A complete wooden gesso-painted sarcophagus of female form housed in a custom-built Edwardian glazed wooden display case, depicting the deceased wearing a tripartite wig with long lappets, fleshy face with painted detailing, wide Broad Collar with falcon-headed terminals, each wearing a sun disk, a staff with shuti symbol to each side of the collar, a figure of Sobek beneath the staff; beneath the collar kneeling Nut with her wings spread, wearing the solar disk and holding a feather in each hand, Wedjat-eye standards on either side of the goddess; the leg area of Tetosiris coffin organised as a text apron of five columns with a formula of offering and the genealogy of the deceased, protected on both sides by the Four Sons of Horus, reading: 1. Words spoken by Osiris, foremost of the westerners, good god, lord of Rosetau 2. Isis the great, mother of the god, who resides in Akhmim and Nephtys, sister of the god. That they might give 3. an offering consisting of bread and beer, oxen and fowl, wine, milk, incense, cloth and all things 4. good and pure to the ka of the Osiris Tetosiris 5. daughter of Tutu, born of Lady Tasheritmin the sarcophagus resting on a rectangular base with a band of hieroglyphs, reading: front: 'A boon which the king gives to Osiris, foremost of the westerners, lord of [...]' left: 'Rosetau Osiris (?) make perfect (?) (?) [… ...]' right: 'Tetosiris, daughter of Tutu [… … ...]'.

A bronze cat modelled seated, its tail wrapped around one side of its body and resting on a front paw, wearing a pendant collar featuring a large udjat amulet, the sacred Eye of Horus, two socketted tenons below; mounted on a 1920's custom-made displayed stand.

A blue-glazed composition shabti figurine for prince Khaemwaset wearing a bag wig with the sidelock of a Sem-priest, face detailed in black; wearing an usekh collar, arms crossed at the chest holding flails, seed-bag on the back; a vertical column of hieroglyphic text to the front of the body and legs; accompanied by a custom-made display stand.

A bright turquoise-glazed mummiform shabti figure wearing a tripartite wig, arms crossed and holding two hoes; the wig and kohl-rimmed eyes painted in black; a vertical column of painted hieroglyphs to the body reading 'Amen(em)hatpamesha' for 'prophet of Amun'; accompanied by a custom-made display stand.

A green-glazed composition shabti figurine wearing a tripartite wig with seshed fillet painted in black, uraeus on the forehead; arms crossed and holding a flail in each hand, seed-bag on the back; a painted column of hieroglyphs and a cartouche for 'Qedmerut, the Divine Adoratrice of Amun' to the front; accompanied by a custom-made display stand.

A carved wooden statue modelled in the round as a nobleman striding forwards wearing a shin-length kilt, moveable arms with hands held in fists, creating sockets, finely carved naturalistic detailing to the face, ears and hands, rectangular sockets to the base of the feet.

A substantial limestone ostracon with several lines of hieratic writing to both sides, the six lines of script on the recto clearly written with the addition of a number of verse points, appearing to be of a literary nature, reading: '...his seat [when you.] / ...trade. You are doing the... / give it/him to the place of such and such and if he/it... / ..you say, as for this maidservant... / [of Pharaoh] life, prosperity, health, my good Lord be praised / ?... let it be given that which...'; the verso palimpsest with remnants of an underlying text and a clearly written name Merysekhmet, reading: '...the...work...your god / ...carrying/under it, in his every festival. It is belonging to... / one says to you, Sekhmet is protecting you... / ...in the Place of Truth, Neferhotep son... / son of his son, Merysekhmet'; old gallery sticker '6216' to one edge.

A substantial bronze figure of Re-Horakhty standing in advancing pose on a rectangular base; the god modelled with a sun-disc and crescent atop his head and uraeus extended in front, the falcon-head depicted wearing a ribbed tripartite wig and with beaded gold wire frames to the eyes; left arm bent and fist hollowed to grip a symbol, right arm straight to the side with similar hollow fist; pleated kilt and belt to the hips; mounted on a tiered socle base.

A sheet-gold ring with narrow hoop and pointed oval bezel, the bezel curved to provide a shield-like ridged form.

A substantial bronze statuette of a youthful female, possibly a goddess, standing wearing a peplos dress tied beneath the bust and covered by a loose mantle over the left shoulder; diademed and dressed in a chignon; right hand extended holding a patera, left hand absent.

A bronze chariot fitting in the form of a satyr bust with the head turned to the left; the thick hair arranged in undulating locks with large ears protruding between the curls and two small horns emerging from the centre of the forehead, expressive facial detailing with large eyes and incised pupils; a panther skin covering the chest and tied over the right shoulder, leaving the left shoulder exposed in the manner of Greek exomis tunic; a rectangular socket in an angle for attachment to the chariot on the reverse; mounted on a custom-made display stand.

A rectangular marble floor panel recalling similar workmanship to the floor of the Sistine Chapel, comprising a large central panel composed of a chequerboard design of alternating floral motifs and plain porphyry squares, surrounded by four roundels of green, porphyry and blue, each with a bicolour border; each corner with an L-shaped panel with eight-petalled flowers on a geometric background.

A ceramic rhyton with painted decoration and equine finial; the trumpet-shaped mouth with painted bands of intersecting red and black lines, circumferential solid red bands, segmented hoops and lattice panel with black pellet detailing; horse finial with legs folded beneath the body, painted reins and harness, vent to the chest; possibly Parthian workmanship; mounted on a custom-made stand.

A solid pale gold C-shaped penannular bracelet with four thick ribs to the external face of the band; each finial a ram's head with coiled horns flanking the cheeks; collector's label to the inner face.

A silver finger ring with flat-section hoop, expanding at the shoulders, decorated with a heraldic design; accompanied by a museum-quality impression and a typed and signed scholarly note issued by W.G. Lambert, late Professor of Assyriology at the University of Birmingham, 1970-1993, which states: 'Ancient Silver Finger Ring. This was made from a strip of sheet silver, bent to a circle and embossed and engraved. It deepens away from the join. In the centre of the design is a stylized sacred tree with central stem, two cotyledons and seven buds around the crown, and other details. To each side of the tree is an approaching bull, the one on the separated by a maltese cross, the one on the left separated by a rhomb. At each end of the strip is a kind of trefoil. The whole design is enclosed within upper and lower rulings. This is a Middle Assyrian ring, c.1400-1100 B.C. It is deeply and finely engraved and in remarkably good condition for ancient silver. Rings of this kind and quality are rare. It was probably used as a ring-seal.'

A ceramic horse figure modelled in the round, standing on a rectangular base with right foreleg held aloft, head turned slightly to the left with mouth open; naturalistic anatomical detailing, dressed mane and tail, integral moulded saddle and saddle cloth decorated with orange, black and blue geometric motifs, remains of polychrome pigmentation.

A pair of gold bracelets, each composed of a plaited rectangular body, sheet-gold sleeves decorated with beaded collars at the terminals, a loop to one side and two hooks to the other, together forming the closure; displayed in a custom-made presentation case.

A bronze helmet of Chalcidian typology with carinated crown, bowl forged from a single piece of metal, flared edges above the eyes and ears, flanged neck guard and long nasal (restored); the cheek-pieces connected to the bowl by a three part hinge, each D-shaped with a contoured forward edge, pierced through the lower edge for the attachment of a chin strap; accompanied by a custom-made display stand.

A small iron axehead with vertical panels to the socket, domed striking face to the rear, short T-shaped blade with narrow shank and curved edge; silver and gold filigree ornament including interlaced three-band serpent motifs to the two lateral socket panels, Ringerike style coiled serpents to the blade extending along the neck.

A bronze penannular brooch comprising a round-section crescent with flared ends terminating in two curved spatulate flat panels each with a ropework border surrounding a two-band knotwork motif.

A sandstone figure carved in the round representing Christ in his role of 'the good shepherd'; standing, wearing a tight sleeved tunic and a mantle draped over his shoulders and gathered on his extended right forearm, reaching to knee-length; close-fitting cap with thick braided fillet to the brow carved in high-relief; a lamb slung across his shoulders with its head resting beside Christ's right ear, detailed carved texture to the fleece, the legs gathered across the collarbone and held by his left hand; the face with downcast expression, bearded and with locks of hair flowing from beneath the cap; socket in the right forearm for the absent hand; mounted on a custom-made stand.

A framed stained glass panel depicting a standing Landsknecht standard bearer in half-armour with puffed-and-slashed sleeves, holding a two-handed sword in one hand and a banner with the heraldic arms of the city of Unterwalden (or Solothurn); at his feet is a heraldic lion rampant bearing the imperial shield and crown beneath an architectural column surmounted by soldier playing a fife; to his rear a column with putti at the base and a drummer above.

A carved and painted half-figure from a Lüsterweibchen in limewood; the hair carefully carved to suggest bound and plaited tresses bound by a gilded snood, the face with slightly doleful expression, the russet-coloured high-waisted robe with turned collar and dalmation sleeves worn over a linen undertunic visible at the chest, a blue train to the rear draped around the lower body; securing ring to the reverse.

A carved hardwood head from an effigy of an angel; the soft feminine facial features framed by long centre-parted hair drawn back and secured by a fillet to the brow; the fillet ornamented with gold leaf and black painted detailing; the painted eyes enhanced with glass inserts to add lustre; mounted on a custom-made stand, with several old labels.

A triptych of rectangular enamelled copper panels depicting: (left) Christ beneath an arch tied to a post with three soldiers beating and scourging him, a fourth kneeling before him with legend 'MAPEVE TROIT' in gold Lombardic capitals on his legs; (centre) crucifixion on a tau cross with two flanking criminals, three nobles on horseback at the foot of the cross alongside Mary and others weeping, one soldier offering a wine-soaked sponge and another piercing his side with a spear, skull at the foot of the cross; (right) deposition scene with Christ's body taken down and prepared for burial; richly coloured enamel surface in blue, violet, white and green with gold detailing, glass cabochons placed on the costumes and harness; later velvet-covered hinged frame with mounting ring.

A complete copper-alloy vesica-shaped seal matrix, the centre depicting the Trinity under a canopy in the form of a robed and enthroned figure of God with a halo, shown holding up a shroud as background to the crucified Christ, who in turn has the dove of the Holy Spirit present above the left shoulder; beneath the Trinity and separated from the upper portion by a stone arch, a demi-figure of a praying cleric, probably representing the Prior or Abbot; the incuse legend, in black letter, reads 'sigillu officii prioris (p'or - etas?) Cce trinitat' de moteCfont' with contraction marks over the -u and the -ce and the 'C' is an orthographic variant of 's' with 'Cce' being an abbreviation for Sancte for 'seal of the [...] prior of (the priory) of the Holy Trinity of Mottisfont'; the reverse flat with a projecting vertical flange pierced for suspension; held in a hinged display box.

A leather-bound volume composed of parchment leaves, containing psalms written in Ge'ez in black and red ink on ruled lines, some pages written in two columns of text; including eight full page polychrome figural paintings relating to the miracles of Virgin Mary, four at the front and four at the back; twenty gathers sewn onto wooden boards, blind tooled decoration to the front and back cover composed of a Christian cross within geometric borders.

A rectangular fabric panel with embroidered scene of the Presentation of the Virgin at the Temple including nimbate Joachim and Ann presenting the young nimbate Mary to the temple elder while a throng of females holding fronds looks on; the embroidery is couched with the garments and ther architectural details filled in a variety of patterns and colours.

Light coinage. Obv: profile diademed and draped bust left breaking the inner pellet circle with +OFFA+ +REX legend with inverted R. Rev: +EAL / dNOd legend in two lines with pellets in angles of initial cross and with fleur-ended beaded line with pellets in angles between for the moneyer Ealdnoth at London mint.

Sole reign, BMC type i. Obv: double-banded diademed profile bust left with +HAROLD REX legend. Rev: cross of four long ovals with double annulet and pellet centre and +MANNAONNORĐPIC legend for the moneyer Manna (sometimes listed as Man) at Norwich mint.

Third (Florin) coinage, second period. Obv: king standing facing in ship holding sword and shield with ED WAR D GRA REX ANGL FRANC DNS HYB legend with single saltire stops. Rev: floriate cross with crowned lions in angles and L at centre within tressure with trefoils in spandrels and +DOMINE NE IN FVRORE TVO ARGVAS ME legend with double saltire stops.

Pre Treaty, series B/C mule. Obv: king standing facing in ship holding sword and shield with +EDWARD DEI GRA REX ANGL Z FRANC D HYB legend with open C and E and Roman M and N. Rev: floriate cross with lis terminals and closed E at centre with crown over lion in angles within tressure with +IHC AVTEM TRANCIENS P MEDIVM ILLORVM IBAT legend with closed C and E, Lombardic M and Roman N.