A glazed composition shabti of Horemheb, son of Takhaouti, with mummiform body; wearing a tripartite wig and false beard; hands crossed over chest holding pick and hoe, seed basket to the back of left shoulder; horizontal columns of hieroglyphs with Chapter Six from the Book of the Dead: 'O shabti figure, if Horemheb son of Takhaouti is called up to do any work that is done there in the underworld then the markers are struck for him, there as for a man for his duty, be counted yourself at any time that might be done to cultivate the marsh, to irrigate the riverbank fields, to ferry sand to west or east. 'I am doing it, see, Here am I', you are to say'; standing on a small plinth with supporting back pillar.

A polished alabaster canopic jar with tapering body, separate lid with a human face representing the son of Horus Hapi; incised rectangular panel to the belly of the jar with three columns of hieroglyphic text, placing the vessel under the protection of Nephthys and Hapi.

A cartonnage mask with gesso and gilded surface; wearing a tripartite wig with hawk to top of head with sun-disc; painted with panels to either side with frieze of uraeus snakes with sun-disc to top of head; below, the Four Sons of Horus with mummifom bodies before Osiris seated on a throne with mummiform body holding crook and flail, wearing Atef crown; panel below with four seated deities wearing tripartite wigs, holding was sceptres; wadjet eyes to the side, gilded face with painted eyes and eyebrows; panel to chest with Broad Collar, horizontal panel below with diamond pattern; to the back standing mummiform figure wearing tripartite wig and false beard; areas to surface with mummification resin; mounted on a custom-made stand.

A flat-section coiled gold arm-ring with texture to each end, recurved tail with loop and undulating line to one edge of the shank, S-curved neck with detailed serpent's head finial.

A gold and silver pendant plaque of lotus-flower form with bell-shaped body, openwork stem with suspension loops; the body with cells to accept cloison inlay of glazed composition and carnelian, the stem with glazed composition fill; two small loops to the lower edge.

A very large torc with ribbed shank, gold sheet over silver or bronze with tongue-shaped finials each with beaded chevron and ribbed panel.

A gold trichinopoly chain with tapering collar to each end, each with applied filigree floral motifs, braided collars and granules, carved chalcedony ram's head finial with loop beneath the chin.

A bronze vessel with the body formed as the head of a boy with small features and large lenticular eyes, straight hair combed and shaped; square-section neck above with scooped pouring lip and dolphins to the rim, curved strap handle with seated putto playing a syrinx.

An unusual variant of a Chalcidian helmet formed as a bronze bowl composed of two halves formed over a mould and connected by rivets through the crest and in the lower section through the overlap of one plate over its neighbour; carination to the crown and repoussé bands at the ear openings and brow; between the contoured brows a short nasal with rivet; to the rear a narrow flange neck-guard; the cheek pieces connected to the bowl by a five-part hinge, with two bushings per cheek piece, pierced at the lower edge for fastening and with bands of pointillé ornament; mounted on a custom-made stand.

A two-piece helmet made from hammered sheet bronze with lateral seams, row of attachment holes to the lower edge, bowl with tall conical peak; mounted on a custom-made stand.

A bronze conical helmet with carination above the brim, bands of rivetting to the cone and sides; small ancient riveted repair to the front-centre.

A bronze front plate from a cuirass, naturalistically modelled with anatomical details of the torso; repoussé lines defining pectoral and abdominal muscles, nipples applied separately, navel chased to the stomach; arched collar to the top with escutcheon plates to the side with rings for attaching leather straps; two further rings to side of abdomen for leather straps; mounted on a museum quality display stand.

A three-part stone idol comprising: D-shaped steatite body with ledge to the front, V-shaped neckline, hatched pattern representing a quilted garment; limestone(?) head and neck with large almond eyes and scaphoid mouth; steatite headpiece representing the figure's hair with fabric binding.

A silver oval bowl with gilded band to the upper edge decorated with a running frieze of repousse birds either side of a plant; body sloping to the rounded base.

An impressive bronze vessel mount of a finely modelled bull's head with powerful features, horns curving up, detailing of fur to the front of the head, engraved lines to delineate the eyes, snout and mouth; attached to plate in form of outspread wings, tail below, with engraved details to the feathers; attachment holes to wings and tail.

A large schist statue of Maitreya, seated cross-legged in meditation; hair pulled up into a top-knot with fillet decorated with rosettes, large nimbus to the back of the head; elongated ears with earrings, eyes half closed in meditation, recess to brow for separate urna, finely engraved moustache; sash over shoulders, bands of necklaces to chest with amulet cases; armlets and bracelets to both arms; robes hanging over edge of rectangular seat; panel to front of seat decorated with Buddha seated in meditation, two devotees to either side; mounted on a custom-made stand.

A carved grey limestone corbel formed as a quadrant with figural carving to the two flat faces; one a horse's head with lentoid eyes, open mouth with triangular teeth and raised bridle across the muzzle; one a lion's head with human mask and body between the jaws; mounted on a custom-made stand.

Malcolm Jones, Sheffield University, Dept. English Language & Linguistics, Senior Lecturer 1994-2009 and advisor to the British Museum and Portable Antiquities Scheme, says: "An important 'Hanseatic' bowl, closely related to similar examples in the Cleveland Museum of Art and the Metropolitan Museum, New York"; the central figure, though unlabelled, and seemingly a male head, is perhaps intended as Superbia [Pride] – as on both the Cleveland and Metropolitan Museum bowls, here it is surrounded by three fellow Vices, named as IDOLATRIA [Idolatry], a female head; INVIDIA [Envy] and IRA [Wrath], both male heads (The Cleveland bowl adds a fourth head, LUXURIA [Lust]), here within the central medallion, around the top, is inscribed SUPBERIA [sic], and on a band around the central medallion HAC RADICE MALA NACITUR OMNE MALUM (Pride is the root from which all the other Vices are born), within each oval around the central medallion, flanking the figure [of Superbia] are five Vices named as IDOLATRIA, INVIDIA, IRA, LUXURIA, and LIBIDO, around the outer border the Vices are anatomised into the following triads: MALICIA, VANA, GLORIA; EBRIETAS, CRAPULA, FRAUS; EMULATIO, CONTENTO, AMBICIO; SUSPICIO, CONTENTO, AMBICIO; and COGITATO, PICRICIA VANA, GLORIA DESPERATIO.

A gold annular brooch with sub-circular frame, sub-rectangular in cross-section, with moulded decoration of a pair of clasped hands at one of the cardinal points and a quatrefoil at each of the remaining three; outer and inner rims with pronounced beading; Old French inscription on the front face in blackletter characteristic of the period, "+ IC - SVI - DE.D - RVC" probably for "+ IE - SVI - DE. D - RVE", translated by John Cherry as "I am [a gift] of love"; gold pin tapered along its length with a beaded collar at the hinged end, resting on a reduced section of the frame in the centre of one of the floral mouldings; the reverse plain, except that the clasped hands are fully three-dimensionally moulded.

Obv: IMP CARAVSIVS P F AVG legend with laureate, cuirassed and draped bust right. Rev: MONETA AVG legend with Moneta standing left holding scales and cornucopia; mintmark RSR in exergue.