Arch-topped and composed of two vertical boards, coated with gesso and skilfully painted on one side; the lunette decorated with a winged sun-disc and two pendant uraei; the central vignette depicting the deceased worshipping the falcon-headed god Ra-Horakhty with the Four Sons of Horus standing behind, each with their name written above; the lower register with six lines of hieroglyphic text providing an offering formula for the benefit of the deceased: Transliteration of the hieroglyphs: 1) ḥtp-dı-͗nsw rꜤ-ḥr-Ꜣḫtı͗nṯr Ꜥ nb pt sḥḏ [.....] wsır͗ ẖntt [ım͗ntt?] 2) nṯr Ꜥ nb Ꜣbḏw dı⸗͗f pr.t-ḫrw t ḥnḳt kꜢ Ꜣpd [....] ḫt nb(t) (n) fr(t) wꜢbt […] 3) ḫt nbt nḏm dı⸗͗f ḥtpw ḏfꜢw [...]f ḫꜢ m t dı⸗͗f ḫꜢ m 4) ḥnḳt dı⸗͗f ẖꜢ ır͗p [...] dı⸗͗f ḫꜢ m ı͗[...] dı⸗͗f ḫꜢ ı(͗Ꜣ)r(r)t dı⸗͗f 5) m snṯr ḥr ḫꜢwt [...] ḳrs nfr ḥr ım͗nt nfr 6) n [..] wsır͗ [......] pꜢ-dı-͗ım͗n(m) ıp͗ Ꜣ.t ms (n) ḫꜢ [....] Translation: 1) An offering that the king and Ra-Horakhty, Great God, Lord of Heaven, the illuminated [...] Osiris Foremost [of the West?] 2) Great God, Lord of Abydos (that) he may give a voice-offering (of) bread, beer, oxen, and fowl […] everything good and pure […] 3) everything sweet, he gives offerings of provisions […] a thousand of bread, he gives a thousand of 4) beer, he gives a thousand of wine […], he gives a thousand of vines, he gives a thousand of 5) incense on the altar […] a good burial in the beautiful West 6) for […] the Osiris[…] Pa-di-Amun-(em)-ipat born (to) Kha[…]; on the verso, an old handwritten collection label reading: 'From Harding & Sm[ith] Collection Sale Sotheby 2 Nov 1922 L.N. 234. A families[sic] stele, arched top, with the deceased worshipping a standing Horus attended by the four Children of Horus and six horizontal lines of inscription in colour. SP/10a'; mounted in a custom-made wooden frame.

Depicted nude in a dynamic pose with his legs apart and the weight of the body upon his right leg, standing in front of a two storey structure, probably an oven; his left arm raised and right arm extended in front of his torso and resting on the edge of the structure; the oven painted pink at the top and white at the bottom with an offering receptacle at floor level.

Squat ovoid in profile, modelled with the legs folded beneath the body, with hollow socket eyes, flared rim to mouth; copper lug on either side.

With inverted echinus lip and tall neck, a ribbed handle to each side with coiling lotus buds and palmettes beneath the handles; Side a) a running winged Gorgon depicted frontally, dressed in a black and red chiton; Side b) an aristocratic warrior wearing a Chalcidian helmet and driving a quadriga, the two central horses superimposed, the other two turned outward; a frieze of lotus buds and a band Greek key motifs below, the neck decorated with red and black palmettes, and elongated lotus blossoms; restored.

With a high foot, laurel wreath encircling the neck, checkerboard and meander patterns alternating around the lower body, roundels of tongue motif to the handles with palmettes and tendrils below; two red-figure scenes to the body: Side a: a high-quality depiction of a kōmos composed of five figures, including a young man holding a torch, a double flute player next to three dancers, all possibly followers of Dionysus; Side b: three draped figures conversing comprising a central female figure between two opposed male figures, one holding a staff; two old labels: one with 3061-133 on the inner rim, and 113/2 (believed to be an old Christie's lot label from the 1960s by Richard Falkiner) on the sidewall, further old accession numbers 321 and 35 under the base.

With D-section hollow-formed hoop and flared ellipsoid bezel, set with a Roman intaglio depicting a war galley under sail.

Grey fabric, broad discus with concentric rings and chamfered shoulder, short nozzle flanked by volute scrolls; scene of two murmillo gladiators in combat, one having fallen to the ground; maker's stamp to the underside 'MAR[..]S'; mounted on a custom-made stand.

A reused tablet with a recessed panel on one side, the last tablet of a legal document which consisted of two (diptychon) or three tablets (triptychon); ten black inked lines of New Roman cursive script, the end of a record of a transaction in formulaic legal language, probably a sales contract, between the buyer (emptor) Bassus and a person called Neronianus; traces of text (perhaps in rustic capitals) to the reverse.

Modelled with naturalistic features, gazing left, sculpted pupils and strong lids; luxuriant beard and moustache framing the face; strong forehead with tightly formed curls emerging from beneath the lion's skin hood; the hood with clear eye detailing and the mane with regularly arranged tufts; original iron pin to the front of the muzzle; mounted on a custom-made display stand.

From a Greek original, wearing a crown of leaves and corymbs, hair falling in straight lines underneath the diadem; full beard composed of four rows of thick tufts with drilled holes; slightly open mouth with a fleshy lower lip; low cheekbones and hollow cheeks; large almond-shaped eyes with lachrymal duct; mounted on a custom-made display stand.

Carved with comma-leaf detailing to the hair, a low brow over almond-shaped eyes, broad triangular nose and thick moustache obscuring the mouth; mounted on a custom-made stand.

Lentoid-section slab with incised grid to each face: one with three columns, impressed roundels and crescents, grid and other symbols; the other face with four columns, each cell filled with marks and symbols.

Pillow-shaped clay tablet with cuneiform text to both broad faces and one edge from Garšana (iv/Šu-Sîn 8?), a receipt for various clothing, with several dedications to the deities Ninsiana, Mami, Dadmuštum and Šubula; Dadmuštum is rarely mentioned, reading: '1 tu ba-tab tuh-hu-um 3-kam us 2 1 tu ša -ga-du ba-tab tug-hu-um / 3-kam us 1 tu ta -ki-ru-um 3-kam us 4 dnin- dsi -an-na 4 tu guz-za 4-kam us 6 2 tu guz-za 4-kam us dma-mi x ? 2 tu guz-za 4-kam us / dda-ad-muš-tum R 8 2 tu niĝ -lam 4-kam us dšu-bu-la ki-la -bi 26 1/3 ma-na 10 2 tu bar-dul us-bar 4 tu sag us-bar 12 5 tu us -bar 4 ma-na 3 tu mug 14 ki !-aš-ta -gar -ta puzur -a-ku-um šu ba-ti 16 iti ki-siki- dnin-a-zu mu ma -gur -mah mu-/dim' translation: '1 (simple) garment batab tuhhum (a kind of fabric?), thrice, medium quality 1 garment šagadu (of linen) batab tuhhum thrice, medium quality 1 garment takirum, thrice, medium quality (for) Ninsiana; 4 tufted garments, in quadruple, medium quality 2 tufted garments, in quadruple, medium quality : (for) Mami 2 tufted garments, in quadruple, medium quality : (for) Dadmuštum. 2 niglam garments, in quadruple, medium quality : (for) Šubula Their weight is 26 1/3 mines. 2 bardul garments (from) the weavers 4 garments if first quality (from) the weavers 5 (simple) garments étoffes (from) the weavers : 4 mines 3 garments in coarse wool Puzur-Akum has received (these garments) from Aštaqar. In the month of Kisiki.Ninazu The year in which the big (ceremonial) boat was built'.

With trumpet-shaped mouth, ibex-shaped finial with curved horns and legs folded beneath the body, spout to the chest; repaired.

A heavy penannular neck torc with carinated body and tapering coiled terminals.

With trapezoidal headplate, shallow bow, narrow triangular foot and pelta-shaped finial, pin-lugs and catch to the reverse; the headplate with (originally silvered) angled panels to the upper corners and D-shaped lug at the middle of the upper edge; rectangular corner panels interrupting a frieze of Salin's Style I face motifs, inner plain band and raised rectangular panel above the junction with the ribbed bow; lappets of Salin's Style I profile heads flanking the junction of the bow with the footplate and vertical bar running to the finial, bisecting a cruciform panel with Salin's Style I zoomorphic forms, and outer plain lobes; finial comprising a disc with four radiating ribbed arms and central boss, pelta-shaped terminal; cleaned and one lateral lobe reattached.

With a slightly domed profile and a raised circumferential border to the upper face; decorated with Celtic designs featuring elaborate curvilinear tendrils and triskele-style swirls enclosing an area of fine-line trumpet spiral designs, set around a central rectangular panel filled with millefiori-style enamel work in the form of an irregular chequerboard of blue and yellow enamel, the circular recesses retaining red enamel traces; two parallel rivets to the reverse.

A bowed anthropomorphic mount in the form of the face of Odin, with oval right and damaged left eye, beard and hair raised to form a convex shape, rounded cheeks, a triangular nose and a beard, moustache with lateral protrusion, the hair openwork and formed of entwined linear elements, five rivet holes present.

Central panel decorated with a heart pierced by two arrows and inscription: 'qui de bon [COER] eyme', and verso openwork carving of blind interlaces and inscription: 'de bon [COER] donne', translating to 'He who loves from the heart, gives with a good heart'; probably given as a love token.

Hollow-formed vessel formed as a male bust; discoid body with chamfered shoulder bearing bands of running zigzag detailing and three splayed feet; the head with low-relief hair and rim of bosses with linear spirals, gracile facial features with lentoid eyes and slender nose, small pouting mouth; short spout to the forehead, filler-hole to top of the head with hinged cover; handle to the rear formed as a reptile with head and forepaws placed on the hair below the hinge and joining the base above one of the feet.

Parcel-gilt bronze crucifix with cloisonné enamel geometric ornament; separate appliqué Corpus Christi, crowned with detailed musculature; lower legs and feet absent; mounted on a custom-made stand.

Inner wooden casket with chamfered rim and separate lid, encased within rectangular gilt-bronze panels with enamel decoration, four gilt-bronze stud feet to the underside; the lid with three nimbate figures, a female saint with palm frond and two flanking figures holding books, all reserved on a blue field with interstitial polychrome rosettes; Side A: nimbate bearded bust of Christ in Majesty with right hand in gesture of benison, left hand supporting a book, flanked by two winged nimbate angels; Side B: nimbate bust of a winged angel in a roundel; Side C: geometric repeating pattern of lozenges with floral fill; Side D: mirror image of Side B.

Substantial D-section hoop, expanding shoulders with reserved flowers and foliage, discoid bezel with intaglio regardant leaping goat in a pelletted ring, fronds and stars in the field, enigmatic inscription 'd[..] / de.to'.

With flat-topped crown, hair hanging in hanks to the shoulders, long D-shaped face with domed eyes, slender figure with ribs emphasised, knee-length loincloth falling in rippling folds; mounted on a custom-made stand.

Naturalistically modelled falcon with incised feathers and detailing; standing on a shrine-shaped rectangular box with slightly battered sides and cornice moulding; inked note on the inside of each long side 'E.311' and 'Collection R.L.' respectively. 521 grams, 15 cm



Collected between the 1950s-1990s. Ex Roger Liechti (1934-2010) collection, Geneva, Switzerland. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.12133-211848.

This box almost certainly once contained the mummified remains of a falcon. The falcon was principally identified with the sun-god Horus, and associated with the living king. Numerous falcon cults existed throughout Egypt, but the most spectacular was found at Saqqara, where many thousands of birds were mummified and buried in an extensive complex of underground galleries.

Depicted nude in a dynamic pose with his legs apart and the weight of the body upon his right leg, standing in front of a two storey structure, probably an oven; his left arm raised and right arm extended in front of his torso and resting on the edge of the structure; the oven painted pink at the top and white at the bottom with an offering receptacle at floor level. 232 grams, 15 cm



Ex Dr Daniel Marie Fouquet (1859-1914), Cairo. with Pierre Berge & Associes, Auction, Archaeology 29 November 2014, no.193. Accompanied by a French cultural export permit, no.161028. Accompanied by an academic report by Dr Raffaele D'Amato. Accompanied by a copy of the relevant pages in: Perdrizet, P., Les Terres Cuites Grecques d'Egypt de la Collection Fouquet, Nancy, 1921, where it is published. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.12000-211884.

The image of the ‘Eros Baker’ is part of a wide production of Roman terracotta imitating Greek models, although in somewhat crude way. In the Roman age, designs tended to be commonplace and were often indifferent copies of Greek originals. However, the production of terracotta in Hellenistic Egypt continued without interruption and the most subjects of these votive statuettes (in this case probably a baker invoking the blessing of the god upon his activity) were religious, Eros being one of the favourites.

Wearing a heavy wig over a rounded face with cosmetic lines and eyebrows in raised relief; vertical dorsal pillar with partial hieroglyphs to the reverse; some re-cutting, mounted on a custom-made display stand. 2.03 kg total, 20 cm high including stand

Fine condition.

Ex Jean-Paul Bourgis collection, Beaulieu-sur-Mer, France, 1980. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.12128-213629.

With falcon head, wearing a shendyt kilt and a tripartite striated wig, surmounted by two ostrich plumes and fronted by a sun disc and double uraei, wearing a collar and holding a staff with a falcon-headed terminal emerging from a papyrus umbrel; standing on an integral rectangular plinth with a single line of inscription that probably ran around all sides, of which a few hieroglyphs remain, the front reading: '..? Lord (of)' and the left side reading 'Thebes, (that) he may give life..', the last hieroglyph on the front side and the first three on the left give the familiar epithet of Montu, 'Lord of Thebes' which is followed by the request from the statue’s dedicator for Montu to bestow life (and perhaps other benefits) upon him/her; accompanied by a custom-made tiered display base. 553 grams, 22.7 cm high (639 grams total, 25.5 cm high including stand)



Japanese collection, prior to 1980. AAL Geneva, Switzerland, 1980. British collection since 1999. with Pierre Bergé & Associés, Paris, 2 February 2017, no.78 (20,000-22,000 Euros). Accompanied by copies of the relevant Pierre Bergé & Associés catalogue pages. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.12132-213615.

The statuette was most likely an offering made at one of Montu’s cult centres in the Theban region to ensure for the dedicator the good favour of the god. Commensurate with his warlike nature, Montu can sometimes be depicted holding a khepesh sickle-bladed sword, yet here he holds a rarer attribute: a carefully detailed staff with a falcon-headed terminal emerging from a papyrus umbel. This almost certainly symbolises Montu’s association with Re – the Heliopolitan sun-god also depicted with a falcon head - as his Upper Egyptian counterpart.

Striding on a rectangular base; formerly holding a papyrus sceptre (?) in her extended left hand, her right hand by her side, and wearing a long close-fitting dress; mounted on an old marble tiered base with 'NEITH' legend to one short edge. 287 grams total, 13.5 cm high (15.5 cm high including stand)



From an early 20th century collection, based on the alabaster stand. Probably the Hilton Price collection, based on the style of the base. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.12131-213614.

Neith was the patron goddess of the powerful city of Sais in the Nile Delta.

Of ovoid form tapering to a narrow flattened base. 274 grams, 13.5 cm



From the vendor's grandfather's collection, formed in the 1950s; thence by family descent circa 1974.

The 'black-topped' ware was the most common funerary pottery during Naqada I and Naqada II periods, with a small volume of production in the Naqada III, Early Dynastic and Old Kingdom periods.

Squat ovoid in profile, modelled with the legs folded beneath the body, with hollow socket eyes, flared rim to mouth; copper lug on either side. 165 grams, 63 mm



Ex collection of Madame Kismet Pilati, acquired in Vienna and London in 1976. with Bonhams, London, 24th October 2012, no.284 (£30,000-£50,000). Property of a London lady, part of her family's Swiss collection. Accompanied by an academic report by Egyptologist Paul Whelan. Accompanied by copies 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.12101-213115.

Sculpted as one half of a bivalve shell with thin lip to outer edge; repaired; mounted on a custom-made stand. 713 grams total, 19.5 cm wide



Ex Mayfair gallery collection, London, UK, pre 1999.

With small flared foot, broad body and rounded shoulder, everted rim and two loop handles to the shoulder; painted bands of linear ornament. 280 grams, 15 cm



Acquired from Gallery Gryphos, Munich, 2000s. European private collection.

Deposits from Mycenae, Korakou and Nichoria are relatively rich in painted jugs, small stirrup and piriform jars. The pattern usually employed on piriform jars preserves a rim decoration of short strokes, neck being solidly painted. Following an usual syntax, a line group appears on the upper shoulder below the neck. Bases are solidly painted, except for an occasional thin reserved area on the lower base edge.

With a small, stylised face with detailed eyes, nose and mouth; right hand raised to hold a child; wearing a flounced skirt with double belt; mounted on a custom-made display stand. 499 grams total, 16.5 cm high including stand



British private collection, acquired by 2000. From a collection acquired on the UK art market from various auction houses and collections mostly before 2000. From an important Cambridgeshire estate; thence by descent.

In the Dictean Cave in Greece, many votive statuettes of this type were found. The flounced skirt is characteristic of Minoan women's dress, and it was lavishly decorated in folds of different colours. It could be worn with or without a narrow corselet, but in both cases exposing the breast. The exposed breast was connected to the cult of the mother goddess, and fertility, an element here reinforced by the presence of the suckling child.

Substantial labrys with flared and curved edges, elliptoid socket to the centre. 973 grams, 17.5 cm



Gifted to the previous owner's husband by his grandfather prior to 1919 while in Crete. Taken to Paris and brought to the UK before 1985. Acquired from Bonhams, London, 20 October 2005, no.124. From an important Cambridgeshire estate; thence by descent. Accompanied by copies of the relevant Bonhams catalogue pages.

The double axe was both a tool, weapon and one of the main religious symbol in Minoan Crete. It was as significant and as important in Minoan religious practice as the ritual horn and the pillar.

Each with burnished surface, globular body with conical underside, tall spout with open rear face, loop handle; one with lateral lugs to the spout forming 'eyes'. 780 grams total, 19.5-27 cm



with Christie's, London, 11 December 1974. Formerly from the collection of Lord Dayton of Corran, formed between 1960-2000. Acquired from Bonham's, New Bond Street, 27 April 2006, lot 313 (part). The smaller vessel is from a collection acquired on the UK art market from various auction houses and collections mostly before 2000. From an important Cambridgeshire estate; thence by descent. Accompanied by a copy of the relevant Bonhams catalogue pages.

The plain red polished ware was dominant in Cyprus in the early Bronze Age. It included jugs with nipple base, cutaway sprout, and paired, blunt projections near handle attachment points.