently had utilitarian functions, as they were often inscribed with the wearer's name or emblem to serve as a personal seal. The use of rings as seals meant they could be used to mark official documents, authenticate transactions, and signify authority. Such rings often bore engraved intaglios, allowing wearers to leave impressions in wax or clay with unique designs that identified them as the ring’s owner.Artisans decorated Greek rings with a variety of motifs, ranging from geometric patterns and floral designs to intricate mythological scenes. Figures of gods and heroes were popular subjects, with images of deities like Athena, Hermes, or Apollo representing divine protection or favor. Mythological creatures, like griffins and sphinxes, also appeared on rings, symbolizing power, wisdom, and protection. Rings with such symbolic engravings were thought to carry protective or talismanic qualities, and were often passed down through generations as heirlooms. These rings showcased the wearer's cultural identity and personal beliefs, while also highlighting the artistry and technical skills of ancient Greek jewelers, who mastered techniques like engraving, casting, and repoussé (a form of metal embossing).Greek rings also had important ritual and religious roles. Some rings, for instance, were dedicated to gods as votive offerings in temples, often in gratitude for blessings or as requests for protection. In funerary contexts, rings were sometimes placed in tombs as part of the grave goods, symbolizing wealth or serving as tokens to accompany the deceased into the afterlife.

ITEM: Relief fragmentMATERIAL: MarbleCULTURE: RomanPERIOD: 1st - 2nd Century A.DDIMENSIONS: 110 mm x 125 mm x 68 mmCONDITION: Good conditionPROVENANCE: Ex Portuguese private collection, acquired between 1980 - 1990Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman reliefs are an essential aspect of Roman art and architecture, known for their detailed and dynamic depictions of historical events, mythology, daily life, and portraits. These reliefs were commonly carved into marble, limestone, or other durable materials and adorned various structures such as altars, triumphal arches, sarcophagi, and public buildings. The use of relief sculpture allowed Roman artists to create intricate narratives and convey complex messages, serving both decorative and propagandistic purposes.One of the most famous examples of Roman reliefs is the frieze on the Ara Pacis, the Altar of Peace, dedicated in 9 BCE to commemorate Emperor Augustus's return from his campaigns in Gaul and Hispania. The reliefs on the Ara Pacis depict a procession of the imperial family, priests, and senators, capturing a moment of civic and religious harmony. The high level of detail, naturalistic figures, and dynamic composition reflect the Roman emphasis on realism and the importance of political propaganda. By illustrating Augustus's achievements and the prosperity of his reign, the reliefs reinforced the emperor's legitimacy and the ideals of peace and stability.Another significant example is the reliefs on the Column of Trajan, completed in 113 CE, which celebrate Emperor Trajan's victory in the Dacian Wars. The column's spiral relief narrates the entire campaign, from the army's departure to the final victory, with over 2,500 figures depicted in meticulous detail. These reliefs not only serve as a visual record of the military conquest but also emphasize the emperor's role as a strong and capable leader.

ITEM: Polyhedron weightMATERIAL: BronzeCULTURE: ByzantinePERIOD: 10th - 13th Century A.DDIMENSIONS: 15 mm x 20 mmCONDITION: Good conditionPROVENANCE: Ex English private collection, London, acquired between 1980sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Polyhedron weights were common in the Byzantine period as a means of measuring and standardizing the weight of various goods for trade and commerce. These weights were typically small, geometrically shaped objects made of materials such as bronze, lead, or stone, and they were often inscribed with numerical markings indicating their weight. Polyhedron weights took on various forms, including cubes, octahedrons, dodecahedrons, and other geometric shapes, each with a specific weight value corresponding to its size and density.The use of polyhedron weights in Byzantine commerce helped ensure fairness and accuracy in transactions by providing a standardized system of measurement. Merchants and traders relied on these weights to determine the value of goods such as precious metals, grains, and other commodities, facilitating trade and economic exchange within the Byzantine Empire and beyond. Polyhedron weights were also used in official capacities, such as tax collection, where they played a crucial role in assessing duties and tariffs based on the weight of goods.Polyhedron weights are frequently found in archaeological contexts throughout the Byzantine Empire, providing valuable insights into Byzantine trade networks, economic activity, and material culture. The inscriptions and markings on polyhedron weights often include information

ITEM: Phallic amuletMATERIAL: BronzeCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 15 mm x 7 mm x 25 mmCONDITION: Good conditionPROVENANCE: Ex Spanish private collection, bought in English auction house. Ex English private collection, Oxfordshire, acquired from Alan Cherry of Bournemouth between 2003 - 2005Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman phallic amulets, known as fascina (plural of fascinum), were widespread symbols of protection, particularly against the evil eye, in Roman culture. These small, often intricately carved amulets typically depicted the male genitalia and were considered potent talismans for warding off negative influences and harmful magic. The Romans believed that the image of the phallus had the power to avert misfortune and bring good luck, due to its association with fertility, strength, and vitality. Phallic amulets could be made from materials such as bronze, bone, or terracotta, and were worn as jewelry or placed in homes, businesses, and even public spaces like crossroads and gates to ensure protective benefits.These amulets were not limited to personal adornment but were also incorporated into broader social and religious contexts. In Roman households, phallic symbols could be found on doorways or incorporated into the decor to protect the home from malevolent spirits. Additionally, children, who were considered particularly vulnerable to harm, were often given phallic amulets to wear around their necks or as part of their clothing to shield them from danger. The presence of these symbols in everyday life reflects the deeply ingrained superstitious beliefs in ancient Roman society, where the need for protection was a constant concern.Beyond their apotropaic (warding-off) function, phallic amulets also reflected Roman attitudes toward sexuality and masculinity. The open display of the phallus was not considered vulgar but rather a symbol of life, virility, and generative power. This frankness about sexual symbols stood in contrast to later cultural norms and reveals the Roman perspective on sexuality as a natural and essential force.

ITEM: Oil lamp with confronted ErosMATERIAL: PotteryCULTURE: Greek, HellenisticPERIOD: 2nd – 1st Century B.CDIMENSIONS: 23 mm x 70 mm x 98 mmCONDITION: Good conditionPROVENANCE: Ex Emeritus collection (USA), collected from the 1950’s to the 1980’s by a distinguished university professor who served as Department head, Dean and Vice President of a major university.Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice. Eros, in Greek religion, god of love. In the Theogony of Hesiod (fl. 700 BCE), Eros was a primeval god, son of Chaos, the original primeval emptiness of the universe, but later tradition made him the son of Aphrodite, goddess of sexual love and beauty, by either Zeus (the king of the gods), Ares (god of war and of battle), or Hermes (divine messenger of the gods).Eros was a god not simply of passion but also of fertility. His brother was Anteros, the god of mutual love, who was sometimes described as his opponent. The chief associates of Eros were Pothos and Himeros (Longing and Desire). Later writers assumed the existence of a number of Erotes (like the several versions of the Roman Amor).In Alexandrian poetry he degenerated into a mischievous child. In Archaic art he was represented as a beautiful winged youth but tended to be made younger and younger until, by the Hellenistic period, he was an infant. His chief cult centre was at Thespiae in Boeotia, where the Erotidia were celebrated. He also shared a sanctuary with Aphrodite on the north wall of the Acropolis at Athens.

ITEM: CupMATERIAL: PotteryCULTURE: Chinese, Ca Mau shipwreckPERIOD: 18th Century A.DDIMENSIONS: 34 mm x 72 mm diameterCONDITION: Good conditionPROVENANCE: Ex Sotheby's, Amsterdam, Junuary 2007Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.The Ca Mau wreck, discovered off the southern coast of Vietnam near the Ca Mau Peninsula, is an important historical site linked to maritime trade in the early 18th century. In 1998, local fishermen accidentally discovered the wreckage, which led to extensive excavations by the Vietnamese government. The ship, believed to have been en route from Guangzhou to Batavia (modern-day Jakarta), sank around 1725 after a severe fire onboard. Over 130,000 artifacts were recovered, mostly Chinese porcelain, which provides insight into the global trade routes of the time​.Artifacts from the wreck suggest it was part of the vast porcelain trade, which was a key aspect of inter-Asian and European commerce. The majority of the ceramics recovered were made in China, particularly from renowned production centers like Jingdezhen. This included blue-and-white porcelain, teacups, and various decorative items. The Ca Mau wreck is especially significant because it illustrates the growing demand for Chinese ceramics in Europe, particularly during the reign of the Yongzheng Emperor (1723–1735), a period when porcelain export reached new heights​.The wreck's discovery has shed light on the broader historical context of Vietnam's role in maritime trade networks, especially as a key point in the movement of goods between East Asia and Europe. Additionally, this site has been crucial in understanding the complex interactions among the Dutch East India Company, private traders, and other international players during the 18th century​.

ITEM: Oil lamp depicting a horseMATERIAL: PotteryCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 40 mm x 67 mm x 98 mmCONDITION: Good conditionPROVENANCE: Ex French private collection, acquired between 1970 - 1990Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman oil lamps were essential household items throughout the Roman Empire, serving as the primary source of illumination in homes, temples, and public spaces from around the 3rd century BCE through late antiquity. These lamps were typically made of clay or terracotta, though some luxurious versions were crafted in bronze or other metals for wealthier patrons. Designed with a small, shallow reservoir to hold oil—most commonly olive oil—and a spout for the wick, Roman oil lamps were simple yet effective in providing light after sunset. Their portability made them versatile for both indoor and outdoor use, from domestic activities to religious ceremonies.The designs of Roman oil lamps varied widely and often reflected the cultural, artistic, and religious values of their time. Simple lamps had minimal decoration and were purely utilitarian, while others were intricately decorated with motifs such as mythological scenes, animals, or gods and goddesses. Lamps featuring figures of deities like Venus, Mercury, or Bacchus were common and served as symbols of protection and blessing. Some lamps even depicted scenes from Roman life or famous gladiator battles, showing the influence of popular culture on everyday objects. The variety of decorative elements also highlights the skilled craftsmanship of Roman artisans, who often used molds to create detailed reliefs on the lamps’ surfaces.In addition to their practical use, Roman oil lamps held significant cultural and religious symbolism. They were frequently placed in graves and tombs as part of funerary customs, symbolizing light for the deceased in the afterlife. Oil lamps were also used in rituals and as offerings in temples, particularly in domestic cults where they served as an act of devotion to household gods or protective deities. Lamps have been discovered across the vast Roman Empire, from Britain to Egypt, providing valuable archaeological insights into daily life, trade networks, and religious practices.

ITEM: Kantharos (karchesion) with graffiti, perirrhanterion and karchesion, underneath a curved sword (harpa)MATERIAL: PotteryCULTURE: Greek, BoeotianPERIOD: 5th Century B.CDIMENSIONS: 110 mm x 163 mm x 102 mmCONDITION: Good conditionPROVENANCE: Ex German private collection, P.A., Munich, acquired from a German private collection before 2000sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Greek pottery with graffiti provides a fascinating lens into the everyday lives, thoughts, and social dynamics of ancient Greeks. Pottery was used extensively across Greek society, from simple cups and jars to intricately decorated amphorae. While most surviving Greek pottery is celebrated for its exquisite painted scenes and fine craftsmanship, some pieces also carry graffiti, offering a unique glimpse into the more personal, unfiltered side of ancient life. Graffiti on pottery—often scratched, incised, or painted after the pot was fired—could range from simple names, ownership marks, and prices to playful messages, crude jokes, and even snippets of poetry. These inscriptions hint at the interactions between individuals in marketplaces, homes, and social gatherings, bringing a lively, human element to what would otherwise be silent artifacts.Much of the graffiti found on pottery falls into two main categories: ownership marks and dedications. In marketplaces and public gatherings, where pottery was bought, sold, and heavily circulated, marking one's vessel could serve practical purposes. People often scratched their names or initials onto drinking cups, for example, to claim ownership or differentiate them from others. In some cases, especially in sanctuaries, individuals would leave inscriptions on pottery as offerings to the gods. These dedications could be as simple as “I am the cup of X,” denoting the owner or the deity to whom the vessel was dedicated. Such graffiti helps scholars understand the personalization of everyday objects in Greek society and offers clues to the names, identities, and social behaviors of individuals from all walks of life.Some Greek pottery graffiti, however, is less formal and provides hints of humor, competition, or rivalry. In symposium settings, where drinking vessels were shared among a social group, people might inscribe playful taunts, boasts of drinking prowess, or even love messages on cups and kraters. This form of graffiti brings ancient personalities to life, showing that humor, camaraderie, and even conflict were as much a part of ancient Greek life as they are today. Occasionally, merchants would also inscribe prices or advertising slogans on vessels, pointing to the commercial practices surrounding pottery.

ITEM: KeyMATERIAL: BronzeCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 34 mm x 28 mmCONDITION: Good conditionPROVENANCE: Ex German private collection, Dr. K.B., Munich, since the 1970sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman keys were essential tools for securing locks on doors, chests, and personal items, reflecting the Roman emphasis on security, privacy, and property ownership. Made primarily from iron, bronze, or sometimes brass, Roman keys varied in design, but they generally consisted of a long shaft with a curved or looped head that engaged with the lock mechanism. The keys were often large and heavy, particularly those used for doors or storage chests, and they were frequently carried as symbols of authority, wealth, and access. Roman keys were also integral to the organization of private and public spaces, from households to temples, demonstrating how the Romans valued controlled access to both physical property and private life.The design of Roman keys was functional yet varied, with some keys featuring intricate, ornate designs, while others were more utilitarian. Large, ornate keys were often used by the wealthy or in the context of important state or religious buildings, while smaller, simpler keys were used by ordinary citizens. The variation in size and decoration of Roman keys reflects the different types of locks they were designed for, from the elaborate locking mechanisms used in villas and public buildings to simpler locks for personal use. Many Roman keys found in archaeological excavations bear decorative elements such as animal heads, religious symbols, or family crests, which were sometimes engraved into the head of the key, showcasing the owner’s identity, status, or affiliations.In addition to their practical and decorative purposes, Roman keys have an important symbolic role in Roman culture. They were sometimes depicted in art, especially in funerary contexts, to signify ownership, protection, and the safeguarding of personal or family treasures.

ITEM: Duck mountMATERIAL: SilverCULTURE: Iron Age, CelticPERIOD: 2nd Century B.C - 1st Century A.DDIMENSIONS: 12 mm x 21 mmCONDITION: Good conditionPROVENANCE: Ex English private collection, Suffolk, acquired in U.K art market in 2015, before from English private collection, Kent.Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.The Iron Age Celtic silver duck mount is a remarkable artifact that reflects the artistic and cultural sophistication of the Celtic peoples during the late Iron Age (around 500 BCE to the Roman conquest). The Celts, known for their intricate metalwork and symbolic art, often created decorative mounts and fittings for various objects, including weapons, chariots, and ceremonial items. The silver duck mount is an example of their skill in metalworking and their use of animal motifs, which were common in Celtic art, symbolizing various spiritual and cultural beliefs.This silver duck mount likely served as a decorative piece, possibly attached to a ceremonial object such as a shield, helmet, or chariot. The duck itself holds symbolic significance in Celtic culture, often associated with water, fertility, and the otherworld. Waterfowl, like ducks, were believed to be creatures that could traverse both the earthly and spiritual realms, making them potent symbols of transition and connection between worlds. The use of silver, a precious metal, further indicates the mount's importance, suggesting it may have belonged to a person of high status, perhaps a chieftain or a warrior of significant rank.The craftsmanship of the Celtic silver duck mount is notable for its detailed and stylized representation of the bird, reflecting the Celts' deep appreciation for nature and their ability to infuse symbolic meaning into their art. The design likely incorporated the flowing, curvilinear patterns typical of La Tène art, the dominant artistic style of the Celts during the Iron Age. This style is characterized by its intricate patterns and abstract forms, often inspired by natural elements.

ITEM: Scarab with nefer-sign flanked by bent papyrus stalksMATERIAL: SteatiteCULTURE: EgyptianPERIOD: Second Intermediate Period, 1700 - 1500 B.CDIMENSIONS: 14 mm x 10 mmCONDITION: Good conditionPROVENANCE: Ex American egyptologist collection, active in the early part of the 20th century, brought to the US with the family in 1954.Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice. The Egyptians saw the Egyptian scarab (Scarabaeus sacer) as a symbol of renewal and rebirth. The beetle was associated closely with the sun god because scarabs roll large balls of dung in which to lay their eggs, a behavior that the Egyptians thought resembled the progression of the sun through the sky from east to west. Its young were hatched from this ball, and this event was seen as an act of spontaneous self-creation, giving the beetle an even stronger association with the sun god’s creative force. The connection between the beetle and the sun was so close that the young sun god was thought to be reborn in the form of a winged scarab beetle every morning at sunrise. As this young sun god, known as Khepri, rose in the sky, he brought light and life to the land.Scarab amulets were used for their magical rejuvenating properties by both the living and the dead. Scarabs were used by living individuals as seals from the start of the Middle Kingdom (ca. 2055 BCE) onwards. The most common inscription for these scarabs was the owner’s name. The incised design was often a schematic combination of hieroglyphs and geometric patterning. Patterns could often denote the specific administrative office held by the wearer.Scarabs were also often rendered naturalistically in the round. The regenerative powers of scarabs of this nature could be used by either the living or the dead for healing and protection during quotidian activities or during a deceased person’s passage into the afterlife. The striking red/orange color of this amulet’s carnelian strengthens its solar associations.

ITEM: Squat lekythos with palmetteMATERIAL: PotteryCULTURE: GreekPERIOD: 5th – 4th Century B.CDIMENSIONS: 91 mm x 42 mmCONDITION: Good conditionPROVENANCE: Ex French private collection, acquired between 1980sPARALLEL: BRITISH MUSEUM Collection, Accession number 11.46019Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice. Lekythoi are a specific type of oil flask used in ancient Greece, particularly during the Archaic and Classical periods, spanning from the 7th to the 4th century BCE. Their design was intended for holding perfumed oil or ointments used in funerary and beauty rituals.Greek lekythoi were often adorned with artistic scenes, such as human, mythological, or geometric figures, which were frequently related to the funerary theme. Many of them were used as offerings in tombs or commemorative monuments, and their presence in burials provides valuable insights into the cultural beliefs and practices of ancient Greece concerning death and the veneration of the deceased.These objects are highly regarded by archaeologists and art historians due to their connection to religion, mythology, and the everyday life of ancient Greece. Lekythoi serve as a window into the culture and beliefs of this civilization, and their archaeological study and artistic analysis contribute to a deeper understanding of ancient Greek society.

ITEM: BraceletMATERIAL: BronzeCULTURE: RomanPERIOD: 2nd - 3rd Century A.DDIMENSIONS: 64 mm x 67 mmCONDITION: Good conditionPROVENANCE: Ex English private collection, London, acquired from art market before 2000sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman bracelets were popular accessories worn by men, women, and even children across various social classes throughout the Roman Empire. These bracelets, made from a range of materials including gold, silver, bronze, glass, and iron, were both decorative and symbolic. Wealthier Romans favored bracelets made of precious metals and gemstones, which displayed their social status and wealth, while those of more modest means wore simpler versions made of bronze or iron. Some bracelets were adorned with intricate designs, engraved patterns, and inlays of glass or colored stones, reflecting the Roman love for beauty and craftsmanship in personal adornment.Designs of Roman bracelets varied widely, often reflecting cultural influences from the diverse regions within the Empire. Some bracelets featured open-ended designs with stylized animal heads, such as lions, snakes, or eagles, each carrying symbolic meaning, while others were fully enclosed with elaborate detailing. Snake-shaped bracelets, for example, were quite popular and symbolized protection and healing, as the serpent was associated with the god Asclepius. Other bracelets bore inscriptions or engraved symbols, possibly functioning as talismans or amulets believed to bring good luck, health, or protection to the wearer. These decorative and symbolic elements illustrate the Romans’ appreciation for jewelry as both an art form and a source of personal meaning.Bracelets were also significant in Roman religious and funerary contexts. They were often left as offerings at temples or placed in graves as part of burial rites, symbolizing the individual’s status or personal beliefs in the afterlife.

ITEM: Oil lampMATERIAL: PotteryCULTURE: ByzantinePERIOD: 6th - 7th Century A.DDIMENSIONS: 50 mm x 80 mm x 100 mmCONDITION: Good conditionPROVENANCE: Ex French private collection, acquired before 2000sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Byzantine oil lamps, commonly used between the 4th and 15th centuries AD, played a crucial role in illuminating homes, churches, and public spaces across the Byzantine Empire. Typically made from clay or metal, these lamps were designed with a shallow bowl to hold oil, and a spout for the wick, allowing for a controlled flame that provided steady light. Clay lamps were the most affordable and widely available, often made in simple molds for easy production, while wealthier individuals used bronze or brass lamps that could be highly decorative. The use of these lamps reflects the importance of artificial lighting in Byzantine daily life and religious practices, especially given the early Christian emphasis on light as a symbol of divine presence.Byzantine oil lamps often featured Christian iconography, reflecting the deeply religious character of Byzantine society. Designs included symbols such as crosses, fish, doves, and Chi-Rho monograms, each serving as a visual expression of faith. The lamps were sometimes inscribed with biblical phrases or prayers, believed to bring protection and blessings to the household. In religious settings, lamps were used in churches and monasteries to illuminate icons and altars, creating a sacred atmosphere that enhanced worship. For the Byzantines, light was not only practical but also imbued with spiritual significance, representing Christ as the “light of the world.” The religious motifs and inscriptions on these lamps were thus intended to remind users of their faith in everyday life.Archaeologically, Byzantine oil lamps have been found throughout the Mediterranean and Near East, highlighting the extensive reach and influence of Byzantine culture. Lamps were traded widely, with distinct regional styles reflecting local materials and artistic preferences, while still adhering to the overarching Byzantine aesthetic. Some lamps were produced in major centers such as Constantinople, while others were made in smaller workshops across the empire.

ITEM: BowlMATERIAL: BronzeCULTURE: Iron Age, Neo-AssyrianPERIOD: 9th - 7th Century B.CDIMENSIONS: 42 mm x 155 mmCONDITION: Good condition, see picturesPROVENANCE: Ex English private collection, London, acquired in 1990sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.The Neo-Assyrian Empire (c. 911–609 BCE) was one of the most powerful and influential empires of the ancient Near East, known for its military prowess, administrative efficiency, and cultural achievements. The empire expanded through a series of successful military campaigns, reaching its zenith under kings like Tiglath-Pileser III, Sargon II, Sennacherib, and Ashurbanipal. The Neo-Assyrians established a centralized and well-organized state with a sophisticated bureaucracy, extensive road systems, and an innovative postal service, which helped maintain control over a vast and diverse territory stretching from the Mediterranean to the Persian Gulf.Culturally, the Neo-Assyrians were renowned for their contributions to art, architecture, and literature. They built grand palaces and temples, adorned with intricate bas-reliefs and colossal statues depicting gods, kings, and mythological creatures. These artworks often celebrated the king's military victories and divine favor, serving both as propaganda and as a testament to the empire's power. The Neo-Assyrians also preserved and expanded the literary traditions of Mesopotamia, maintaining vast libraries that housed texts on history, science, religion, and mythology. The most famous of these was the Library of Ashurbanipal in Nineveh, which contained thousands of cuneiform tablets and remains one of the most significant archaeological discoveries of the ancient world.Religion played a central role in Neo-Assyrian culture, with the king seen as the earthly representative of the gods, particularly the chief deity Ashur. The Assyrians practiced a polytheistic religion, worshiping a pantheon of gods who governed various aspects of life and the cosmos. Religious rituals, including sacrifices and divination, were integral to state affairs, and temples served as both religious and economic centers.

ITEM: KeyMATERIAL: BronzeCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 70 mm x 30 mmCONDITION: Good conditionPROVENANCE: Ex German private collection, Dr. K.B., Munich, since the 1970sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman keys were essential tools for securing locks on doors, chests, and personal items, reflecting the Roman emphasis on security, privacy, and property ownership. Made primarily from iron, bronze, or sometimes brass, Roman keys varied in design, but they generally consisted of a long shaft with a curved or looped head that engaged with the lock mechanism. The keys were often large and heavy, particularly those used for doors or storage chests, and they were frequently carried as symbols of authority, wealth, and access. Roman keys were also integral to the organization of private and public spaces, from households to temples, demonstrating how the Romans valued controlled access to both physical property and private life.The design of Roman keys was functional yet varied, with some keys featuring intricate, ornate designs, while others were more utilitarian. Large, ornate keys were often used by the wealthy or in the context of important state or religious buildings, while smaller, simpler keys were used by ordinary citizens. The variation in size and decoration of Roman keys reflects the different types of locks they were designed for, from the elaborate locking mechanisms used in villas and public buildings to simpler locks for personal use. Many Roman keys found in archaeological excavations bear decorative elements such as animal heads, religious symbols, or family crests, which were sometimes engraved into the head of the key, showcasing the owner’s identity, status, or affiliations.In addition to their practical and decorative purposes, Roman keys have an important symbolic role in Roman culture. They were sometimes depicted in art, especially in funerary contexts, to signify ownership, protection, and the safeguarding of personal or family treasures.

ITEM: Ring depicting a cornucopiaMATERIAL: BronzeCULTURE: Greek, Hellenistic periodPERIOD: 3rd - 1st Century B.CDIMENSIONS: 25 mm x 22 mmCONDITION: Good conditionPROVENANCE: Ex Austrian private collection, acquired between 1980 - 1990Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.The Greek cornucopia, also known as the "horn of plenty," is a symbol of abundance and nourishment, originating from ancient Greek mythology. The cornucopia is typically depicted as a large, curved goat's horn overflowing with fruits, flowers, grains, and other bountiful produce, representing the prosperity and wealth of nature. According to myth, the cornucopia is associated with the nymph Amalthea, who nourished the infant Zeus with milk from her horn. In gratitude, Zeus endowed the horn with the magical ability to provide an endless supply of food and drink, transforming it into a symbol of unending abundance.In Greek art and culture, the cornucopia appears frequently in various contexts, symbolizing fertility, prosperity, and the blessings of the gods. It is commonly found in depictions of deities associated with agriculture, harvest, and abundance, such as Demeter, the goddess of the harvest, and Dionysus, the god of wine and festivity. The cornucopia also appears in representations of Tyche, the goddess of fortune, emphasizing her role in bestowing prosperity and good fortune upon individuals and cities. In these artistic depictions, the cornucopia serves as a visual shorthand for the themes of wealth, nourishment, and divine favor.During the Hellenistic period (c. 323-31 BCE), the cornucopia became a prevalent motif in both public and private art, reflecting the era's emphasis on wealth and opulence. It was commonly featured in mosaics, frescoes, coins, and sculptures, often as part of decorative schemes in homes and public buildings. The cornucopia's symbolism extended beyond its agricultural roots to encompass general themes of wealth and abundance in various aspects of life.

ITEM: Squat lekythosMATERIAL: PotteryCULTURE: GreekPERIOD: 4th Century B.CDIMENSIONS: 75 mm x 70 mm diameterCONDITION: Good conditionPROVENANCE: Ex French private collection, acquired between 1970 - 1990Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.The Greek squat lekythos is a distinctive type of pottery vessel that was widely used in ancient Greece, particularly during the late Archaic and Classical periods. The squat lekythos, characterized by its round, flattened body and a small, narrow neck, was typically used for storing and dispensing oil, especially olive oil, which was an essential part of daily life in ancient Greece. Its squat shape made it practical for holding oils used in cooking, personal grooming, and religious rituals, while the narrow neck allowed for controlled pouring. Often, these vessels were designed to be highly functional, but they also featured artistic decoration that reflected the cultural and aesthetic values of the time.The decoration on Greek squat lekythoi was typically done in the black-figure or red-figure style, both of which were popular during different periods of Greek pottery. The black-figure technique, where figures were painted in a black slip and then fired in a kiln, dominated before the 5th century BCE, while the red-figure technique, which allowed for more detailed and intricate depictions of human figures, took over during the Classical period. The imagery on these vessels often depicted scenes from daily life, such as offerings to the gods, funerary practices, or athletic contests. Many squat lekythoi, especially those used in funerary contexts, were adorned with scenes illustrating the departure of the deceased's soul or the ritual of laying out the body, making them both utilitarian and symbolic.In addition to their function and decoration, squat lekythoi had a significant role in Greek burial practices. They were commonly used as funerary offerings, particularly in the context of the deceased's grave goods. The lekythos was placed in tombs, often beside the body, filled with oil, or sometimes unfilled as a symbol of the offering to the gods. The representation of everyday activities on the vessels, such as bathing, athletic competitions, and feasting, could symbolize the continuity of life and the hope for a peaceful afterlife.

ITEM: Medical instrument, SpoonMATERIAL: BronzeCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 104 mm x 24 mmCONDITION: Good conditionPROVENANCE: Ex Polish private collection, acquired from German private collection in 2003Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman medical instruments reflect a sophisticated approach to healthcare and the Roman Empire's advancements in surgery and medicine. These tools, often made of bronze, iron, or occasionally silver, included scalpels, forceps, bone saws, and probes, showing remarkable similarity to modern surgical instruments. The variety and specificity of these tools suggest that Roman practitioners could perform a range of procedures, from basic wound care to complex surgeries. Excavations of Roman military and urban sites, such as those at Pompeii and Herculaneum, have uncovered sets of medical tools, revealing that medical practitioners were well-equipped and held esteemed positions in society.Roman surgeons and physicians were skilled in both trauma care—often needed for soldiers injured in battle—and routine health care for civilians. Instruments such as bone levers were used to reset fractures, while small hooks and probes were essential for cleaning wounds and removing foreign objects. Romans had a keen understanding of hygiene and frequently boiled instruments before use, showing early practices of antiseptic care. Texts from ancient medical writers like Galen and Celsus describe procedures using these instruments, such as cataract surgery and trepanation, indicating that Roman medicine was informed by Greek medical knowledge and adapted for practical use in the Empire.The discovery of Roman medical tools provides valuable insight into the professionalization of medicine in antiquity. The presence of specialized instruments for different types of procedures suggests that Roman medicine included a degree of specialization, with some practitioners focusing on specific fields like ophthalmology or battlefield surgery.

ITEM: Piriform aryballosMATERIAL: PotteryCULTURE: Greek, Proto-CorinthianPERIOD: 7th – 6th Century B.CDIMENSIONS: 65 mm x 40 mmCONDITION: Good conditionPROVENANCE: Ex Swiss private collection, H. D., acquired between 1919 - 2019Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice. The aryballos (pl. aryballoi) has a small round or ovoid body and a narrow neck. The typically broad and flat lip prevents spillage. The use of the Greek term aryballos for this particular shape is a modern convention. It may well have been used in antiquity, but we know that other names, such as lekythos, were also applied.Aryballoi are common in Corinthian ware, some being tiny and meticulously decorated. Examples are less widespread in Athenian, although the shape is depicted on vases or funerary stelai, either hanging up, often with a strigil or sponge in an athletic setting, or being used by the athletes themselves.In Corinth and East Greece, warrior’s heads, animals, and other mould-made figures could serve as the body of aryballoi. Athenian potters sustain the habit, and there are examples in the form of female heads, shells, even genitals.

1980's Teak metamorphic coffee table/entertainment trolley with a removable tray undertier, H. 63.5cm, L. 70cm, W. 44cm (folded shut) on four casters. Provenance: Vendor purchased item at Heals, no receipt available.

A collectors edition Steiff Jolly Golly and Bear, 1996, limited edition made exclusively for Dollyland, boxed with certificate, limited edition of 1500 Notice from the the-saleroom.com: These items are listed on the basis they are illustrative of a bygone culture in which there were different social norms. We understand the potential controversy surrounding this type of item but believe that providing transparent information about historical context fosters greater understanding of our complex cultural history.

19 Robertsons paper Gollies from 1960's/70s marmalade jars- 4 music, 5 sports and 10 standard Notice from the the-saleroom.com: These items are listed on the basis they are illustrative of a bygone culture in which there were different social norms. We understand the potential controversy surrounding this type of item but believe that providing transparent information about historical context fosters greater understanding of our complex cultural history.

An exquisite silver teapot-samovar from the mid-19th century, made in 1843 by master Adolf Shper in Saint Petersburg. The product is distinguished by its elegant and functional design. The edges, lid and interior of the item are gilded, giving it additional shine and luxury. Four exquisite legs are decorated with a three-dimensional pattern in the form of shells, which emphasizes the sophistication of the product. The spout is decorated with acanthus leaf decor, and the valve handle is made of mother-of-pearl with an exquisite image of a palmette. The openwork handles are equipped with bone elements for convenience when using hot items. The silver burner is complemented by a pattern along the edges, and the lid is topped with a flower-shaped handle, which completes the overall appearance with refined elegance. Hallmarks: full hallmark of silversmith Adolf Spehr, small hallmarks, as well as small and full assay marks of the St. Petersburg Assay Office with the initials of the master Dmitry Ilyich Tverskoy and the date 1843. Dimensions: The height of the teapot-samovar is 34 cm, the width is 31 cm. Weight: 2460 g.Historical information: Spehr Adolf (1799 - 1857) was a famous St. Petersburg jeweler. Spehr Adolf was born in Kirkkonummi, Finland, in 1799, trained in St. Petersburg from 1816, became an apprentice in 1821 and a master in 1829. He continued his work until his death in 1857, leaving behind a significant legacy in the field of silversmithing. The works of Adolf Spehr, a recognized master of silversmithing, are part of the collections of the State Historical Museum. Width: 31cm, Height: 34cm, Depth: 31cm, Weight: 2.460kg, Condition: Good, Material: Silver 84, Gilding, ID: ID-ANTQ-11582

Silver Cognac set in Art Deco Style of 4 glasses with a tray, work of Ivan Khlebnikov. An elongated, rectangular-shaped tray with diamond-shaped handles accepts 4 vertically dominant shot glasses. Their inverted cone, on a high leg, bears a symmetrical ornament in the form of a vertical branch and a stylized theater curtain with meander patterns at the ends. The program combination of silver and gilding favorably emphasizes the ornamental nodes of the composition. Each item has a full stamp: Khlebnikov, Double-headed eagle and Moscow stamp of 84 samples of silver, 1908-1917. Total weight: 264 gr. Width: 28.5cm, Height: 10.5cm, Depth: 6cm, Weight: 0.264kg, Condition: Good, with traces of use, Material: Silver 84, Gilding, ID: ID-ANTQ-4973

Exquisite and extremely rare snuffbox is a magnificent example of Russian decorative and applied art of the mid-19th century. Made of silver and gold, it has a rectangular shape with rounded corners. Particular attention is drawn to the lid, made in the technique of painted enamel with the image of the mythological scene of the Offering of Gifts to Venus. The central drawing is framed by a gold edging, adding elegance and sophistication to the item. The sides and the bottom of the snuffbox are decorated with a geometric pattern made in the gelosh technique. The snuffbox button is made of gold, harmoniously giving the product a contrast with the case. Hallmarks: the hallmark of an unknown master with the initials in Cyrillic ФБ, the full hallmark of the Moscow District Assay Office with the initials A.K and the numbers 1852 corresponding to the hallmark of the quality master Andrey Antonovich Kovalsky, the numbers 84 corresponding to the silver sample, the city hallmark of the city of Moscow St. George the Victorious on a horse. Material: Silver 84 assay value, 14K gold, polychrome enamel, gilding. Dimensions 8.2 x 6.3 cm. Total weight: 153 g. Width: 8.2cm, Height: 6.3cm, Depth: cm, Weight: kg, Condition: Good, Material: Gold, ID: ID-ANTQ-11526

Exquisite silver teapot-samovar, St. Petersburg, early 20th centuryMasters of the First Silver ArtelAn exquisite teapot-samovar, made in the workshops of the First Silver Artel in St. Petersburg at the beginning of the 20th century, is an exceptional example of Russian classicism. This samovar, which was an invariable attribute of table setting, stands out with its complex relief decoration and three-dimensional pattern, reflecting the highest skill of jewelers of that time.The body of the samovar, made in a hemispherical shape, is installed on a rectangular stand resting on legs made in the form of lion`s paws. These elements emphasize the monumentality of the item and its connection with the traditions of European silver art, especially popular in Russia in the first half of the 19th century.The central part is decorated with a relief palmette and spiral decor, giving the samovar a special decorative richness. The low tap, designed in the form of a lion`s head, emphasizes the richness and symbolism of the product. The shoulder of the samovar, smoothly turning into a hinged lid, is also decorated with a geometric pattern, and its top is a stylized pine cone - a popular motif in the decorative arts of that era. Curved side handles, decorated with sculptural decor in the form of lion heads, enhance the overall monumentality of the composition. The samovar embodies the experiments of the masters of the First Silver Artel with forms and motifs inspired by the famous products of English masters of the 19th century, in particular, the works of the great Paul Storr (London, 1771-1844). This item embodies the fusion of Russian and European styles, which was characteristic of the jewelry traditions of the workshop of Julius Rappoport, and later of the First Silver Artel. Their craftsmen created a wide range of items: from small desk items to vases, candelabra and even large formal decorative elements for dining tables, known as surtout de table.Hallmarks: Hallmark of the Moscow District Assay Office with the initials of the manager Ivan Sergeevich Lebedkin (appointed in 1899); Hallmark with an image of a woman`s head in a kokoshnik, facing left, with the initials IL and the hallmark 84, dating from the period 1899-1908; Hallmark of the First Silver Artel (ICA), active in the early 20th century in St. Petersburg.Dimensions: Height 33 cm. Weight of the item: 2620 grams. Width: 32cm, Height: 33cm, Depth: 32cm, Weight: 2.620kg, Condition: Good, Material: Silver 84, ID: ID-ANTQ-11585

Poetic Art Nouveau silver tea and coffee set by Bruckmann, on the original tray. The silver set includes a large teapot with a hinged lid, a large coffee pot with a hinged lid, a sugar bowl with a removable lid, a milk jug. The set is installed on a large oval-shaped tray with two handles. The objects are decorated with overhead volumetric details made on floral motifs. The decorations, handles and shape of objects are made in the modern style, the lids are decorated with a voluminous cast flower bud on the stem. Silver, bone, traces of gilding on the inner surfaces. The outer surface of the objects is polished. Casting, stamping, drawing, rolling, embossing, carving (bone). Item sizes: Milkman. Height -11.3 cm, maximum width - 15.5 cm, base diameter (bottom) - 5.8 cm, weight - 239 gr. Coffee pot. Height - 21.0 cm, maximum width - 25.0 cm, base diameter (bottom) - 9.0 cm, weight - 817 gr. Kettle. Height - 15.0 cm, maximum width - 27.0 cm, base diameter (bottom) - 9. cm, weight - 936 gr. Sugar bowl. Height with lid - 16.0 cm, maximum width with handles - 17.0 cm, lid weight - 113 g, total weight - 461 g. Tray. Oval. Cast handles. Total length with handles - 55.0 cm, width - 38.0 cm, weight - 1480 gr. The total weight of the set is 4.045 kg. Silver, Germany, after 1888. Hallmarks: crescent moon, crown, silver standard 800, makers mark (unknown workshop, possibly Bruckmann). Excellent collectible condition. Width: 25cm, Height: 21cm, Depth: 1cm, Weight: 4.045kg, Condition: Very good, Material: Silver 800, ID: ID-ANTQ-8098

Luxurious Meissen coffee service (B-Form), 1945-1950. The gold-cobalt coffee service, made in the B-Form style of the famous Meissen manufactory, is an example of the refined craftsmanship of German porcelain. The products are decorated with luxurious gilded decor with floral motifs, skillfully executed on a white background. Graceful lines and a rich combination of gold and cobalt emphasize the classic style and elegance of the service. The set includes a coffee pot, creamer, sugar bowl, tray, and 6 cups with saucers. Each item bears the manufacturer`s mark - crossed swords, typical of Meissen production in the period 1945-1950, which indicates that it belongs to the 1st grade of products. Dimensions of the items: Coffee pot: height 19.5 cm, Milk jug: height 12 cm, Sugar bowl: height 11 cm, Cup: height 6 cm, Saucer: diameter 16.5 cm, Tray: diameter 29.5 cm Hallmarks: Crossed swords corresponding to the Meissen manufactory hallmark, period 1945–1950, 1st grade. Width: 29cm, Height: 19cm, Depth: 70cm, Weight: 5kg, Condition: Good, Material: Porcelain, Hand Painted, Gilding, ID: ID-ANTQ-11567

Humidor, richly decorated with artistic wood carvings made in the Art Deco style. Technological progress in the 1930s also affected the shape of the box. A similar fashion, vertically profiled decoration with smoothed corners was carried by the flagships of technical progress of those years; such as cars, cameras, radios, etc. Design invaded the conservative world of aristocratic habits. Thus emphasizing the technical side and dignity of a luxurious item for the elite. Humidor is a box for storing cigars. The main task of a humidor is to maintain a humidity level of 68-72%, at which cigars can be stored without loss of quality. Width: 32cm, Height: 28cm, Depth: 26cm, Weight: 4kg, Condition: Very good, Material: Carved wood, ID: ID-ANTQ-3001

Russian silver oval rusk bowl with a handle on swivels and a corrugated surface of the body. With applied roccaille decoration of waves along the handle and the top edge of the cracker. With perfectly preserved gilding of the inner surface of the bowl. Grigory Ivanov, assay master Nikolai Lukich Dubrovin 1840, Moscow city stamp, 84 hallmark. Weight 514 g. Height 9.5 cm. 22 cm. L. 25.5 cm. Origin of item: Private collection of Erhard Marinus Petersen Width: 25.5cm, Height: 10cm, Depth: 21cm, Weight: 0.505kg, Condition: Excellent, Material: Silver 84, Gilding, ID: ID-ANTQ-8159

A pair of acanthus carved C scroll brackets and another carved item.

Two cast iron money boxes. Notice from the the-saleroom.com: These items are listed on the basis they are illustrative of a bygone culture in which there were different social norms. We understand the potential controversy surrounding this type of item but believe that providing transparent information about historical context fosters greater understanding of our complex cultural history.

WW2 Bletchley Park signed Guernsey 1969 FDC autographed by Hazel Gregory WAAF plotter at Uxbridge during battle of Britain and PA to sir Keith Park, worked in Hut 6 Bletchley Park under Gordon Welchman, also worked on Charles Portals staff at the air ministry and cabinet war rooms a highly unusual item in-the world of signed covers, signed for collector in 2010 after meeting her at the unveiling of the Park statue in London. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99