We found 151070 price guide item(s) matching your search

2 candle holders intricately carved with the design of the city of Jerusalem on their bodies, each with a distinctive brick gate bottom. Marked 925. Dimensions of the largest item: 2.25"H x 2.75" dia. Dimensions: See DescriptionCondition: Age related wear.

Kitchenware items featuring a white base with blue floral designs and gold colored accents that includes 12 dinner plates, 12 salad plates, 12 dessert plates, 12 saucers, 12 small bowls, 12 regular bowls, a sugar bowl, a creamer, a gravy boat, a lidded serving bowl, two serving platters of varying sizes, and a serving bowl. Noritake backstamp. Dimensions of the largest item: 16"L x 12"W x 1.5"H. Dimensions: See DescriptionManufacturer: NoritakeCountry of Origin: JapanCondition: Age related wear. Minor chip to gold rim of one teacup.

Includes a hand painted Artists Edition plate Harmony (669 of 1100) featuring a mother and child with gilded decoration, and The Festival Annual Golden Vase with an outer black coating and gold-colored drawings, signed To Rebecca With Love. Vase if part of the Vertu Collection. Plate has a Certificate of Authenticity included. Edna Hibel backstamp. Plate: 8.25"W x 1"H. Vase: 2.75"L x 2"W x 6"H. This item has its original box: (Tallest): 10"W x 2.25"H. Artist: Edna HibelDimensions: See DescriptionEdition Number: 669 of 1100Country of Origin: GermanyCondition: Age related wear.

Gold-colored Roman numeral clock with inner parts showing through the dial face, enclosed in clear arched glass with a rope design. Hoya marking. Stand included. This item has its original box: 9.25"L x 8.5"W x 2.75"H. Dimensions: 6.25"L x 2.75"W x 6.75"HManufacturer: HoyaCountry of Origin: JapanCondition: Age related wear. Functionality not guaranteed.

A china set of 40 that features a cream-colored outer ring and white center with elegant white roses adorned with pink accents and rich gold-colored stems and trims, including a sugar jar with lid, a creamer, 12 saucers, 12 dessert plates, and 14 teacups. Halsey backstamp. Marked Magnifico 419. Dimensions of the largest item: 0.75"H x 7.75" dia. Dimensions: See DescriptionManufacturer: HalseyCountry of Origin: JapanCondition: Age related wear.

A pair of fogged teal crystal vases, both circular, one round and the other long and slender with a round cut mouth. Nouvel manufacturing sticker. Made in Mexico sticker. Nouvel certificate included. Dimensions of the largest item: 10.75"H x 4" dia. Dimensions: See DescriptionManufacturer: NouvelCountry of Origin: MexicoCondition: Age related wear.

Pale blue compotiers made to commemorate the Bicentennial of American Independence. Decorated in a white relief with the state seal of Pennsylvania and Benjamin Franklin, the states rep who signed the declaration of independence. Wedgwood impressed backstamp. This item has its original box. Box measures: 9.25â€L x 4.75â€W x 1.25â€HIssued: 1976Dimensions: 4.5†dia. Manufacturer: WedgwoodCountry of Origin: EnglandCondition: Age related wear.

Beautiful copper and enamel miniature tea pot depicting Gustav Klimt's portrait of Adele Bloch. Trade Plus Aid backstamp and Charlotte Di Vita original tag. This item has its original box that measures 6"L x 3"W x 6"H. Dimensions: 4.5"L x 2"W x 3.25"HEdition Number: C323Manufacturer: Trade Plus AidCondition: Age related wear.

A unique metal clock shaped like a T, featuring a colorful rotating light fixture. Aurora manufacturing tag. Serial Number 39666. This item has its original box which measures: 10.25"L x 10.25"W x 7.5"H. Dimensions: 8"L x 5"W x 8"HManufacturer: Kirsch Hamilton AssociatesCountry of Origin: United StatesCondition: Age related wear. Tested, functionality not guaranteed.

Turquoise with lustre finish and branch patterning. Round body. Narrow brass spout. Hand Painted Delft Holland on bottom. This item has no reserve. Dimensions: 2.5"W x 6.75"HManufacturer: DelftCountry of Origin: HollandCondition: Age related wear.

A set of 3 ceramic items include a head of romaine lettuce standing on its leaves with a removeable lid, an asparagus bunch with a removable lid, and a pillar of stacked cabbage and cauliflower. Dimensions of the largest item: 9.5"L x 9.5"W x 15.5"H. Asparagus marked Italy. Anchor backstamp on cabbage pillar. Dimensions: See DescriptionCondition: Age related wear. As is. As found.

A round frosted and clear bowl. Beautifully decorated with floral sunken relief pattern, each flower with a painted black center. Lalique Paris sticker on the interior. Lalique France etched on the underside. This item has its original box: 10.5"L x 10.5"W x 4.75"H. Issued: 20th centuryDimensions: 10"W x 4"HManufacturer: LaliqueCountry of Origin: FranceCondition: Age related wear.

Trial Proof 5 of 5. Designed by Bill Mack, American, born in 1949. A beautiful nude sculpture of a beauty posing on a chair with one leg propped on the seat. Marked: TP 5 of 5, and artist signature. This item has a black lacquer rotating base included: 15.75"L x 15.75"W x 1.5"H; weight: 25.4 lbs. Bronze sculpture dimensions are approximately: 13.25"L x 10.5"W x 30.5"H; weight: 49.8 lbs. Artist: Bill MackDimensions: See DescriptionCondition: Age related wear.

This collection features a diverse array of decorative pieces. Included are a 1979 Norman Rockwell The Day After Christmas plate, a 1981 Sears Christmas Around the World plate, and a pair of Lenox Douglas Fir Tree plates from 1976 and 1978. Also included is a Belleek Lithoplane and a numbered 1981 Royal Doulton Adrien plate #347 of 15000. Each plate comes with its original box, the largest measuring 11"L x 11"W x 1.5"H. Completing the collection is a charming Le Petit Prince book and figurine boxed set. The largest item in the ensemble measures 10.75"Dia. Dimensions: See DescriptionCondition: Age related wear.

A beautiful clear crystal jug with a smooth curve handle. The vessel is decorated in a crisscross and vertical cut pattern. Waterford acid etched marking on the lower side. This item has its original box: 10.5"L x 8"W x 12"H. Issued: 20th - 21st centuryDimensions: 7.5"L x 6"W x 8.25"HManufacturer: WaterfordCountry of Origin: IrelandCondition: Age related wear.

Black mugs featuring Romero Britto artwork that includes 1 butterfly mug, 2 heart mugs, and 2 well dressed cat mugs, with white abstract art lines on the plain sides. Britto backstamp. Giftcraft backstamp. Dimensions of the largest item: 4.75"L x 3.25"W x 5"H. Issued: 2008Dimensions: See DescriptionManufacturer: GiftcraftCountry of Origin: ChinaCondition: Age related wear.

Original 1914 violin and bow held in a deep green velvet lined case. Established in Chicago, Danish luthier Marinus Petersen made the top of the violin with spruce and the back with two maple pieces. The bow's slide includes a mother of pearl tip. Tag inside violin: Marinus Petersen Chicago 1914. Inscribed on case bow clip holder: Brevete L.H.F. S.G.D.G. This item includes the original sale receipt and a 1968 appraisal letter. Violin dimensions: 8.50"L x 4"W x 23"H. Bow dimensions: 1"L x 1"W x 30"H. Case size: 10.50"L x 5"W x 32"H. Artist: Marinus Petersen (Danish/American 19th-20th century)Issued: 1914Dimensions: See DescriptionCountry of Origin: Denmark-United StatesCondition: Age related wear. Both violin and bow need restringing. Leather holder strap missing from case.

Turquoise toned with lustre finish & branch patterning. Brass accented middle & top. This item has no reserve. Dimensions: 2.75"W x 5.75"HManufacturer: DelftCountry of Origin: HollandCondition: Age related wear.

An exquisite set of 42 pieces showcasing a cream colored outer ring and white center with elegant white roses adorned with pink accents and rich gold colored stems and trims, which includes 8 dinner plates, 12 dessert plates, 10 small bowls, and 12 bowls. Halsey backstamp. Marked Magnifico 419. Dimensions of the largest item: 1"H x 10.5" dia. Dimensions: See DescriptionManufacturer: HalseyCountry of Origin: JapanCondition: Age related wear. Slight discoloration on some items.

Turquoise toned with lustre finish & branch patterning. With handle. Brass accented spout & handle. Hand Painted Delft Holland on bottom. This item has no reserve. Dimensions: 3"W x 5.75"HManufacturer: DelftCountry of Origin: HollandCondition: Age related wear.

Three mixed table lamps. All electrical items in this lot have been PAT tested for safety and have passed. This does not confirm that the item is in full working order. Not available for in-house P&P

Delonghi oil filled radiator, tested and working. All electrical items in this lot have been PAT tested for safety and have passed. This does not confirm that the item is in full working order. Not available for in-house P&P

Mixed electrical items including a Babyliss hair styler. All electrical items in this lot have been PAT tested for safety and have passed. This does not confirm that the item is in full working order. Not available for in-house P&P

A 1960s Corgi Comics diecast 'Noddy's Car', in yellow/red with Noddy, Big Ears, and a grey faced Golly   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.

A pair of 1940s dancer's shoes, in blue crushed velvet and featuring a powder blue ostrich feather plumage to the upper arch area, with flexible teal leather soles, crushed velvet covered cubin heels with nailed-in wooden grip, size 5, clear signs of aging and wear as expected from antique item, including fading and flattening of the feathers and cracking to the leather sole.

Escada Blue and Red Gem Stone Necklace and Earrings Make a statement with this stunning Escada Blue and Red Gem Stone Necklace and Earrings set. The bold blue and red gemstones create a colourful and eye-catching look that is perfect for any occasion. The necklace features a delicate chain and a statement pendant with sparkling blue and red gems, while the matching earrings feature a drop design with the same colourful stones. The high-quality materials and attention to detail that Escada is known for are evident in every aspect of this set. Whether you're dressing up for a special event or adding a pop of colour to your everyday look, this Escada necklace and earrings set is the perfect accessory. This item is in mint condition. Please refer to images.

Escada Clover/Cross Brooch with Blue, Red, and Green Stones on a Gold Mount Add a touch of luck and elegance to your outfit with this exquisite Escada Clover/Cross Brooch, adorned with blue, red, and green stones on a gold mount. Crafted from high-quality materials, this brooch features a unique and eye-catching design that is perfect for any occasion. The clover/cross shape is embellished with sparkling crystals in rich jewel tones, adding a touch of glamour and sophistication to any ensemble. The attention to detail and quality craftsmanship that Escada is known for is evident in every aspect of this stunning piece. Whether you're dressing up for a special event or adding a touch of sparkle to your everyday look, this Escada Clover/Cross Brooch is the perfect accessory. This item is in mint condition. Please refer to images.

Orla Kiely Large Shoulder Bag & Purse - Purse features bow design Add a touch of fun and whimsy to your wardrobe with this Orla Kiely Large Shoulder Bag & Purse set. The vibrant colours and bold patterns that Orla Kiely is known for create a playful and eye-catching look. The large shoulder bag features a spacious interior and comfortable straps, making it the perfect everyday bag. The matching purse is perfect for carrying your essentials, and can be used as a clutch or a mini crossbody bag. This set is perfect for anyone who loves bold, colourful accessories that make a statement. This item is in perfect condition. Please refer to images.

Vintage Emilio Pucci Mini Handbag Vintage Emilio Pucci mini handbag, a true collector's item. Renowned for its vibrant colours and bold patterns, this handbag features the signature Pucci print, showcasing a stunning array of swirling designs that capture the essence of the brand's iconic style. Crafted from high-quality materials, this mini handbag is both lightweight and durable, making it perfect for adding a pop of colour to any outfit. The compact size is ideal for carrying your essentials, and allows for versatile stylin. In excellent vintage condition, please refer to images.

Three Esacada Belts Elevate your accessory collection with this stunning set of three Escada belts, featuring the brand’s signature black, gold, and red colour palette. Each belt is crafted from high-quality materials and showcases Escada’s commitment to luxury and style. The spotlight item in this lot is a truly unique and collectible piece: a belt adorned with sparkling gems and playful tassels, creating a statement look that is both bold and sophisticated. The other two belts feature sleek and classic designs, complementing the gem and tassel belt perfectly. These Escada belts are the perfect addition to any fashion lover’s collection, and the gem and tassel belt is sure to be a conversation starter. Whether you’re dressing up for a special occasion or adding a touch of luxury to your everyday look, these belts are a must-have. These items are in brilliant vintage condition. Please refer to images.

Vintage Emilio Pucci Mini Handbag Vintage Emilio Pucci mini handbag, a true collector's item. Renowned for its vibrant colours and bold patterns, this handbag features the signature Pucci print, showcasing a stunning array of swirling designs that capture the essence of the brand's iconic style. Crafted from high-quality materials, this mini handbag is both lightweight and durable, making it perfect for adding a pop of colour to any outfit. The compact size is ideal for carrying your essentials, and allows for versatile stylin. In excellent vintage condition, please refer to images.

Vintage Emilio Pucci Mini Handbag Vintage Emilio Pucci mini handbag, a true collector's item. Renowned for its vibrant colours and bold patterns, this handbag features the signature Pucci print, showcasing a stunning array of swirling designs that capture the essence of the brand's iconic style. Crafted from high-quality materials, this mini handbag is both lightweight and durable, making it perfect for adding a pop of colour to any outfit. The compact size is ideal for carrying your essentials, and allows for versatile stylin. In excellent vintage condition, please refer to images.

ITEM: VesselMATERIAL: PotteryCULTURE: GreekPERIOD: 4th - 3rd Century B.CDIMENSIONS: 75 mm x 98 mmCONDITION: Good conditionPROVENANCE: Ex American 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 4 to 6 weeks and has a cost of 5% of the amount of the sale, this amount will be added to the final invoice.Greek vessels encompass a wide variety of pottery forms produced by ancient Greek artisans over several centuries. These vessels served numerous functions in Greek society, including storage, transportation, dining, and religious rituals. Greek pottery was typically made from clay and fired in kilns to create durable vessels that could withstand everyday use. The decoration and style of Greek vessels varied greatly depending on the time period, region, and intended function of the vessel.Some of the most iconic types of Greek vessels include amphorae, kraters, kylixes, and lekythoi. Amphorae were large, two-handled vessels used for storing and transporting liquids such as wine, oil, and water. Kraters were wide, shallow bowls with handles used for mixing wine and water during symposia (drinking parties) and religious ceremonies. Kylixes were shallow drinking cups with handles, often decorated with scenes from mythology or everyday life. Lekythoi were slender, oil flasks used for storing perfumed oils and were often placed in tombs as offerings to the deceased.Greek pottery was highly valued not only for its utilitarian function but also for its artistic and aesthetic qualities. Greek artisans decorated pottery using various techniques such as black-figure and red-figure painting, incision, and relief. The designs on Greek vessels often depicted mythological scenes, religious rituals, athletic competitions, and daily life, providing valuable insights into Greek culture, beliefs, and values.

ITEM: Bread stamp with inscription 'L SEB I... / EVPHROS T...'MATERIAL: BronzeCULTURE: RomanPERIOD: 2nd - 3rd Century A.DDIMENSIONS: 27 mm x 54 mm x 25 mmCONDITION: Good conditionPROVENANCE: Ex English private collection, acquired between 1990 - 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 bread stamps in bronze are fascinating artifacts that shed light on the intricacies of daily life in ancient Rome, particularly in the context of bread production and commerce. These stamps were used to imprint distinctive marks or logos onto loaves of bread, which served multiple purposes. Primarily, they helped identify the bakery that produced the bread, ensuring quality and authenticity. Such stamps often featured symbols, names, or even intricate designs that could indicate the baker’s identity, the type of bread, or specific characteristics of the bakery, providing both a practical and branding function.The use of bronze for these stamps reflects the material's durability and the value placed on precision in bread-making. Roman bakers would press these stamps into the dough before baking, leaving a permanent imprint that survived the baking process. This not only helped in differentiating between various types of bread but also acted as a form of quality control. The presence of these stamps on bread loaves was particularly important in bustling urban centers like Rome, where standardization and traceability were crucial due to the high volume of production and consumption.Archaeological finds of Roman bread stamps reveal a great deal about the economic and social aspects of Roman life. These stamps have been discovered in various regions of the empire, indicating a widespread and standardized practice. They provide insights into the organization of Roman bakeries and the role of bread in daily sustenance, as well as the administrative and regulatory aspects of Roman commerce. Additionally, the decorative and inscriptive elements on these stamps offer valuable information about Roman art, typography, and the symbolic meanings associated with different designs. Through these artifacts, we gain a deeper understanding of how the Romans managed food production and the significance of bread in their society.

ITEM: Ring with Marcus Aurelius denarius. Obverse: M ANTONINVS AVG TR P XXVIII , laureate head right. Reverse: IMP VI COS III , Marcus Aurelius Standing left, holding branch and scepter. References: RIC III 296 and Sear 4906MATERIAL: SilverCULTURE: RomanPERIOD: 173 - 174 A.DDIMENSIONS: 24 mm x 25 mm, 20 mm diameter (inside). 24 EU, 10,5 USA.CONDITION: Good condition. Original coin within a modern handmade silver ring.PROVENANCE: Ex Spanish private collection, bought in Austrian auction house (Coin)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.Marcus Aurelius was a Roman emperor from 161 to 180 CE, best known for his philosophical outlook and his embodiment of the "philosopher-king" ideal. Born in 121 CE, Marcus Aurelius came from a prominent family and was adopted by Emperor Antoninus Pius, who groomed him to be his successor. Marcus Aurelius was heavily influenced by Stoicism, a philosophical school that emphasized rationality, self-discipline, and virtue as the highest values in life. His personal writings, known as the Meditations, provide a remarkable insight into his Stoic beliefs and are still studied today as a profound work of ethical philosophy. Unlike many of his predecessors, Marcus Aurelius was deeply introspective and sought to rule in accordance with wisdom, justice, and humility, aiming to balance his philosophical ideals with the practical demands of leading an empire.Despite his intellectual nature, Marcus Aurelius’ reign was marked by nearly constant military conflict, particularly along the northern borders of the Roman Empire. He spent much of his time as emperor on campaign, defending Rome from Germanic and other barbarian tribes that threatened the empire’s stability. These military challenges, combined with a devastating plague that swept through the empire during his rule, made Marcus Aurelius' reign one of struggle and hardship. Nevertheless, he is often remembered for his perseverance and commitment to his duties as emperor, striving to maintain the empire's security while upholding his moral values.Marcus Aurelius’ legacy is complex. On the one hand, he is remembered as one of the "Five Good Emperors," a ruler who governed with wisdom, fairness, and a deep sense of duty. His Meditations continues to inspire thinkers, scholars, and leaders for its profound insights into leadership, ethics, and personal responsibility. On the other hand, his death marked the end of the Pax Romana, the long period of relative peace and stability in the Roman Empire. His decision to allow his son Commodus to succeed him ultimately led to instability, as Commodus' misrule contributed to the empire's eventual decline. Nonetheless, Marcus Aurelius remains a figure of great admiration, both as a philosopher and as a conscientious ruler.

ITEM: Openwork fibulaMATERIAL: BronzeCULTURE: RomanPERIOD: 2nd - 3rd Century A.DDIMENSIONS: 33 mm x 30 mmCONDITION: Good conditionPROVENANCE: Ex Spanish private collection, bought in English auction house. Ex English private collection, London, acquired before 2000.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.Roman openwork fibulas are intricate brooches used primarily to fasten garments, serving both practical and decorative purposes in Roman society. These fibulas, which were the ancient equivalent of modern safety pins, were often designed with openwork patterns, meaning they featured cut-out designs that created a lattice-like appearance. The openwork technique allowed for intricate, lightweight designs that could incorporate complex geometric, floral, or zoomorphic patterns. Made from bronze, silver, or sometimes gold, these fibulas were not only functional items of dress but also highly personal adornments that reflected the wearer's status, taste, and regional influences.The designs of Roman openwork fibulas varied significantly, often depending on the region and the period. Some featured abstract or geometric patterns, while others displayed more elaborate motifs, such as animals, mythological creatures, or symbols with cultural or religious significance. The openwork design allowed artisans to showcase their skill, creating delicate patterns that were both aesthetically pleasing and structurally sound. Fibulas with such intricate designs were often worn by wealthier individuals or members of the military, as they conveyed status and were often used to signify rank or allegiance within the Roman army.Openwork fibulas were not just limited to personal adornment; they also played a role in the cultural and artistic exchanges within the Roman Empire. As Roman territories expanded, fibula designs began to incorporate styles and motifs from the different regions they conquered, blending Roman traditions with local artistry. For example, Celtic, Germanic, and Eastern influences can be seen in the evolving styles of fibulas, making them a rich source of information about the cultural interactions within the empire.

ITEM: Ring depicting a dolphinMATERIAL: BronzeCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 24 mm x 20 mmCONDITION: Good conditionPROVENANCE: Ex English 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 4 to 6 weeks and has a cost of 5% of the amount of the sale, this amount will be added to the final invoice.In ancient Rome, dolphins held significant symbolic meaning and were often associated with various aspects of Roman life, including maritime trade, naval power, and mythology. Depictions of dolphins, particularly in jewelry such as rings, were common in Roman art and material culture, serving both decorative and symbolic purposes. Dolphin-shaped rings were popular accessories worn by individuals of various social classes, showcasing the wearer's affinity for the sea, wealth, or personal taste.Dolphin-shaped rings were crafted from a variety of materials, including gold, silver, bronze, and precious gemstones, with each material conveying different messages and social statuses. Gold dolphin rings, for example, were considered luxurious items reserved for the elite and symbolized wealth, status, and prosperity. Silver and bronze dolphin rings were more affordable and accessible to the general populace, serving as fashionable accessories worn for everyday adornment and personal style.The dolphin motif in Roman rings also carried symbolic significance beyond mere aesthetics. Dolphins were often associated with the god Neptune, the Roman god of the sea, who was depicted riding dolphins in classical art and mythology. Additionally, dolphins were believed to be creatures of good fortune and protection, and wearing a dolphin ring was thought to bring luck and safeguard the wearer from harm during sea voyages or maritime endeavors.

ITEM: Cross pendantMATERIAL: BronzeCULTURE: ByzantinePERIOD: 7th - 10th Century A.DDIMENSIONS: 57 mm x 34 mmCONDITION: Good conditionPROVENANCE: Ex Dutch private collection, acquired before 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 4 to 6 weeks and has a cost of 5% of the amount of the sale, this amount will be added to the final invoice.Byzantine cross pendants are iconic symbols of the Byzantine Empire's religious and cultural identity. These pendants, often crafted from materials such as gold, silver, or bronze, were worn as personal adornments and religious symbols by Byzantine Christians. The design of Byzantine cross pendants typically featured a distinctive form known as the Byzantine cross, characterized by equal-length arms that intersect at the center, with a smaller crossbar above the intersection. This design is rich in symbolism, representing the intersection of heaven and earth, as well as the unity of the Holy Trinity.Byzantine cross pendants were not only decorative but also served as expressions of faith and devotion. They were worn by Byzantine Christians as a means of displaying their religious beliefs and affiliations, serving as constant reminders of their commitment to Christianity and their allegiance to the Byzantine Emperor as the defender of the faith. Byzantine cross pendants were often adorned with religious imagery, such as depictions of Christ, the Virgin Mary, saints, or angels, further emphasizing their spiritual significance.The craftsmanship of Byzantine cross pendants was highly sophisticated, with artisans employing techniques such as filigree, enameling, and gemstone setting to create intricate designs and decorative motifs. These pendants were sometimes inscribed with prayers, blessings, or religious invocations, adding to their sacred aura and protective qualities.

ITEM: Key ringMATERIAL: BronzeCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 19 mm x 28 mmCONDITION: Good conditionPROVENANCE: Ex Spanish private collection, bought in English auction house. Ex English private collection, acquired in the late 1960s-early 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 in ancient Roman society, used for securing doors, chests, and other locked items, reflecting both practical utility and social status. Typically made from materials like bronze or iron, Roman keys were often small and intricately designed to fit into complex locks, which were a common feature in Roman homes, shops, and public buildings. The locks they operated were generally made of wood or metal and could be quite sophisticated, incorporating pin-and-tumbler mechanisms similar to modern locks. Keys were often carried on a person, and their design sometimes included a ring-shaped handle, allowing them to double as finger rings, a practical solution that made them easy to carry and also a display of wealth or status.Keys held symbolic value in Roman society as well. For wealthy Romans, owning and using keys was a marker of personal security and control over valuable goods, such as money, jewelry, and important documents. The presence of keys signified that someone had possessions worth safeguarding, and they could also represent authority and independence, particularly for Roman women. A key ring given to a bride on her wedding day, for example, symbolized her new role as the manager of the household and its resources. Keys thus became more than functional objects—they were symbols of trust and responsibility in both personal and public life.In addition to their daily use in homes and businesses, Roman keys have been found in tombs and burial sites, signifying their importance even in death. Keys placed in graves could represent the deceased's continued guardianship over their possessions or symbolize their journey to the afterlife, unlocking the gates of the underworld. The craftsmanship and materials used in Roman keys provide insight into the technological advancements of the time, as well as the social and economic conditions in which they were created. These small but significant objects tell us much about Roman security practices, social norms, and the values attached to ownership and authority.

ITEM: Factory oil lamp with makers mark, Type Buchi X aMATERIAL: PotteryCULTURE: RomanPERIOD: 1st - 2nd Century A.DDIMENSIONS: 35 mm x 74 mm x 106 mmCONDITION: Good conditionPROVENANCE: Ex French private collection, acquired before 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 4 to 6 weeks and has a cost of 5% of the amount of the sale, this amount will be added to the final invoice. Roman oil lamps were essential household items in ancient Rome, providing illumination during the evening hours in both private residences and public spaces. These lamps typically consisted of a shallow, bowl-shaped reservoir for holding olive oil, which served as the fuel source, and a central spout or nozzle through which a wick could be inserted. The design of Roman oil lamps evolved over time, with variations in shape, size, and decorative motifs reflecting changes in fashion, technology, and cultural influences.Roman oil lamps were often made from clay, although examples crafted from bronze, glass, or other materials also exist. Clay lamps were mass-produced in pottery workshops using molds, allowing for efficient production and distribution throughout the Roman Empire. These lamps were frequently decorated with relief designs, incised motifs, or painted decorations, ranging from simple geometric patterns to elaborate scenes from mythology, daily life, or religious rituals.The use of oil lamps in ancient Rome extended beyond mere illumination, serving as important symbols of domestic life, social customs, and religious practices. Oil lamps were commonly used in religious ceremonies and funerary rituals, where they were lit as offerings to the gods or placed in tombs to guide the souls of the deceased to the afterlife. In domestic settings, oil lamps played a central role in daily life, providing light for cooking, eating, and socializing after dark.

ITEM: Applique with Apollo playing lyreMATERIAL: BronzeCULTURE: RomanPERIOD: 1st Century A.DDIMENSIONS: 88 mm x 36 mmCONDITION: Good conditionPROVENANCE: Ex Spanish private collection, bought in English auction house. Ex English private collection, Middlesex, formed in the 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.IMPORTANT: Stand not includedIn Roman religion, Apollo was a significant deity who was adopted from the Greek pantheon and integrated into Roman worship with some modifications. Originally a Greek god of the sun, music, prophecy, and healing, Apollo retained these attributes in Roman tradition. He was often depicted as a youthful, beardless figure, symbolizing beauty, intellect, and artistic inspiration. His worship in Rome was multifaceted, reflecting his wide-ranging influence over various aspects of life and culture.One of Apollo’s key roles in Roman religion was as a god of prophecy and healing. The Romans revered him as a source of divine insight and guidance, and his oracle at Delphi was highly respected even in Rome. Apollo was also associated with medicine and healing, particularly through his connection with his son Asclepius, who was worshipped as a god of healing. Temples dedicated to Apollo, such as the Temple of Apollo on the Palatine Hill and the Temple of Apollo Sosianus, served as important religious and cultural centers where Romans sought his favor and guidance.Apollo’s influence extended into the arts and culture of Rome as well. He was considered the patron of music, poetry, and the arts, and his presence was a common motif in Roman art and literature. The Romans celebrated him with festivals and games, such as the Ludi Apollinares, which were held in his honor and included various public entertainments. Apollo’s role in Roman society reflected the broader adoption and adaptation of Greek deities into Roman religion, illustrating how the Romans synthesized elements of Greek culture with their own religious practices and values.

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: UnguentariumMATERIAL: PotteryCULTURE: Greek, Hellenistic periodPERIOD: 3rd - 1st Century B.CDIMENSIONS: 120 mm x 37 mmCONDITION: Good conditionPROVENANCE: Ex Swiss private collectionComes 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 4 to 6 weeks and has a cost of 5% of the amount of the sale, this amount will be added to the final invoice.The Greek unguentarium, also known as a perfume bottle or ointment jar, was a vessel specifically designed for storing and dispensing aromatic oils, perfumes, and ointments in ancient Greece. These vessels were typically made of ceramic, glass, or occasionally metal, and came in a variety of shapes and sizes depending on their intended use and the preferences of the owner. Unguentaria played an essential role in Greek daily life, as personal grooming and hygiene were highly valued in ancient Greek society.One common type of Greek unguentarium was the "tear bottle" or "tear vase," characterized by its elongated, tear-shaped body and narrow neck. These tear-shaped vessels were often used to collect and store tears shed during mourning or emotional distress, as well as fragrant oils or perfumes. Tear bottles held symbolic significance in Greek funerary customs, serving as offerings to the deceased or as grave goods placed in tombs to accompany the deceased on their journey to the afterlife.Additionally, Greek unguentaria were sometimes decorated with intricate designs, including geometric patterns, floral motifs, or scenes from mythology or daily life. These decorations not only enhanced the aesthetic appeal of the vessels but also conveyed symbolic meanings or cultural associations. Unguentaria were commonly found in domestic contexts, such as bathrooms or dressing areas, as well as in religious sanctuaries or funerary settings.

ITEM: Statuette of a LarMATERIAL: BronzeCULTURE: RomanPERIOD: 2nd - 3rd Century A.DDIMENSIONS: 60 mm x 44 mm (without stand)CONDITION: Good condition. Includes standPROVENANCE: Ex French private collection, acquired between 1970 - 1980Comes 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 statuette of a Lar represents one of the most common household deities in ancient Roman religion. Lares were protective spirits of the home and family, often associated with ancestors or local spirits of the land. Typically, these statuettes were placed in a family’s lararium, a small household shrine, and were central to daily rituals that invoked protection and prosperity. The figure of a Lar is usually depicted as a youthful male wearing a short tunic, often holding a cornucopia or a drinking horn, symbolizing abundance and well-being.The worship of Lares highlights the importance of household and domestic religion in Roman life. While grand public rituals took place in temples, the veneration of Lares was a personal, intimate practice carried out by individual families. The presence of these statuettes in Roman homes reflects a deep belief in the divine influence on everyday life and the desire to maintain harmony and protection within the household. The rituals often involved offerings of food, wine, or incense, emphasizing the reciprocal relationship between the family and the protecting spirits.These statuettes also reveal insights into Roman art and craftsmanship. Usually made of bronze, but sometimes of terracotta or other materials, the statuettes are finely detailed despite their small size, showcasing the skill of Roman artisans. The Lar statuettes are not just religious artifacts but also representations of Roman social values, emphasizing the importance of family, tradition, and continuity.

ITEM: Ring fragment, Pharaoh AyMATERIAL: FaienceCULTURE: EgyptianPERIOD: Amarna period, 1325 B.CDIMENSIONS: 17 mm x 11 mmCONDITION: Good condition, fragmentary and repairedPROVENANCE: 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.Pharaoh Ay was a prominent figure during the late Amarna Period of ancient Egypt, ruling as the penultimate pharaoh of the 18th Dynasty (circa 1323–1319 BCE). His rise to the throne came after the death of the famous boy-king Tutankhamun, under whom Ay had served as a high-ranking official and advisor. Ay’s background is somewhat enigmatic, but he is believed to have held influential titles such as "God's Father," possibly due to a familial connection with the royal family, and was closely associated with the Amarna court of Akhenaten, Tutankhamun’s predecessor. Though he was not of royal blood, his powerful position allowed him to assume the throne in his later years.Ay’s reign is closely connected to the religious and political turmoil of the Amarna Period, which was marked by Akhenaten's radical religious reforms that promoted the worship of the sun god Aten at the expense of the traditional Egyptian gods. After Akhenaten’s death, Tutankhamun and his court, including Ay, worked to restore the old religious order and reestablish the worship of Amun and other traditional deities. As pharaoh, Ay continued this restoration, further distancing Egypt from the Amarna heresy. His reign was relatively short—lasting around four years—but it represented a transitional period in which the old religious and political structures were being reestablished after the disruptions of Akhenaten’s rule.Ay's tomb, located in the Valley of the Kings (KV23), is another reflection of his power, though it is simpler compared to the tombs of more prominent pharaohs. He was originally buried in the tomb prepared for Tutankhamun but later relocated. Interestingly, Ay’s successor, Horemheb, attempted to erase Ay’s legacy, perhaps due to his controversial rise to power or his association with the Amarna regime. Despite these efforts to diminish his historical significance, Ay’s role during the tumultuous end of the 18th Dynasty remains an important chapter in the complex history of the Amarna Period and the restoration of traditional Egyptian beliefs.

ITEM: Ring fragment, Ankhesenamun, Tutankhamens queenMATERIAL: FaienceCULTURE: EgyptianPERIOD: Amarna period, 1330 B.CDIMENSIONS: 20 mm x 12 mmCONDITION: Good condition, fragmentary and repairedPROVENANCE: 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.Ankhesenamun was the queen of Egypt during the 18th Dynasty, most famously known as the wife of Pharaoh Tutankhamun. She was born Ankhesenpaaten, the daughter of the heretic king Akhenaten and Queen Nefertiti, during a period of significant religious upheaval in Egypt when Akhenaten attempted to establish a monotheistic worship of the sun god Aten. Like many members of the royal family, Ankhesenamun's name originally reflected her allegiance to the Aten, but after the death of Akhenaten and the restoration of the traditional polytheistic religion, her name was changed to Ankhesenamun to honor Amun, the chief god of the restored pantheon. Her life was deeply intertwined with the political and religious shifts of her time.As the wife of Tutankhamun, Ankhesenamun played a significant role in the young king’s short reign, which began when he was about nine years old. Together, they sought to restore Egypt to its former religious traditions, moving the capital back to Thebes and reinstating the worship of Amun. Despite their efforts to stabilize Egypt, their reign was brief, lasting only around nine years, and they faced personal tragedies as well. Archaeological evidence suggests that Ankhesenamun may have borne several children, but none survived infancy, as revealed by the discovery of two mummified fetuses in Tutankhamun's tomb.After Tutankhamun's untimely death around 1323 BCE, Ankhesenamun's fate becomes more obscure. Historical evidence indicates that she may have made a desperate bid to secure her position by writing to the king of the Hittites, requesting to marry one of his sons, a move that was highly unusual and indicative of her precarious situation. However, the prince was killed on his way to Egypt, and Ankhesenamun disappears from the historical record soon after. It is believed that she may have been forced to marry Ay, a high-ranking official who succeeded Tutankhamun as pharaoh, but her ultimate fate remains a mystery, leaving scholars to speculate about the end of her life.

ITEM: KeyMATERIAL: BronzeCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 30 mm x 80 mmCONDITION: Good conditionPROVENANCE: Ex Spanish private collection, bought in English auction house. From old European collection, acquired in Múnich in 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 in ancient Roman society, used for securing doors, chests, and other locked items, reflecting both practical utility and social status. Typically made from materials like bronze or iron, Roman keys were often small and intricately designed to fit into complex locks, which were a common feature in Roman homes, shops, and public buildings. The locks they operated were generally made of wood or metal and could be quite sophisticated, incorporating pin-and-tumbler mechanisms similar to modern locks. Keys were often carried on a person, and their design sometimes included a ring-shaped handle, allowing them to double as finger rings, a practical solution that made them easy to carry and also a display of wealth or status.Keys held symbolic value in Roman society as well. For wealthy Romans, owning and using keys was a marker of personal security and control over valuable goods, such as money, jewelry, and important documents. The presence of keys signified that someone had possessions worth safeguarding, and they could also represent authority and independence, particularly for Roman women. A key ring given to a bride on her wedding day, for example, symbolized her new role as the manager of the household and its resources. Keys thus became more than functional objects—they were symbols of trust and responsibility in both personal and public life.In addition to their daily use in homes and businesses, Roman keys have been found in tombs and burial sites, signifying their importance even in death. Keys placed in graves could represent the deceased's continued guardianship over their possessions or symbolize their journey to the afterlife, unlocking the gates of the underworld. The craftsmanship and materials used in Roman keys provide insight into the technological advancements of the time, as well as the social and economic conditions in which they were created. These small but significant objects tell us much about Roman security practices, social norms, and the values attached to ownership and authority.

ITEM: KeyMATERIAL: BronzeCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 20 mm x 51 mmCONDITION: Good conditionPROVENANCE: Ex Spanish private collection, bought in English auction house. From old European collection, acquired in Múnich in 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 in ancient Roman society, used for securing doors, chests, and other locked items, reflecting both practical utility and social status. Typically made from materials like bronze or iron, Roman keys were often small and intricately designed to fit into complex locks, which were a common feature in Roman homes, shops, and public buildings. The locks they operated were generally made of wood or metal and could be quite sophisticated, incorporating pin-and-tumbler mechanisms similar to modern locks. Keys were often carried on a person, and their design sometimes included a ring-shaped handle, allowing them to double as finger rings, a practical solution that made them easy to carry and also a display of wealth or status.Keys held symbolic value in Roman society as well. For wealthy Romans, owning and using keys was a marker of personal security and control over valuable goods, such as money, jewelry, and important documents. The presence of keys signified that someone had possessions worth safeguarding, and they could also represent authority and independence, particularly for Roman women. A key ring given to a bride on her wedding day, for example, symbolized her new role as the manager of the household and its resources. Keys thus became more than functional objects—they were symbols of trust and responsibility in both personal and public life.In addition to their daily use in homes and businesses, Roman keys have been found in tombs and burial sites, signifying their importance even in death. Keys placed in graves could represent the deceased's continued guardianship over their possessions or symbolize their journey to the afterlife, unlocking the gates of the underworld. The craftsmanship and materials used in Roman keys provide insight into the technological advancements of the time, as well as the social and economic conditions in which they were created. These small but significant objects tell us much about Roman security practices, social norms, and the values attached to ownership and authority.

ITEM: BraceletMATERIAL: GlassCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 45 mm diameterCONDITION: Good conditionPROVENANCE: Ex Dutch private collection, acquired before 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.Roman bracelets in glass are intriguing artifacts that reflect the sophistication and diversity of Roman jewelry-making practices. Unlike gold or silver bracelets, those made from glass were more affordable and accessible, often used by a broader segment of the population. These glass bracelets were crafted using techniques such as glass-blowing and core-forming, which allowed for the creation of intricate designs and vibrant colors. The use of glass in jewelry demonstrates the Romans' ability to manipulate materials and their appreciation for both luxury and decorative art.The design of Roman glass bracelets often featured a variety of styles and embellishments. Some bracelets were simple and utilitarian, while others were elaborately decorated with patterns, millefiori (a technique where multiple colored glass canes are fused together), or geometric designs. The colors of Roman glass bracelets could be quite striking, with shades ranging from deep blues and greens to rich reds and yellows. The glass was sometimes combined with other materials, such as metal or gemstones, to enhance its visual appeal and to create more elaborate and fashionable pieces.These glass bracelets also provide valuable insights into the social and economic aspects of Roman life. They were not only personal adornments but also indicators of status and fashion within Roman society. The wide range of glass bracelets, from simple to ornate, suggests that this type of jewelry was versatile and suited various social classes and occasions. The study of these artifacts can reveal patterns of trade and cultural exchange, as the production and distribution of glass jewelry involved complex networks across the Roman Empire.

ITEM: RingMATERIAL: BronzeCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 16 mm diameterCONDITION: Good conditionPROVENANCE: Ex Austrian private collection, acquired before 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 4 to 6 weeks and has a cost of 5% of the amount of the sale, this amount will be added to the final invoice.Roman rings were popular adornments worn by both men and women in ancient Rome, serving as symbols of status, identity, and personal style. These rings were crafted from a variety of materials, including gold, silver, bronze, and gemstones, and featured a wide range of designs, motifs, and inscriptions. Roman rings were not only decorative but also carried symbolic and practical significance, often serving as seals, amulets, or markers of social status and affiliation.The design of Roman rings varied depending on factors such as the wearer's gender, social status, and personal preferences. Wealthy individuals often wore rings made from precious metals such as gold or silver, adorned with intricate designs, gemstones, or engraved inscriptions. Common motifs found on Roman rings included mythological figures, animals, floral patterns, and religious symbols, reflecting the diverse cultural influences and artistic traditions of the Roman Empire.Roman rings were worn for a variety of purposes, including as decorative accessories, status symbols, and talismans for protection or luck. Rings were often exchanged as gifts or tokens of affection, used to commemorate important life events such as marriages, births, or victories in battle. Additionally, rings were sometimes used as seals for official documents or correspondence, with the wearer's engraved signet serving as a personal signature and mark of authenticity.

ITEM: Pilgrim flask (Ampulla) of Saint Menas and Greek inscriptionMATERIAL: PotteryCULTURE: ByzantinePERIOD: 7th Century A.DDIMENSIONS: 100 mm x 65 mm (without stand)CONDITION: Good conditionPROVENANCE: Ex English private collection, acquired between 1960 - 1980PARALLEL: The Metropolitan Museum of Art, Accession number 17.194.2291Comes 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 Saint Menas pilgrim flasks, originating from the Byzantine period (roughly 5th to 7th centuries CE), are iconic clay vessels used by Christian pilgrims who visited the shrine of Saint Menas in Egypt. Saint Menas was a revered Christian martyr, and his shrine, located in Abu Mena near Alexandria, was a major pilgrimage site during the Byzantine era. Pilgrims would purchase these flasks at the shrine to carry home holy water or oil, believed to have healing and protective properties. These flasks served not only as religious souvenirs but also as physical reminders of the spiritual journey.Typically made of terracotta, the Saint Menas pilgrim flasks are small, flat, and round with a pair of handles on either side of the body for easy portability. The flasks were often stamped with images of Saint Menas, who is usually depicted standing with outstretched arms, flanked by two camels. This imagery refers to the legend of his death and burial, in which camels miraculously carried his body to its final resting place. The flask's design was both symbolic and functional, encapsulating the holiness of the relics pilgrims brought back.These flasks provide valuable insights into the religious practices and devotional culture of Byzantine Christianity. They reflect the importance of pilgrimage in the lives of early Christians and illustrate the role of material objects in fostering a connection between the faithful and the divine. The widespread distribution of these flasks, discovered across the Mediterranean, indicates the far-reaching influence of Saint Menas' cult and the vibrant exchange of religious practices within the Byzantine world.

ITEM: Libation tray with hieroglyphsMATERIAL: PotteryCULTURE: EgyptianPERIOD: Ptolemaic period, 3rd - 1st Century B.CDIMENSIONS: 90 mm x 340 mm x 190 mmCONDITION: Good conditionPROVENANCE: Ex English private collection, acquired late 20th Century.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.Libation trays were an important part of ancient Egyptian ritual practices, particularly in offerings to deities, spirits of the deceased, and during temple ceremonies. These trays, often made of pottery, stone, or metal, were used to present liquid offerings like water, milk, wine, or beer, as well as solid offerings such as bread, fruits, or other symbolic items. The act of pouring or placing offerings on these trays was believed to nourish the gods or the spirits of the dead, ensuring their favor and continued protection for the living. Libation was a common feature in both daily life and more formal religious contexts, particularly in funerary practices where it was essential to sustain the deceased in the afterlife.The design of libation trays varied, but many of them featured depressions, channels, or small basins to guide the liquid offerings as they were poured out. Some trays also had carved or painted representations of offering scenes, including symbols like the ankh (the symbol of life) or the djed pillar (symbolizing stability), which had protective and sacred connotations. In funerary contexts, these trays were often placed in tombs, where they served as permanent fixtures for offering rituals that could be performed by the living or invoked through prayers. The designs could be simple or elaborate, depending on the wealth and status of the individual.In pottery, libation trays were particularly common among everyday Egyptians who may not have had access to expensive stone or metal objects. Pottery trays were easily made and could be personalized with symbols or inscriptions that reflected the owner’s religious beliefs or needs. These trays were often included as part of tomb equipment to ensure the deceased had a continuous flow of offerings in the afterlife.

ITEM: Statuette of MercuryMATERIAL: BronzeCULTURE: RomanPERIOD: 1st - 2nd Century A.DDIMENSIONS: 48 mm x 23 mmCONDITION: Good conditionPROVENANCE: Ex Spanish private collection, bought in English auction house. Ex private collection formed between 1965 - 1975Comes 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.IMPORTANT: Stand not includedRoman Mercury statuettes were small representations of Mercury, the Roman god of commerce, communication, travelers, and thieves, who was equivalent to the Greek god Hermes. Mercury was a highly revered deity in Roman religion, symbolizing speed, cunning, and the flow of goods and information. These statuettes, often made of bronze, marble, or terracotta, were common household objects and were used in both personal and public spaces, serving as devotional items in homes, marketplaces, or even travelers’ sanctuaries. Mercury’s winged cap and caduceus, a staff with two snakes intertwined, are often prominent features in these statuettes, symbolizing his role as the messenger of the gods and a guide for souls.The popularity of Mercury in Roman society is reflected in the widespread use of these statuettes, which were not only decorative but also functioned as protective talismans. Romans believed that placing a Mercury statuette in a home or business would bring good fortune in trade, smooth communication, and protection during travel. His association with commerce made him especially popular among merchants, who would often keep small Mercury statuettes in their shops to ensure prosperous transactions. These figurines were also placed in sacred spaces dedicated to Mercury, where travelers and merchants would make offerings for safe journeys and successful endeavors.Roman Mercury statuettes also reveal the syncretism in Roman religion, where Mercury's identity was blended with local deities in the regions that Rome conquered. In the provinces, especially in Gaul and Britain, Mercury was sometimes fused with local gods of travel or trade, making him an adaptable figure across the empire. The craftsmanship of these statuettes varied greatly, from simple, mass-produced terracotta figures to finely detailed bronze statues that were prized possessions of the wealthier classes.

ITEM: Statuette of Victory with wreath on globeMATERIAL: BronzeCULTURE: RomanPERIOD: 1st Century A.DDIMENSIONS: 91 mm x 50 mmCONDITION: Good conditionPROVENANCE: Ex Spanish private collection, bought in English auction house. Ex English private collection, London, acquired before 1990s.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.In ancient Rome, victory (victoria) held immense significance, both as a military achievement and as a concept embedded in Roman culture, religion, and politics. Roman victories were often celebrated with great fanfare, reflecting the martial values that underpinned Roman society. A Roman general, upon achieving a major victory in battle, could be awarded a triumph, a lavish ceremonial procession through the streets of Rome. During this grand event, the victorious general would parade with his army, captives, and the spoils of war, followed by sacrifices to the gods. The triumph symbolized not just personal honor but also Rome's military superiority and divine favor.The Romans attributed many of their victories to the favor of the gods, particularly to the goddess Victoria, who personified victory. Temples dedicated to Victoria, like the Temple of Victoria on the Palatine Hill, played a central role in religious and state-sponsored celebrations of military success. Offerings and dedications to the gods were common after victories, with victorious generals often commissioning altars, statues, or temples as acts of thanksgiving. This religious aspect of victory was intertwined with the belief that Rome's military success reflected its piety and adherence to divine will, fostering the idea of imperium—the Roman right to rule and conquer other nations.On a political level, victory was crucial for the careers of Roman politicians and generals. Success on the battlefield was often a pathway to higher office in the Roman Republic and later the Roman Empire. Military victories boosted the reputations of figures like Julius Caesar, who used his successes in Gaul and other regions to build political power. Victory also served as propaganda, reinforcing the image of Rome as an invincible force destined to rule the world. Roman monuments, such as victory arches (like the Arch of Titus) and columns (such as Trajan's Column), celebrated military conquests and immortalized the achievements of Roman emperors and generals, ensuring that their victories were remembered for generations.

ITEM: Papyrus fragment with demotic scriptMATERIAL: PapyrusCULTURE: EgyptianPERIOD: 3rd - 4th Century A.DDIMENSIONS: 40 mm x 55 mm (without stand), 230 mm x 91 mm (with stand)CONDITION: Good condition. Includes standPROVENANCE: Ex English private collection, acquired before 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 4 to 6 weeks and has a cost of 5% of the amount of the sale, this amount will be added to the final invoice.Papyrus fragments with Demotic script are important artifacts in the study of ancient Egyptian culture, providing valuable insights into the language, administration, and daily life of the people during the Greco-Roman period (circa 332 BCE to 395 CE). Demotic is a cursive script that evolved from northern forms of the Egyptian hieratic script. It was widely used for administrative and legal documents, as well as literary and religious texts during the later periods of ancient Egypt. The use of Demotic became more prominent following the conquest of Egypt by Alexander the Great and the establishment of the Ptolemaic Dynasty.These papyrus fragments cover a diverse range of topics, including legal contracts, administrative records, literary texts, and religious manuscripts. They offer glimpses into the economic transactions, legal agreements, and social customs of the time. Legal documents often include details about land transactions, inheritance, and contracts, shedding light on the legal and economic structure of ancient Egyptian society during the Hellenistic and Roman periods.The decipherment of Demotic script has been instrumental in understanding the cultural and linguistic shifts that occurred during this era. Scholars have made significant progress in translating and interpreting these papyrus fragments, contributing to a more comprehensive understanding of the multifaceted nature of ancient Egyptian culture in its later phases.

ITEM: Piriform aryballos depicting bands and running dogsMATERIAL: PotteryCULTURE: Greek, Proto-CorinthianPERIOD: 675 - 650 B.CDIMENSIONS: 72 mm x 37 mm diameterCONDITION: Good condition, repairedPROVENANCE: Ex Swiss private collection, Dr. R.H., acquired in the Swiss art market in the 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 4 to 6 weeks and has a cost of 5% of the amount of the sale, this amount will be added to the final invoice.Proto-Corinthian piriform aryballoi depicting running dogs are captivating examples of ancient Greek pottery that offer insights into the artistic and cultural milieu of the early Archaic period. These vessels, typically crafted from clay and adorned with intricate painted designs, feature scenes of hunting or animal motifs, such as running dogs. The piriform aryballos, with its distinctive pear-shaped body and narrow neck, was commonly used for storing perfumed oils or other precious liquids in ancient Greece.The depiction of running dogs on proto-Corinthian aryballoi suggests a connection to the world of hunting and outdoor pursuits, which held significant cultural and symbolic importance in ancient Greek society. Dogs were valued companions and skilled hunters in Greek culture, often portrayed in art and literature as faithful allies of heroes and gods. Scenes of running dogs on pottery may have served as visual representations of the hunt or as symbols of strength, agility, and loyalty.Proto-Corinthian aryballoi with running dog motifs also showcase the artistic techniques and stylistic conventions of the time. The intricate designs were painted using a black-figure technique, where black pigment was applied to the clay surface using fine brushes or incised lines, creating detailed patterns and images against a reddish-orange background. These vessels were produced in workshops throughout the Greek world, with distinctive regional variations in style and iconography.

ITEM: ArrowheadMATERIAL: BronzeCULTURE: Elamite, Middle periodPERIOD: 1200 - 900 B.CDIMENSIONS: 137 mm x 26 mmCONDITION: Good conditionPROVENANCE: Ex English 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.Elamite period arrowheads, dating from roughly 2700 to 539 BCE, provide valuable insights into the military practices and technological advancements of ancient Elam, a civilization that flourished in what is now southwestern Iran. These arrowheads, typically made of metal such as bronze or iron, were integral to Elamite weaponry and warfare. The arrowheads varied in design, reflecting changes in military tactics and advancements in metallurgy over the centuries. Common forms include leaf-shaped, barbed, and triangular designs, each serving different purposes in combat, such as penetrating armor or causing more severe wounds.The craftsmanship of Elamite arrowheads showcases the technological expertise of the period. Early Elamite arrowheads were often forged from bronze and exhibited simple, functional designs. As technology progressed, there was a shift towards more sophisticated designs with improved materials, such as iron, which allowed for sharper and more durable points. This evolution in arrowhead technology reflects broader trends in ancient warfare, including the increased use of metal weaponry and the refinement of weapon-making techniques. The quality and design of these arrowheads also indicate the skill of Elamite metalworkers and their ability to adapt to changing military needs.Elamite period arrowheads also hold archaeological significance, as they have been found in various contexts, including battle sites, defensive structures, and burial sites. Their presence in these locations helps researchers understand the scale and nature of conflicts in ancient Elam. In burial contexts, arrowheads might be included as grave goods, symbolizing the warrior status of the deceased or reflecting the martial culture of the time.

ITEM: Horse harness fitting depicting saint with crossMATERIAL: BronzeCULTURE: ByzantinePERIOD: 5th - 7th Century A.DDIMENSIONS: 68 mm x 66 mmCONDITION: Good conditionPROVENANCE: Ex Austrian 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 horse harness fitting depicting a saint with a cross from the Byzantine period is a notable example of the intersection between art, religion, and practical objects in Byzantine culture. These fittings were part of the elaborate horse tack used by the elite, including military commanders and high-ranking officials. The depiction of a saint, often associated with Christian iconography, on such a fitting serves both a decorative and symbolic function. It highlights the Byzantine emphasis on integrating religious elements into everyday objects, reflecting the strong influence of Christianity in all aspects of life during this period.The craftsmanship of Byzantine horse harness fittings is remarkable for its attention to detail and the use of materials such as gold, silver, or enamel. The saintly figures depicted on these fittings were often rendered with a high degree of artistry, showcasing the skills of Byzantine metalworkers and jewelers. The imagery typically included a saint holding a cross, which served not only as a religious symbol but also as a sign of divine protection for the rider and their horse. The cross itself, a prominent symbol of Christianity, emphasized the sanctity of the individual and their commitment to the faith, linking the secular use of the harness fitting with spiritual significance.These artifacts also provide valuable insights into Byzantine social and military customs. The presence of religious imagery on horse harness fittings indicates the importance of faith in public and ceremonial life. Such fittings were often worn during official events, military parades, or religious processions, underscoring their role in both secular and sacred contexts. The use of religious symbolism on these practical items also reflects the broader Byzantine practice of imbuing everyday objects with spiritual meaning, reinforcing the pervasive influence of Christianity throughout Byzantine society.

ITEM: Amulet of the God PataikosMATERIAL: FaienceCULTURE: EgyptianPERIOD: Late period, 664 - 332 B.CDIMENSIONS: 47 mm x 15 mmCONDITION: Good condition, base repairedPROVENANCE: Ex American private collection, New York, Jay Cannata, acquired around 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.Pataikos is a deity from ancient Egyptian religion, known primarily as a protective god associated with fertility and household welfare. Often depicted as a dwarf with a round, pot-bellied body, Pataikos was considered a symbol of strength and protection, particularly within domestic settings. His image was commonly used as an amulet or charm to ward off evil spirits and safeguard the home. Pataikos' distinctive appearance and attributes made him a popular figure in amulets and other small artifacts, reflecting his role in ensuring safety and prosperity for families.In Egyptian iconography, Pataikos was frequently shown with a variety of symbols that underscored his protective functions. He was sometimes depicted holding a sistrum (a musical instrument associated with the goddess Hathor), a weapon, or other items that indicated his role in defense and guardianship. His portrayal as a dwarf was likely intended to convey his unique, supernatural abilities and his role as a powerful guardian despite his small stature. This representation also aligned with broader Egyptian themes of using supernatural beings to guard against misfortune and ensure well-being.Pataikos’ role in Egyptian religion highlights the practical and personal aspects of ancient Egyptian worship, where deities were not only revered in grand temples but also incorporated into everyday life through personal amulets and household items. His protective attributes were especially valued in the context of domestic life, where the need for personal safety and well-being was paramount.

ITEM: Aryballos with quatrefoil motifMATERIAL: PotteryCULTURE: GreekPERIOD: 6th Century B.CDIMENSIONS: 54 mm x 52 mmCONDITION: Good conditionPROVENANCE: Ex English private collection, Sussex, mid-20th century private collectionComes 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 4 to 6 weeks and has a cost of 5% of the amount of the sale, this amount will be added to the final invoice.The aryballos with a quatrefoil motif is a distinctive type of ancient Greek vessel that emerged during the Geometric and Orientalizing periods (circa 900–600 BCE). The term "aryballos" refers to a small, globular container used to store oils, perfumes, or other precious substances. The quatrefoil motif, characterized by a four-lobed or four-petal design, was a common decorative element on these vessels. Aryballoi with quatrefoil motifs were often crafted from terracotta and decorated using the black-figure or red-figure techniques, which involved selectively applying slip (a liquid mixture of clay and water) to create contrasting images.The quatrefoil motif on these aryballoi was not merely decorative but held symbolic and cultural significance. The motif is reminiscent of floral patterns and was likely inspired by nature. The four-lobed design could represent various symbolic concepts such as symmetry, balance, or the four seasons. Additionally, in ancient Greek art, the use of geometric and floral motifs often carried deeper meanings related to religious beliefs, mythological narratives, or social customs.These aryballoi were practical as well as ornamental, serving a utilitarian purpose in daily life. They were designed for the storage and transportation of oils and perfumes, making them valuable personal items. The small size and portability of aryballoi with quatrefoil motifs suggest that they may have been used in grooming rituals or as offerings in religious ceremonies.