England

Gothic Oak Dressoir: 1460 - 1500 , France - Flandres This exquisite Gothic oak dressoir dates back to the 15th century. This remarkable piece is a rare survivor from the Haute épo...

An English Nottingham Alabaster of St Erasmus Alabaster, polychrome England 15th Century SIZE: 14cm high, 12cm wide, 5.5cm deep - 5½ ins high, 4¾ ins wide, 2¼ ins deep From the lat...

An Anatolian Marble ‘Star Gazer’ Figure Marble Anatolian Early Bronze Age / Circa 2700 - 2100 BC Size: 5cm high, 3cm wide - 2 ins high, 1¼ ins high The highly stylised oval head wi...

This piece is available to order. It will take approximately 4-5 weeks to deliver from the date of order. Please note that these are all individual hand made pieces and so it is natu...

An exquisite black amethyst druze cluster with polished stalactite. Rare and notoriously difficult to find, this stunning and unique black amethyst druz...

A pair of monumental limestone sphinxes of Pharaoh Nectanebo I, from the processional avenue of the Serapeum of Memphis, 30th Dynasty, circa 379 - 360 BC. The sphinxes of the Serapeum have captivated travellers since Roman times. However, despite their significance, they are conspicuously absent from the collections of most major museums. Indeed, their existence in private hands is so improbable, and their imitations so numerous, that the present sphinxes were assumed to be modern copies throughout their recent ownership history. Finally recognised and conserved after an extraordinary chance discovery at a garden furniture sale...

A collection of museum mineral specimens in a display case with a removable lid. Presented in a sleek glazed case with a removable lid, the set includes 30 European minerals includin...

A Collection of natural history specimens in an antique glazed display case. Housing 27 exquisite fossils and minerals this is truly a cabinet of curiosities; including three corals,...

A varied and fascinating collection of 5 natural mineral specimens, each presented on an exclusive small painted plaster plinth. Ex. private British collection, this group contains ...

Madonna & Child, 15th Century Tuscan School Large 15th Century Tuscan School depiction of the Madonna & Child, tempera & gold on engraved panel. Excellent quality and condition Tus...

A complete prehistoric Cleoniceras opalised iridescent ammonite fossil, originating from Madagascar, presented on an exclusive museum-quality painted plaster base. Over 200 million y...

A 20kt yellow gold ring from ancient Thailand features a central ruby surrounded by depictions of hunting scenes. The scenes include leopards hunting rabbits and oxen. X-ray analysis...

A superb giant ammonite fossil of the Titanites Giganteus variety mounted on a bespoke steel stand with sandstone base. Ex. private collection of Gordon Walkden. Sourced from Worth Quarry, Swanage on Britain’s Jurassic Coast, this impressive large-scale ammonite spans a length of 66 cm (25.89 in). It is an excellent example of the Titanites variety, with a defined scroll shape and natural, stone-like texture with distinctive fossilised chambers present throughout. The Titanites variety of ammonite date back as far as 152 million years to the late Tithonian period. Provenance: From the fascinating collection of Gordon Walkden (1944-2022), emeritus Professor of Geology at Aberdeen University. Affectionally known as Aberdeen’s answer to Indiana Jones, Walkden contributed enormously to research through his papers and talks on British marbles, minerals and fossils...

An ancient gold ring, with Sri inscription, in 22 karat yellow gold. This unique, unusual ring is steeped in history. Hailing from the 9th or 10th Century, this ancient piece of je...

A Very Rare and Early Carved Vessel in the Form of a Hedgehog Alabaster Near Eastern 3rd Millenium BC SIZE: 9.5cm high, 9.5cm wide, 15.5cm deep - 3¾ ins high, 3¾ ins wide, 6 ins ...

A complete prehistoric polished jigsaw ammonite fossil, originating from Madagascar, presented on an exclusive museum-quality painted plaster base. A natural historical artefact, pre...

A Heavy Cast Gilded Bronze Right Hand of the Buddha Shakyamuni Showing the gesture of meditation Old smooth dark patina with remains of gilding China 15th Century - Early Ming Dynasty (1368 - 1644) SIZE: 25cm long, 13.5cm wide, 10cm deep – 9¾ ins long, 5¼ ins wide, 4 ins deep The forefinger and little finger of this hand are slightly lifted away from the others and are making the gesture of meditation, which is associated with the moment of the Buddha’s enlightenment. From the position of the fingers it is probable that this is the right hand of a monumental, double life size, image of the Buddha seated in meditation. Provenance: Ex Finch and Co...

A Finely Carved Gandhara Head of ‘Atlas’ Grey schist India 3rd - 4th Centuries AD SIZE: 19cm high, 11cm wide, 12.5cm deep - 7½ ins high, 4¼ ins wide, 5 ins deep References Pratap...

An Openwork Copper Alloy Garment Pin Superb colour and patina Bronze Eastern Iran or Central Asia 2000 BC SIZE: 35cm wide - 13¾ ins wide A similar pin in the Louvre-France, was exh...

15th century, Italian Circle of Antonio del Pollaiuolo (1429-1498) Portrait of an Italian Noblewoman Oil and tempura on poplar panel With partial inscription: ALZETAPIN Provenance:...

A Fine Gandharan Head of a Buddha Stucco with ‘earth pigment’ Some old ‘restoration’ to the nose Afghanistan 3rd Century AD Size: 26cm high, 14.5cm...

A mummiform ushabti in blue faience. Four registers of hieroglyphic characters are painted around the lower half of the ushabti, with a vertical column of hieroglyphs in the centre o...

A Florentine Renaissance embroidered panel for a dalmatic garment, circa 1440-1460 Comprising twelve sections, the top row with three Evangelists, each holding a gospel; the next row...

An unusual blacknite quartz cluster specimen with covelline and bornite from Ambositra, Madagascar, presented on one of our museum-quality painted plaster bases. This striking and un...

A large pyrite cluster specimen originating from Peru, displayed on one of our exclusive museum-quality painted plaster bases. Naturally formed over millions of years, this huge pyr...

A collection of 6 natural, native copper specimens, each presented on an exclusive small wooden display base. Ex. private British collection, this group includes a range of superb s...

A Stone grotesque carving c1400 Size 40cms long 22 cms high and 21 cms wide

Exceptionally Fine Wooden Sarcophagus Mask Third Intermediate Period, 21st Dynasty, circa 1069-945 BC. Acacia wood, rosewood, hippopotamus ivory Masterfully carved from a single piece of fine-grained hardwood, the present mask is characteristic of the most exquisite funerary art made during the 21st Dynasty, and was probably commissioned for a particularly high-ranking individual. The oval face displays a gently smiling mouth with full, outlined lips, furrows at the corners and a bow-shaped philtrum. The straight nose with rounded nostrils, the cheeks full and fleshy and the large, almond shaped eyes with heavy lids and tapering cosmetic lines, set below long, sweeping eyebrows. Social collapse across the Mediterranean in the Late Bronze Age meant that the 21st Dynasty in Egypt was a period of great turmoil. Trade routes were disrupted, governments collapsed, and mass migration occurred. Economic scarcity meant that traditional funerary practices in Egypt were also affected, with a lack of material and financial resources leading to the reuse of preexisting material. As a result, during the 21st Dynasty, 19th and 20th Dynasty coffins changed ownership rapidly and were heavily recycled for new purposes. Tombs were also unmarked allowing them to be shared by many people. These new practices brought forth a shift in the understanding of funerary paraphernalia. No longer important objects owned forever by the deceased, they were now simply seen as short-term transformative devices, whose symbolic and ritualistic meaning could be appropriated for others. However, paradoxically, the art of coffin-making also reached new heights during this period, and many of the richly dec- orated “yellow” coffins, characteristic of the 21st Dynasty, are remarkable works of art in their own right. Indeed, knowing that coffins were being reused throughout Egypt, the Egyptian élite set themself apart by commissioning lavish sarcophagi decorated with the images and texts meant to help guide them to the afterlife, and which would otherwise have adorned the tomb walls. As coffins were the chief funerary element which now identified the dead and allowed them a physical presence in the world of the living, their quality and appearance were of the utmost importance. The traditional coffin ensemble was made of three parts: a wooden mummy cover, which laid directly atop the mummy, an inner coffin, and an outer coffin, both made of a lid and case. Additional decorative elements, such as masks, were carved out separately and later glued or pegged to the lids. After the completion of the painted decoration, the sarcophagus was covered in a varnish to give it its yellow colour. Gilding was sometimes used for the coffins of the high priests’ families, notably on parts representing naked skin, such as the face mask. However, some of the élite tactically avoided gilding altogether as to ensure that their coffin would not be looted. When manufacturing the inner and outer coffins, particular attention was paid to the woodwork. Displaying the skill of the carpenter, this type of funerary art has largely remained unparalleled throughout Egyptian history. The principal wood used to craft the present mask is Acacia nilotica. The evergreen Egyptian acacia was considered sacred and said to be the tree of life, the birthplace of the god Horus, as well as symbolic of Osiris, the god of the dead and resurrection. The modelling of the face in the wood is superb, but the inlays also help mark this mask out as exceptional. Inlaid eyes and eyebrows were extremely rare and reserved to the finest and most expensive coffins. Traditionally, eyes were made of calcite, obsidian, or quartz, and eyebrows of coloured glass paste or bronze. Here, the pupils, eyebrows, and cosmetic lines are inlaid with Dalbergia melanoxylon, a rare type of wood which belongs to the rosewood genus. In antiquity, however, it was known as Ebony of the Pharaohs, from the Egyptian word “hbny”, meaning dark timber, because of its black, lustrous appearance. An extremely dense and hard wood requiring significant skill to work with, ebony was a luxury material highly coveted by the pharaohs themselves, to make furniture, decorative and funerary objects. The wood was imported with great effort from the southern Land of Punt, most likely modern Sudan, Ethiopia, Djibouti, and Eritrea, alongside other luxury goods such as gold and ivory. A magnificent ebony throne, recovered in the tomb of King Tutankhamun, illustrates the incredible aesthetic potential of this material and why it was so highly valued by Egyptian royalty. Only élite members of Egyptian society could have afford- ed Ebony of the Pharaoh inlays for their funerary mask. The sclerae on the present piece were once both inlaid with hippopotamus ivory. Whiter than elephant ivory, this type of ivory is also denser, and more difficult to carve. The use of this luxury material, reputed for its gleaming appearance, enhances the lifelikeness of the eyes. For the Egyptians, hippopotamus ivory was imbued with magic powers. The hippopotamus was indeed both feared and venerated due to its aggressive behaviour. Whilst the male hippopotamus was associated with danger and chaos, the female was benevolent and invoked for protection, especially of the house and of mothers and their children, through the hippopotamus goddess Tawaret. Thus, not only was hippopotamus ivory used as an inlay and to make practical objects, such as combs and clappers, but it was also used to make talismans like apotropaic wands or knives. Made during a time of scarcity where few could afford made-to-order coffins, the present mask could have only belonged to one of the highest-ranking individuals in society. Undoubtedly one of the finest Egyptian coffin...

A Large European Carved Limestone Celtic Votive Head of a Male Warrior Wearing a Typical Flowing Moustache Small Beard and Curling Locks of Hair Stiffened with Lime Wash the Slit Mouth Open as if in Command Circa 1st Century BC - 1st Century AD Size: 31cm high, 22cm wide, 25cm deep - 12¼ ins high, 8¾ ins wide, 9¾ ins deep / 42cm high - 16½ ins high (with base) From about 500 BC, first Greek and later Roman historians mention peoples living in a large area of non-mediterranean Europe as Celts. These classical chroniclers seem to have recognised these communities as having sufficient shared cultural traditions to justify their being given a common name, ‘Keltoi’ by the Greeks, and ‘Celtae’ or ‘Galli’ by the Romans. The earliest allusions to Celts by such Greek historians as Herodotus (485 - 425 BC) were followed by Polybius (200 - 118 BC) and Livy (59 BC - AD 17) who discuss the expansion of the Celts from their central European homelands during the 4th and 3rd centuries BC. They document the presence of Celts in Spain, France, Italy, Greece and Asia Minor, specifically central Turkey. They testify to the successful Roman resistance to the Celts in Italy, after the ignominy of the sacking of Rome by them in 387 BC, and describe the huge defeat suffered by the Celts at the battle of Telemon in northern Italy in 225 BC. The Celts in Greece who sacked the sacred site of Delphi in 279 BC were defeated by King Antigonos Gonatas of Macedon in 278 - 277 BC and in Turkey by Altalus of Pergamon in 240 BC. The Celts in Spain fell under the shadow of Rome from 2nd Century BC and the Celtic heartland known by the Romans as ‘Gaul’ was conquered by the Romans under Julius Caesar in the mid 1st Century BC. Britain was not referred to as Celtic by the ancient historians, but Caesar recognised the close similarities between Britain and Gaul especially in their political organisation. Tacitus (55 - 120 AD) and others chronicled the conquest of Britain between 43 and 84 AD some mentioning the fierce nature of the Celts who went into battle naked. Celtic art therefore belongs to an artistic tradition in the early history of Europe which is no less important than that of the classical world. Art was central to Celtic identity and was closely related to the objects which it decorated. The Celts were used to seeing art as an integral part of their everyday lives. Provenance: Ex Finch and Co...

A varied and colourful collection of 7 natural mineral specimens, each presented on an exclusive small wooden display base. Ex. private British collection, this group contains a ran...

Head of a Satyr Roman, circa 2nd - 3rd century AD Carved and highly polished marble An extremely fine marble head of a satyr, depicted with ivy wreath, curly hair and pointed goat’...

This exquisite piece of jewelry features an ancient Greek silver tetradrachm, struck for none other than the legendary Alexander the Great. Enclosed in a crystal bezel, the coin is a captivating piece that transports us back to the glory days of ancient Greece. The obverse side of the coin showcases the iconic figure of Herakles, depicted in profile and adorned with the distinctive Nemean lion-skin headdress. This portrayal captures the strength and heroism associated with the mythical figure. On the reverse, we find the Greek god Zeus Aëtophoros, seated regally on his throne. Zeus is depicted bare-chested, holding an eagle and a sceptre, which serve as symbols of power and authority. To the right of Zeus, the Greek letters form the inscription ΑΛΕΞΑΝΔΡΟY, emphasizing the coin's association with Alexander. To enhance its beauty and display, the coin is encased in a custom-made stainless steel bezel frame. The bezel itself is adorned with high-quality faceted crystal, allowing the ancient coin to shine and strikingly catch the light. On the backside of the bezel, a silver mount is added, providing stability for the coin within its frame. The top of this mount a bail which proudly bears the trade mark of Tresor Paris, showcasing the fine craftsmanship and attention to detail involved in creating this masterpiece. Completing the ensemble is a silver chain, included with the pendant. This addition allows the wearer to proudly showcase the ancient coin, wearing it as a symbol of history, art, and culture. Weight: 49 grams Height: 3.50 cm Width: 3.10 cm Period: Greek Mythology 4th - 3rd Century BC Coin. Modern Frame This unique piece, crafted in collaboration with Tresor Paris, the esteemed Hatton Garden jewellers, embodies the fusion of ancient and modern craftsmanship. It serves as a testament to the enduring allure of Greek mythology and history, making it a truly treasured accessory for those who appreciate the elegance and significance of the past. To complete the necklace, the framed pendant hangs gracefully on a 20-inch solid belcher chain. The choice of a belcher chain represents both style and durability, making it the perfect complement to the sterling silver and the rich history it carries. This thoughtful combination showcases the designers' attention to detail and their commitment to creating pieces that are not only visually stunning but also timeless in their quality. Wearing this pendant is like carrying a piece of history close to your heart. It becomes a conversation starter, as admirers marvel at the glimpse into ancient Greek civilization. Furthermore, the pendant's design makes it versatile for both casual and formal occasions, allowing the wearer to effortlessly showcase their individual style and appreciation for art and history. In summary, the unique pendant created by the Greek craftsmen some 2000 years ago and trendsetters Tresor Paris is a masterpiece, blending the ancient past with contemporary design. Its outstanding beauty, magnificent craftsmanship, and wearable heavy sterling silver chain truly make it a remarkable piece of jewellery. Whether worn as a statement piece or cherished as a treasured heirloom, this pendant is sure to captivate all those who encounter its charm. When you purchase this exquisite coin, rest assured that it will come with a certificate of authenticity. The certificate is provided by a reputable member of, the British Numismatic Trade Association (BNTA), and the London and Provincial Antique Dealers Association (LAPADA), ensuring the genuineness and accuracy of the item. Alexander the Great Silver Tetradrachms were not only used as a medium of exchange but also served as powerful propaganda tools, showcasing the grandeur and influence of the Greek Empire. The intricate design and skilled craftsmanship of these coins exemplify the artistic prowess and cultural significance of ancient Greece. Today, Alexander the Great Silver Tetradrachms are highly sought after by collectors and enthusiasts, not only for their historical value but also for their aesthetic appeal. These coins provide a tangible link to the rich heritage of ancient Greece and continue to captivate the imagination of individuals fascinated by the ancient world and civilizations. Ancient coins have been utilized in jewelry for centuries, particularly in the form of pendants. These coins, which hold historical value and artistic allure, have been incorporated into various jewelry pieces, often serving as a testament to the wearer's appreciation for antiquity. The charm of ancient coin pendants lies in their exquisite craftsmanship and the stories they evoke. Whether it's a Roman denarius, a Greek drachma, or an Egyptian silver tetradrachm, these coins showcase the intricate details of ancient civilizations, featuring mythological figures, rulers, and symbols. The timeless beauty of these coins, combined with the creativity of jewelry designers, results in unique and captivating pendants. The significance of ancient coin pendants extends beyond their aesthetics. They provide a tangible connection to the past, serving as a bridge between modernity and antiquity. Each coin holds its own history, offering a glimpse into the economic, cultural, and political landscape of its time. By wearing such a pendant, individuals express their fascination with the past and their desire to keep its legacy alive. Throughout history, numerous prominent figures have been known to wear ancient jewelry, including pendants adorned with coins. Royals and nobles, such as queens and princesses, often possessed elaborate collections of ancient jewels, showcasing their wealth and refinement. Notable examples include Cleopatra, who adorned herself with opulent jewel-encrusted diadems and pendants featuring ancient Egyptian coins...

A large natural plate type carboniferous fossilised fern. Showing ferns in relief, this fossil would certainly make a stunning new display or decorative piece for any home or collect...

A large botryoidal green malachite specimen from Kolwezi, Congo, presented on an exclusive museum-quality painted plaster display plinth. Named for its distinctive form resembling a...

Hermes Palladium Curiosite Long Necklace Long chain link necklace that can be worn long or doubled with a twist lock, Hermes logo engraved, dangle charm. Size - 85cm Total Length ...

Banded Iron Fossil Formation Circa 2.9 Billion y/o This spectacular banded iron formation from Port Hedland, Western Australia, provides evid...

A stunning half geode with an incredible amethyst and overlaid calcite formation at the bottom. The interior of the piece is a very deep cavity which presents very high-quality ameth...

A tall anthropomorphic stele of carved granite, divided into two distinct regions of the body and face. The body is a single unarticulated block, but the facial features are outlined...

A rectangular marble slab carved with the Latin inscription ‘QVIRINIAE C(retr.) L / FELICLAE / OLLAM DAT / C VALERIVS PYLODAMVS’, which translates as ‘Gaius Valerius Pylodamus gave t...

A very rare and near-complete copper-alloy hanging bowl and associated fittings. Crafted from a single sheet of bronze, the body of the bowl is curved, with a slightly recessed lip. ...

Sirens were dangerous bird-like females who tempted sailors with their hauntingly beautiful song. In Homer’s Odyssey (XII, 39) Odysseus and his sailors were warned about the lethal c...

Bronze statue of the goddess Neith, striding, her left foot extended forward. Her left hand is extended forward and formally held a papyrus sceptre, a fragmentary ankh is visible in her right hand. She wears a close-fitting sheath dress, incised with a broad usekh collar, and carefully engraved bracelets and armlets. On her head is the Red Crown of Lower Egypt, decorated with vertical striations and restored spiral and spire. Her face is finely molded, with a broad upturned nose and electrum-overlaid eyes and eyebrows. Neith was one of the earliest recorded gods in the Egyptian pantheon, worshipped from early in the Predynastic era through to the arrival of Roman rule. A war goddess and goddess of weaving, she was the patron goddess of the Red Crown of Lower Egypt and the city of Zau (Sais, in the 5th Nome of Lower Egypt) in the Delta. A powerful and popular goddess, she was, according to the Iunyt (Esna) cosmology, the creator of the world and the mother of the sun, Ra. This made her the mother of all of the gods, who often came to her to settle their disputes. Her symbols are the bow and arrows and a sword and shield as a war goddess, a weaving shuttle as a funerary goddess, and the Red Crown of Lower Egypt as the goddess of creation and mother goddess. She is usually depicted as a woman wearing the Red Crown of Lower Egypt, however, she is occasionally depicted as a cow in connection with her role as the mother of Ra. The use of electrum, a naturally occurring alloy of gold and silver sometimes called ‘green-gold’, for the eyes speaks to the high status of the object. Electrum had been used by the Egyptians since at least the 3rd millennium B.C., but, give its rarity, was reserved for the most expensive and important objects. Most electrum used in Egypt was imported from Nubia, though some was found there. Published: Parke-Bernet Galleries, New York, February 25th, 1971, no. 70, illus. Sotheby’s, New York, June 5th, 1999, no. 31, illus. David Aaron Ltd...

Ancient Indus Valley cup bearer Fertility figurine Circa (2800-2600 BC). A rare female pottery cup bearer figurine in terracotta with pointed facial features and applied diamond sha...

Original vintage sport themed travel poster - Surfing Australia - featuring a black and white photograph of a smiling lady in a swimming suit and cap surfing on a wave with two men o...

A Gogotte Formation Of natural form, dating from the Oligocene period (30 Million years ago). Beguiling natural mineral formation, they are the result of calcium carbonate binding w...

Magnificent large Herkimer diamond proudly seated on its original matrix. This clear, double-terminated quartz crystal is renowned for its exceptional clarity and brilliance, akin to...

Impressive sculpture features a large cluster of Pyrite, masterfully extracted from the depths of Peru. Renowned for its metallic luster and golden hue, Pyrite—often called “Fool’s G...

Presented is an exceptional specimen of blue-purple Fluorite, with a serene light blue hue that evokes the clear sky of a summer’s day. Originating from the esteemed La Viesca mine i...

Stunning Pyrite piece from the mineral-rich soils of Peru, this piece is a symphony of metallic luster and geometric precision. Its perfect cubic crystals are interlocked in a captiv...

Magnificent Amethyst geode, a captivating treasure with a heart of intense purple and a unique large calcite, cradled in a custom rotating stand for a 360-degree view of its splendou...

This museum-quality Amethyst “harp” from Artigas, Uruguay, is a natural sculpture of exceptional beauty and rarity. The piece features a harmonious arrangement of high-quality Amethy...

Exquisite specimen of blue-purple fluorite from the renowned La Viesca Mine in Asturias, which closed in 2020, making pieces like this increasingly rare. The specimen boasts vibrant ...

Wonderful limestone carving of Madonna with child seated on the throne of knowledge, c1350 and with 6 fingers on her right hand it’s in excellent condition size 78cms high 48 wide 3...

Beautiful lamp, carved from a block of translucent Mexican banded onyx.

Captivating Pyrite sphere from Peru, a true natural masterpiece. This sphere is a polished marvel, with countless tiny Pyrite crystals embedded within, each sparkling with perfect lu...

Beautiful lamp, carved from a block of translucent Mexican banded onyx.

A Goyard courier trunk, completely original and with great character. Dating to the early part of the 20th century (circa 1900/1910) this trunk was finished with the famous chevron c...

This complete cross-sectional slice from the Imilac meteorite has been prepared to reveal shimmering olivine and peridot gems embedded in an iron-nick...

St. Francis of Assisi Italian School, circa 1500 oil paint on copper, unframed copper: 6.75 x 10 inches provenance: private collection, Loire Valley, France condition: for a work tha...

South Arabian Alabaster Inscription Calcite Alabaster circa 1st century A.D. ‘’Consequently, neither white marble of Paros nor any other stone which men admire can be compared with the precious stones of Arabia, since their whiteness is most brilliant, their weight the heaviest, and their smoothness leaves no room for other stones to surpass them.’’ - Diodorus Siculus, Library of History, Book II, 52.9 This inscription, finely worked on an alabaster tablet, is a remarkably well preserved example of Ancient South Arabian script, with its distinct bold, angular forms, written in the Qatabanic dialect - that is, the dialect spoken by the people of the kingdom of Qataban, which ruled much of modern day Yemen from the 7th Century B.C. to the 2nd Century A.D. The text, which reads: ‘[... ...]sa?d and Ma?add?i- / (of the lineage) of Hawfa- / She entrusted Anb- / against any malfeasance (which would remove it) from its place’ - indicates that it likely served to commemorate a temple offering. The quality of the script, incised so neatly into the surface of the alabaster, tells us that this piece was commissioned by somebody of considerable wealth and prestige, employing a scribe of equally considerable expertise. South Arabia was known throughout the ancient world for its incredible wealth - so much so that the Romans termed the region ‘Arabia Felix’ - literally, ‘Happy, or Fortunate, Arabia.’ That wealth was built largely on the trade of spices and incense, in which the Kingdom of Qataban played a major part. According to Pliny the Elder, this was the sole country through which frankincense could be exported, first being collected in the city of Shabwa, on the South Arabian coast, and from there travelling by camel up to Gaza, to be shipped all across the Mediterranean - not only that, but all growers of myrrh across Arabia were required to give a quarter of their yield to the king of the Qatabanians. As such, the kingdom became exceedingly rich and powerful, and Pliny goes on to tell us that ‘The nations of the Larendani and the Catabani, and the Gebanitæ [...] occupy a great number of towns, the largest of which are Nagia, and Thomna (the capital of Qataban) with sixty-five temples, a number which fully bespeaks its size.’ Because of the nature of its exports, frankincense in particular - the ‘sweat of of the gods’ according to the Egyptian Book of the Dead, and perhaps most famous as one of the three gifts brought to the newborn Christ - being closely associated with the divine, South Arabia’s reputation in antiquity was as a mysterious, almost sacred, and - crucially - extraordinarily wealthy region, at the very edge of the known world; in the words of Herodotus: ‘’Enough of marvels, and yet the land of Arabia gives off a scent as sweet as if divine.’’ This inscription invokes the protection of god Anbay, the judge-oracle of the chief god ‘Amm, who he served as an attendant. Much of what we know of the religious life of the ancient South Arabians comes to us from early Islamic texts, describing what is known in Islamic scholarship as ‘Jahiliyyah’ - the age before the advent of Islam in Arabia. What comes across in much of these texts is that these religious practices placed a great deal of emphasis on sacred stones, perhaps linked to the brilliance of the alabaster which is local to the region, and which a great many of the cult-objects produced in this time are made from. Hisham ibn-Al-Kalbi’s Book of Idols records: ‘’The Arabs were passionately fond of worshipping idols [...] Whenever a traveller stopped at a place or station in order to rest or spend the night, he would select for himself four stones, pick out the finest among them and adopt it as his god, and use the remaining three as supports for his cooking-pot.’’ This inscription was once in the collection of the intrepid British-Australian travel...