a. J.-P. A. collection, Brussels
b. the Collection of the Swedish architect Albert Tornquist (1819-1898)
c. Spitzer Collection, Wien-Paris, XIX century and, Moretti Collection, Bellinzona, Switzerland
And specifically from Rupert Wace:
d. "An Egyptian painted fresco fragment dating from the New Kingdom": "a Dutch collection", "private collection the Netherlands, acquired 1960s-70s"
e. "a limestone head of a cow", Egyptian, New Kingdom: "a private French collector in the mid 20th century"
f. "an Egyptian limestone relief fragment from the Middle Kingdom": "formerly in the noted collection of Georges Halphen in France"
g."Greek head of a female": "a private European collection, acquired in 1984"
h. "a Hellenistic polychrome terracotta head of a woman": "the collection of a Venezuelan diplomat"
i. "An Etruscan bronze handle": "a private Swiss collection"
j. "an extraordinary terracotta rhyton or drinking vessel in the form of a humped Zebu bull": "a private German collection, acquired prior to 1970"
Wace's press release on the website of his public relations company stresses:
"All exhibitors [at BAAF] are members of the International Association of Dealers in Ancient Art (IADAA) who abide by a strict code of ethics guaranteeing the authenticity of everything they sell and exercising extensive due diligence regarding provenance".
Wace is understandably wanting to present a good image after the poor publicity he received last year (see "A Middle Kingdom Alabaster Duck - and a member of the IADAA"). If we remember, that piece came from "a private collection in France" --- apparently a euphemism for a syndicate of auctioneers, "PIASA in Paris".
In a world where an object derived from Robin Symes can be described as from "a private collection ... in Great Britain", any diligent person would be rightly suspicious of antiquities emerging from anonymous collections.
So do we need a little more information to put our minds at rest?