A red glass insert of a profile face with remains of a pharaonic crown to the forehead.

A blue-glazed composition amulet in the form of an ibis (representing the god Thoth) seated on a wedge-shaped base, facing a figure of Maat appearing as a diminutive stooping female with an ostrich feather; some details to both figures rendered in a darker blue glaze; suspension loop to the rear of the bird's neck.

A white limestone figure of the god Ptah with false beard, wearing an enveloping cloak and a broad wesekh-collar, holding the shaft of a was sceptre; serene, oval face with almond-shaped eyes and fleshy lips; remnants of dorsal pillar to reverse; mounted on a custom-made display stand.

A spectacular bronze hydria composed of a tapering body, broad shoulder and waisted neck, the everted rim decorated with egg-and-dart motifs, three round-section handles and tiered, ogival foot; professionally restored.

A red-figure terracotta bell-krater displaying polychrome figural panels between a laurel wreath and a band of Greek key motifs; side a) two robed male figures holding staffs, wearing a taenia or a band around the head, standing facing a central altar; side b) a woman wearing a chiton and holding a casket and olive sprig in her outstretched hands, advancing right towards a nude man standing right, his head turned towards her, holding a bucket and olive sprig, a cloak draped over his arm, elaborate volute palmettes beneath both handles; restored.

A free-standing bronze imperial or military eagle terminal from a staff or a sceptre, modelled in the round in a dynamic pose standing on a globe, wings spread, head turned to the right, semi-naturalistic anatomical and feather detailing; the globe bearing an incised eight-armed stylised Macedonian star; sub-triangular lug to back of the neck; collar to globe with hollow underside.

The best example of only three examples of this type known, a copper-alloy knee brooch composed of a rectangular-section body, spring pin within bow plate and remains of catchplate to reverse; both sides of the body with two panels of Latin lettering moulded in relief: 'FIBUL[A] EX REG LAGITIENSE', translating to 'Brooch from the Regio Lagitiensis' (Roman Castleford); remains of blue glass enamelling to the recessed fields.

A large fired clay brick from the Wall of Babylon bearing six lines of stamped Babylonian cuneiform inscription to one face which reads: 'AG - ku -dur-ri-URU' / 'LUGAL ba-bi-lu' / 'za-ni-nu é-sag-ila' / 'u e-zi-da IBILA' / 'SAG.KAL. sa AG-IBILA-URU' / 'LUGAL ba-bi-lu ana-ku', which translates: 'Nebuchadnezzar, king of Babylon, who provides for Esagila and Ezida, the eldest son of Nabopolassar, king of Babylon, am I'; traces of bitumen on the blank side; accompanied by an old label which reads: 'Brick from the Wall of Babylon / Presented by W.Bro. Gentle-Cackett Secretary Bible Lands Mission / The impression records the fact that it was built by King Nebuchadnezzar [II]'.

A tinned sheet-bronze legionary helmet of Imperial Gallic Type A with deep rounded bowl, simple C-shaped cut-outs for the ears, integral flared neck-guard extending some way along the sides, corrugated ribs to the occipital area at the rear and corrugated 'wings' or eyebrows (Russel-Robinson's Type E) above the brow; small stud the rear of the neck-guard attaching suspension loops to the underside; hinged bracket at each temple for a deeply curved cheek-guard with gently flared rim, bearing a loop to the inner face to accept an vinculum fastening strap; accompanied by a custom-made display stand.

A gilt copper-alloy mount composed of a broad annular body with slightly domed profile, the body quartered with each cell displaying a chip-carved interlace motif configured A:B:A:B; rim, edges and central cell with raised rim; rivet and flat-section mounting bar to reverse.

A bronze bowl mount or escutcheon comprising a discoid panel with gently curved profile and zoomorphic hook; the panel with reserved La Tène comma-leaf decoration on a pounced field (intended to receive enamel fill); the hook with median gusset to the outer face, horse-head finial, bulbous La Tène ornament at the base.

A pair of large Early Anglo-Saxon gilt copper-alloy saucer brooches each comprising a broad (13mm+) angled flange surrounding a central disc with carinated border; outer zone comprising four arches subdivided by hatching to the inner edge and four C-shaped panels with triangular separators, inner zone separated by a carinated border, central disc with four radiating bilinear crescents; pin-lugs and catch to the reverse with traces of mineralised fabric.

A silver chessman-type seal matrix with pierced trefoil head and knop above; central motif of a leopard statant gardant before a tree, pelletted border and blackletter legend '* sigillum [lozenge] steffani [cinquefoil cinquefoil] ale [cinquefoil lozenge] lane' (for 'seal of Stephen [at?] ale lane').

An annular gold band with everted upper and lower lip, filigree ropework above and below each rim, with circumferential inscription to the recessed exterior face; of the five separate bands, the central one accommodating an applied strip of paler gold bearing a Medieval French blackletter inscription in relief, reading: '+loiautet (5 five cinquefoils) pas tout (5 five cinquefoils)', or 'Loyalty Passes All'; the inscription band may once have been enamelled; plain interior; the outer rim and twisted band on one edge are slightly bent; cleaned and repaired.

A substantial gold signet ring composed of a lentoid-section hoop, expanding capital style shaped shoulders and irregular octagonal bezel engraved with a skull, two flowers below separating the reversed initials in capitals: 'CL', framed by a beaded border.

A marble copy of the kneeling Venus (original in the Vatican Museums), crouching on an octagonal base; the arms raised in expressive pose, head tilted, hair drawn up in a chignon; lettering to base 'KNEELING VENUS' and 'ROME'.

A mixed group of scarabs and intaglios comprising: carnelian plaque with helmetted warrior holding shield with right hand and winged Nike on his left; green glazed composition scarab with enigmatic hieroglyphs on base; onyx scarab with an armed running warrior on base, cut in Rome; a later gold bracelet with an Etruscan scarab; one wedjat eye scaraboid; an Etruscan scarab with a centaur; one stone scarab with seated Ra-Horakhty above nb reading 'lord Ra Horakhty'; one pink stone scarab with bird. 4.13 grams total, 12-15 mm



Supplied with small a handwritten note: 'Antiquities found in Rome, given to Henrietta Sophia Benfield by her mother'. Henrietta Sophia Benfield (1796-1857) was the daughter of Paul Benfield and his wife, Mary Frances, daughter of Henry Swinburne (1743-1803). Property of the Berkeley collection. With Sotheby's, London, 11 December 2019, lot 182. English private collection.

A figurine in blue-green faience depicting a human female displaying traits of achondroplasia, with a disproportionate body, protruding abdomen, prominent buttocks, and shortened limbs; the large and exaggeratedly flattened head sports a distinctive hairstyle consisting of three ‘bunches’ on the front and three long braids at the back; the shaven top of the head is indicated by stippling; the figure wearing a long, single-strand shell necklace, armlets, and a girdle, all indicated in black pigment, as are the facial details, hair colour, pubic triangle, fingernails, and toenails. 50 grams, 66 mm high



Acquired from Dr Jan Beekmans, circa 1985. UK private collection. Accompanied by an academic report by Egyptologist Paul Whelan. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11594-198343.

This figurine belongs to a rare sub-type in a category of anthropomorphic figures produced during the late 12th-13th Dynasty. The category comprises around 200 figurines which include truncated-leg females, ‘grotesque’ human forms, and those displaying more distinct traits of achondroplasia, such as can be observed in this figurine. Very few examples of this particular sub-type are known, of which only one in the Metropolitan Museum of Art, New York provides a close parallel in terms of overall styling and form with this figurine. The purpose of this figurine is not fully understood, but other types of female representations in the large corpus of Middle Kingdom faience figurines are now considered to have embodied generative and regenerative power for their owners. This figurine shares the same distinctive three-braid hairstyle and the necklace, armlets, and girdle body adornments found on some. Body adornments of this kind also occur on wooden ‘paddle doll’ female figurines which are considered to have some connection with khener-dancers, who performed in royal, temple and funerary spheres. Since, in funeral contexts, ritual dances were often performed by dwarfs, a further connection can possibly be made between the role of khener-dancers and this figurine. The performance of such dancers in royal or funerary contexts was considered to bring the power of regeneration and potency to the recipient.

A carved limestone relief fragment with profile male head facing left, with close-cropped hair and detailed treatment of the eye, ear and mouth; inked inscription to the reverse 'E. H. Heckett.'; set in an old velvet-covered mount. 129 grams, 71 mm wide



From the estate of a deceased American, acquired between 1970-1989. with Bonham's, London, Knightsbridge, 28 October 2009, lot 23 [Part]. Accompanied by a copy of the relevant Bonhams catalogue pages. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11596-198972.

A blue glazed bifacial scaraboid; one side bearing the cartouche of Thutmose III and the legend “Enduring image of Re” and the other side Seti I’s throne name Men-Maat-Re (meaning “Eternal is the Justice of Re”) with other signs for an epithet that perhaps reads as “truly praised (of Re)”; pierced for suspension. 4.11 grams, 23 mm



From an old UK collection. From the private collection of Alf Baxendale (1941-2016) part 2, keen Egyptologist, member of the Egyptology Society, trustee of the Amarna Trust; thence by descent. Accompanied by an identification display card. Accompanied by a copy of his obituary published in Horizon, The Amarna Project and Amarna Trust newsletter, Issue 18, 2017, p.21, by Barry John Kemp, CBE, FBA, Professor Emeritus of Egyptology at the University of Cambridge and directing excavations at Amarna in Egypt.

Seti I's reign saw the production of many scarabs, scaraboids and plaques bearing his name as well as that of Thutmose III - who was considered a great warrior king.

A carved black granite statue base fragment with four toes modelled in the round, with delineated nails of a left foot. 253 grams, 11.8 cm



Acquired from France, 2015. English private collection. Accompanied by a copy of the French cultural passport no.167713. Accompanied by an academic report by Dr Alberto Maria Pollastrini.

A bright blue glazed worker shabti modelled on a rectangular base, arms crossed over the chest, detailing in black to the wig and eyes, holding a pair of hoes, a seed bag to the back, the hair tied with a seshed headband; a vertical column of hieroglyphs to the front of the body naming the wab-priest Pa-di-Khonsu-iy; repaired. 76 grams, 98 mm high



From a Worcester deceased estate. Property of a Cambridgeshire gentleman. Accompanied by an academic report by Egyptologist Paul Whelan.

As a wab-priest, Pa-di-Khonsu-iy would have assisted a higher-ranking hem-priest with the general maintenance and ritual activities in a temple, likely located either in Thebes in Upper Egypt or Tanis in the Delta.

A blue-glazed faience chalice representing the blue lotus flower with a tall, flaring cup rounded at the base, short stem with a flared foot; held in a lockable wooden presentation box with key; restored. 104 grams, 12.5 cm high



Acquired from Dr Jan Beekmans, circa 1982. UK private collection. Accompanied by an academic report by Egyptologist Paul Whelan. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11599-198342.

It is thought that blue lotus chalices served cultic or votive roles in temples or in offering rituals to the dead, and the white lotus versions were used as drinking vessels. Called Seshen by the ancient Egyptians, the blue lotus symbolised solar concepts surrounding rebirth- possibly because its flowers open their petals in the morning and close them again at night. Given this connection, it is not surprising to find that the lotus features prominently in ancient Egyptian funerary art, in banqueting scenes honouring the dead and in bouquets adorning the coffin and its bier. It is thought that the petals were used to make perfume and that the ancient Egyptians exploited the lotus's narcotic properties and added its extracted essence to wine to enhance the pleasurable effects of the drink, as can be seen in banqueting scenes.

A limestone frieze section which once part of a banquet scene, the fragment carved with the head and upper body of a noblewoman facing right, wearing a broad collar and an elaborate wig of long, tightly curled locks with a fringe of twisted strands, decorative headband with a lotus flower to the front; remains of pigmentation. 138 grams, 84 mm



From an old UK collection. From the private collection of Alf Baxendale (1941-2016) part 2, keen Egyptologist, member of the Egyptology Society, trustee of the Amarna Trust; thence by descent. Accompanied by an identification display card. Accompanied by a copy of his obituary published in Horizon, The Amarna Project and Amarna Trust newsletter, Issue 18, 2017, p.21, by Barry John Kemp, CBE, FBA, Professor Emeritus of Egyptology at the University of Cambridge and directing excavations at Amarna in Egypt. Accompanied by an academic report by Egyptologist Paul Whelan.

A carved limestone relief fragment depicting a squatting god Amun-Re, facing right wearing a headdress topped by two ostrich-feather plumes, a segmented mantle to the shoulders, knees drawn up supporting another ostrich plume; inked accession numbers to the reverse: '974.15', '69.10019'; accompanied by a custom-made display stand. 53 grams, 74 mm (84 grams total, 10.5 cm high including stand)



From a deceased American estate, acquired between 1970-1989. with Bonham's, London, Knightsbridge, 28 October 2009, lot 23 [Part]. Accompanied by a copy of the relevant Bonhams catalogue pages.

A wooden funerary mask with finely delineated painted eyes and eyebrows on a gesso ground; holes to accept attachment pegs to the reverse; mounted on a custom-made display stand. 1.14 kg, 32.5 cm high including stand



Ex private Swiss collection, before 1960. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11600-199042.

The mask is typical of Phoenician-Punic production and likely had a funerary purpose.

A polychrome painted cartonnage foot-case from a cartonnage mummy with two stylised bare feet to the upper face, each with a ankle panel with the god Anubis in jackal form with a flail over the shoulder, framed by geometric borders which continue around the perimeter of the foot cover; soles of polychrome chequered sandals to base. 295 grams, 25 cm wide

Fine condition.

Ex UK art market, 1970s. Property of a London gentleman. Accompanied by an academic report by Egyptologist Paul Whelan.

Foot-cases like this were part of group of cartonnage adornments for a mummy, which usually comprised a mask, broad collar, stomach cover, leg section, and foot-case. For a complete set found on a mummy from Abydos see Scott III, G.D., Ancient Egyptian Art at Yale, Yale, 1986, pp.160-161.

A blue glazed composition figure of the advancing god Ra (possibly Ra-Horakhty), falcon-headed and wearing a sun disc, set on an integral rectangular base, left leg positioned in front of the right, arms held straight by his sides, wearing a wig and kilt; tapering pillar with suspension loop behind solar disc; repaired. 18.4 grams, 87 mm high



Acquired from Dr Jan Beekmans, circa 1982. UK private collection.

In ancient Egypt, Ra sat as the king of all the deities and the father of all creation, the god who could not only govern the sun, but who transformed himself into the sun. He was associated with the falcon, hence he is typically portrayed as a human with a falcon's head. The major cultic centre for Ra was the ancient city Iwnw, known as Heliopolis to the Greeks, which today lies under modern Cairo. The ancient Egyptians were an agricultural society inhabiting a desert; the sun (and thus Ra) was an integral component of their world view. Placed on the chest of the deceased, this amulet offered the wearer the chance of eternal renewal each morning with the sun.