9th-7th century B.C.prising two halves decorated in chased low relief, each half with a standing winged figure dressed in long embroidered tunic, holding a stylised snake(?) in the raised hand, the other hand extended along the wing; the left side with three attachment hooks and the right side with a perforated plaque with two lines of holes providing the possibility of extending the belt. Cf. Curtis, J., An Examination of Late Assyrian Metalwork with Special Reference to Nimrud, Oxford, 2013, pls.LXff., for similar decorative patterns on bronze openwork panels; Aruz, J., Seymour, M., Assyria to Iberia, Art and Culture in the Iron Age, New Haven-London, 2016, fig.5, p.159, for an ivory plaque.191 grams total, 80 mm each (3 1/8 in.). Acquired prior to 2000. British private collection of Mr D.M., London, UK.Apanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is apanied by search certificate number no.11753-202365. The genii symbolised both protection and fertility - their role was to safeguard and replenish the ancient kingdom of Assyria and therefore, on a personal buckle, the wearer of the belt. The representation of divine genii upon a belt plaque provided a link with the king and with the royal family, and it could be that such a belt was worn by important dignitaries, although the structure of the belt and itsposition exclude the possibility of military use. [2]