Knapped bifacial tan knife with fishtail butt to receive a hilt; the rounded tip tapering and flaring along the edges; with a custom-made display stand.

Naturalistically modelled and coloured blue, hieroglyphs on base; pierced for suspension.

Comprising a tall, plain body with two rosettes; crowned by an elaborate palmette and volute design with shallow acanthus stalks and small rosettes; mounted on a custom-made display stand.

The squat oil flask with slender neck and broad everted rim, painted with rosette petals around the mouth and base, spots encircling the rim, horizontal stipes to the strap handle, vegetal motifs and the forequarters of a roaring lion to one face of the body.

Possibly depicting Ganymede or Paris, wearing a soft Phrygian cap with everted brim, the hair swept back from the face; almond-shaped eyes with pronounced eyelids, straight nose and fleshy lips; mounted on a custom-made display stand.

The piriform body with broad, stepped rim and two round-section handles; red-figure frieze depicting two standing women facing, wearing a himation and stephane; the other side with a nude standing warrior wearing an Apulo-Corinthian helmet, holding the reins of his horse, acanthus leaves, ovolo and wave motifs to the neck and lower body; probably from a Cuma workshop.

Comprising a shallow disc with central flower motif inlaid with carnelian and lapis lazuli, surrounded by a beaded border, the outer pearled border inlaid with mostly replicant lapis lazuli, and mother of pearl inserts; three pendants to the lower edge, two with chain and carnelian bead, the central pendant formed as a miniature amphora with filigree, repaired; housed in a custom-made display box.

Tousled curly hair, strong aquiline nose and full mouth; the deep eyes marked by raised eyelids and prominent semi-circular eyebrows; the hair arranged in overlapping rows of locks; repaired; mounted on a later porphyry plinth.

Mould-made and shaped as a sandaled left foot, filling-hole surrounded by a ridge in the ankle area, the sandal with two leather straps tied together near the ankle, wick-hole in the big toe; inscription 'ƩΑΛΣΙϹ' to the base, heel chipped.

Decorated with a frieze of partially preserved acanthus volutes from which emerges a figure of a winged female, possibly a siren, the body and the head of a woman with brown hair, the outstretched wings in pink and yellow; ochre background, cream-coloured line border with a green raised edge (part of the wall) below; mounted on a custom-made display stand.

The left side of a trapping for a horse pulling a chariot, comprising two hammered elements with a hinge; rectangular upper section with a loop to one end, decorated with an eagle-headed genius-demon, wearing a tunic and a fringed kilt, a shawl wrapped around the body, hanging down on the back, carrying a bucket of purifying water in his right hand and a conical pot of incense in his left hand, bracelets to arms, two rows of lotus buds above; the discoid lower section divided in two registers, each with a winged genii in combat with winged bulls; the dividing raised band with fish motifs similar to the border formed of fish; the edges of both elements with punched edges for the attachment of leather lining; Neo-Assyrian or Urartian; mounted on a custom-made display stand.

With a double-edged parallel-sided blade with broad pointed tip; the lower guard inlaid with garnet cloisonné divided into four segments; accompanied by a rectangular scabbard slide inlaid with two rows of garnets and other stone; and a part of a sheet-silver chape.

Comprising a double-edged cutting blade with tapering fullers and hefty tang; the bronze cross guard in Jellinge style with dragon head finials and a central human face to the lower edge; the pommel with seven lobes; accompanied by a bronze openwork chape with central bird motif decorated with stamped ring-and-dot design.

Of solid heavy penannular form, round in section with clubbed terminals.

With slightly tapering socket and openwork bulb above, discoid platform supporting a mounted warrior modelled in the round; horse with long vertical tail and horizontal reins, bowed legs and scrolls at the hooves; warrior astride the horse with legs bent and feet to the rear, helmet with lateral horns and large swept crest with notched edge; arms bent to show the warrior in the act of drawing his falcata sword from the scabbard worn across his midriff; mounted on a custom-made stand.

S-shaped with scrolled flourishes to the dragon-head terminals, remains of inlaid blue and red enamelling to the stylised beast heads, wave and lozenge ornament to the body; free-running tongue with head coiled around the neck of one of the creatures; Romano-British.

With high-relief aviform head and wings and looped ornamental swags, knotwork panels in the field; two holes for mounting; possibly a book-mount, Hiberno-Saxon workmanship.

An excessively rare and almost complete copper-alloy hanging bowl and associated fittings comprising: (i) the bowl with three attached matching hooked escutcheons and suspension rings (ii) the basal disc (iii) a body fragment (or possible repair patch) (iv) a curved bronze fragment (ii) the basal disc with separate frame (iii) fragment of copper-alloy sheet, possibly forming part of a repair to the base of the bow (iv) a curved copper-alloy strip (iv) four skeletal fragments from a sheep or similar.

Of Martin's Group 4 with rectangular headplate and florid face-masks to the three edges and conical eyes, deep bow with with square central panel, footplate with square lateral lappets, triangular face-mask finial with conical eyes; pin-lug and catchplate to the reverse; gilded surface abraded.

Of Hines's Group X with two discs on the headplate in a rectangular frame surrounded by a frieze of facing human masks, and another mask placed centrally above the junction with the bow; shallow bow with three ribs; curved horse-head lappets flanking a vertical shank with facing mask detailing, discoid lobes and an inverted mask below; pin-lugs to the reverse and solder-scar where the catchplate was attached.

Oil on board devotional panel in a gilt wooden frame; the Virgin in a bottle-green gown with gilt collar and cream undershift, crimson mantle; the naked Christ supported on his mother's left hip, his left foot clasped in the interleaved fingers of her right hand; textured gilt field; attributed to a follower of Dirk Bouts.

Openwork winged beast to the centre, its tails curling beneath the body creating the foliate tendrils on which it perches, broad outer roundel decorated with geometric plants alternating with lozenges, extensive remains of blue champlevé enamelling; engraved and chiselled; four attachment holes.

With wooden core to which the embossed sheets have been attached; the obverse with a central nimbate Corpus Christi, an applied rosette above and to the left arm; an angel to the finial of the upper and lower arm with Mary and St John the Evangelist to the side arms; the reverse with a central figure of Jesus holding the Gospel and making the sign of blessing; each finial of the arm with the symbols of the Evangelists (eagle, angel, lion and ox); the cross resting on a floral sphere with a socket below.

Composed of a slender hoop, expanding shoulders decorated with white enamelled foliage and black enamelled pea-pod ornament, repeated around the bezel, bezel with box setting holding a table-cut ruby, white and black enamelled floral design to the underside; minor loss of enamel; likely from France; accompanied by a 'Les Enluminures' hinged presentation box.

With carved and painted facial details, fixed to a wooden board with pegs. 509 grams, 27.5 cm



Acquired 1970s-1996. Property of a North American collector. London collection, 2016.

Triangular in form with carved facial detailing, thick tousled hair, full lips; pierced in four places for attachment. 716 grams, 27.5 cm



Acquired 1970s-1996. Property of a North American collector. London collection, 2016.

Rectangular wooden base supporting two opposed crouching figures each holding a tool (axe, chisel) in one hand, working on a model boat; the figures wearing white linen kilts and with carefully painted hair and facial features. 436 grams, 18 cm



Acquired in the 1960s. From the collection of the late Egyptologist Surgeon Commander PHK Gray RN. From a Surrey, UK, collection. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11832-207092.

Crafted for the tomb to accompany the deceased and provide for him in the afterlife.

Knapped bifacial tan knife with fishtail butt to receive a hilt; the rounded tip tapering and flaring along the edges; with a custom-made display stand. 142 grams total, 12 cm including stand



Collection of Maurice Bouvier, Alexandria, Egypt, then in Switzerland from 1959; thence by descent. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11834-207726.

Many of these superbly crafted knives are attributed to the Naqada II period (c.3500-c.3200 BC), in Upper Egypt. They were normally used in the Opening of the Mouth ceremony.

A very thick, almost domed flint hand axe or heavy scraper formed on a blade core with the perimeter edges finely knapped; with illegible label and custom-made display stand. 390 grams total, 13 cm including stand



From the collection of Robert De Rustafjell (1876-1943), acquired in Thebes prior to 1909. Deaccessioned from The Heckscher Museum of Art, Long Island, NY. Private New Jersey collection.

Depicting a naked male figure crouching right, wearing a head cap and lifting an amphora over his head, pouring its liquid contents out behind him; with pecking defacing; repaired. 1.2 kg, 25.6 cm



Ex T.C. collection, Martigny, Switzerland. Acquired in Europe before 1994. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11836-206814.

Decorated using turquoise glaze and painted face, collar and hand detailing, wearing short wig and Sidelock of Youth (typical of a Sem priest); column of hieroglyphs to the lower body reading 'King's son, Sem priest of Ptah Khaemwaset, true of voice'; accompanied by a custom-made display stand. 55 grams, 11.6 cm (159 grams total, 13 cm high including stand)



Acquired on the London art market, early 1980s. Private European 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 number no.11837-206506.

There are various short inscriptions found on faience shabtis of Khaemwaset. The inscription on this shabti is notable for including the uncommon possessive element 'of Ptah' following the writing of 'Sem(-priest)'. It features on none of the inscriptions on the 43 published faience shabtis in the Louvre, but is found on an alabaster shabti of Khaemwaset in the Vatican's Museo Gregoriano Egizio (inv.no.19332). Also, the arm sign serving as a phonetic complement in the writing of his name is fairly uncommon on his faience shabtis, although it is found, for instance, in the inscriptions on two in the Louvre (inv.nos. N 456 A and N 768.14) and on another in the Amasis Collection (inv.no.S-1577).

Modelled sleek and muscular in the round, the ears and eyes alert creating a dignified expression; piercings through the ears; hollow-formed; mounted on a custom-made display base. 629 grams total, 21.5 cm high including stand



Acquired from a French dealer, 1965. Swiss private collection. UK private collection, 1993. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11838-206398.

Possibly intended as a container for the mummified remains of a cat, or from a statuette of the goddess Bastet. The feline's pierced ears likely once held earrings or other ornaments. In ancient Egypt, cats were the sacred animal of the goddess Bastet; such objects were often given as donations at her temples.

Polished and pierced for suspension. 2.01 grams, 28 mm



Acquired in Europe before 1993.

With stylised incised lotus petal detailing to base and neck; suspension loop. 9.05 grams, 62 mm



Ex collection Emil Saad, Paris-Alexandria.

Green glazed composition plaque with two tilapia fish placed tête-bêche, two groups of hieroglyphs to the underside. 5.43 grams, 23 mm



From a family collection formed 1900-1950; by descent circa 1980.

The openwork bezel with simple detailing, supported by a hoop with convex outer and carinated inner faces. 1.50 grams, 23.93 mm overall, 19.20 mm internal diameter (approximate size British P, USA 7 1/2, Europe 16.23, Japan 15)



Acquired in Europe before 1992. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11839-206505.

Representing the eye of the god Horus, the Wedjat eye combined the human and falcon eye. The eye symbolises the powers of healing and rebirth, which worn about one's person offered protection to the wearer and the power of regeneration.