Carved with soft facial features and carefully executed cosmetic lines around the eye, earring, and carefully detailed duplex wig with gently wavy curls; likely from the Ramesside Period; mounted on a custom-made stand.

Modelled in the round with a muscular nude body, his club resting on his shoulder and the hair dressed in rows of tight, close-set curls underneath the Nemean lionskin hood with cloak billowing over his left arm, the paws tied across his chest; mounted on a custom-made display stand.

Carved head of a prepubescent worshipper of Isis, with soft facial features, long nose, small downturned mouth, heavy-lidded eyes, the whole giving the face a sombre or mournful appearance; the hair textured to indicate a short cut and combed forward across the scalp, sidelock above the right ear; mounted on a 16th century carved breccia upper body with leather cuirass and pteruges to right shoulder, cloak draped across the shoulders and fastened at the clavicle on the right side with a disc-brooch; socle base; some restoration.

Modelled in the round and originally part of a monumental statue, the naturalistic right foot encased in a trochades leather sandal with median reversed tongue secured with side straps and thick looped laces; the thick platform sole slightly curved, toes and nails well defined; mounted on a substantial custom-made display stand.

Modelled in the half-round, nude with eyelids half-closed in sleep; a drapery partly covering the head and wrapping around the lower body under the hips; the hairstyle similar to those of the Antonine Dynasty, the peaceful face supported by the hands and the ear pierced to accept an earring; iron reinforcing rod to the feet and the right arm's armilla a later replacement; upper head restored in Parian marble.

An imposing panel divided to four sections by a central cross on a stepped pedestal, the lower and upper arm with branch-like extensions; the upper quadrants with a circlet surrounding a palm tree-shaped motif; each lower quadrant with a bird in profile facing back; mounted on a custom-made display stand.

Carved skull on a short neck with musculature and blood vessels; mandible in place with some teeth in sockets, wisps of hair adhering to the dome of the skull; one zygomatic bone partly absent; square-section socle base.

Carved in the half-round head of a Bodhisattva (probably Maitreya) with fine detailing to the arched brow, aquiline nose, neat moustache and full lips; the eyes heavily lidded, urna to the forehead, long open lobes to the ears; the hair in multi-stranded curling locks gathered into an ushnisha with brow-band below; heavily cleaned, conserved, and mounted on a custom-made stand; supplied with original old wooden base with collector's label: 'Head of Bodhisattva / Fine grain schist / Gandhara, Northwest Pakistan / 4th century'.

With two lines of a poem, permitting a view into a grand architectural setting, populated by falconers, musicians, attendants and others entertaining a prince seated beneath a pagoda, hilly landscape beyond the walls, broad stylised floral border to three sides, Indian workmanship; mounted in a reveal and a glazed wooden frame. 782 grams, 38.6 x 25.5 cm

Very fine condition.

Acquired on the UK art market, 1980s-1990s. The Woodbridge collection of Indo-Persian art.

Comprising mainly glazed vessels and fragments including chamber pots, juglets, tripod pouring jugs, bowls with pierced work decoration and others; together with an almost complete vessel in fragments and a pewter tankard. 12.5 kg total, 5.5-26 cm



Acquired 1990s-early 2000s. East Anglian private collection.

With flared mouth and bulbous body, low-relief frieze of workers and labourers undertaking appropriate agricultural tasks, horizontal bands with the corresponding names of the months. 4.2 kg, 54 cm high



Acquired London, UK. Property of a Harwich gentleman.

Restrung; composed of translucent blue glass beads formed of reused glass bangle fragments, interspersed with umber-coloured spacer beads. 11.5 grams, 76 cm long



UK gallery, early 2000s.

Mainly discoid and ellipsoid cloisons with intaglio designs including mythical beast, profile bust and other types. 17 grams total, 9-21 mm



Acquired on the UK art market. Property of a North London, UK, gentleman.

Bifacial handle showing a woman bent down with her head between her legs, dress pulled up to her waist exposing her naked buttocks. 75 grams, 66 mm



From an old private collection of Norfolk, UK, gentleman, formed since 1998.

Restrung group of beads, mainly tubular, tabular and square-section types with scaraboids. 35.7 grams, 43.5 cm



London, UK, art market, 1980-2000s

Comprising blue and white glazed floral and geometric schemes. 4.76 kg total, 13 x 13 - 13.5 x 13.5 cm



Acquired 1990s-early 2000s. East Anglian private collection.

With a D-section hoop supporting a heart-shaped bezel displaying a pinecone with foliage above. 2.73 grams, 20.01 mm overall, 16.51 mm internal diameter (approximate size British L, USA 5 3/4, Europe 11.24, Japan 10)



Private collection formed since the 1940s. UK art market. Property of an Essex, UK, gentleman.

Comprising various designs in differently coloured glazes, including animals, still life, figural scenes, floral and vegetal motifs, sailing vessels and architectural subject matter. 4.2 kg total, 10.5 x 12.8 - 13.5 x 13.5 cm



Acquired 1990s-early 2000s. East Anglian private collection.

Including a juglet with trumpet-shaped mouth and a cycladic-type head mounted on a wooden stand. 138 grams total, 5.2 -11.8 cm



From the family collection of a Maida Vale lady, UK.

Comprising: a medieval stone mason's chisel; two post medieval foot pattens (17th-18th century A.D.) for an adult and a child, composed of a ring with extended tongue fitted with iron rivets used to secure the ring to a wooden platform; a 16th-17th century two prong fork with handle replacement; mounted on a backing board. 563 grams total, 15-18.5 cm



From the collection of the famous author, writer and speaker, Gordon Bailey, Essex, UK; formed since 1968.

Iron pattens first came into use probably in 17th century A.D., and gained popularity by the first half of this century. The original design of the patten was that of one piece of shaped wood, but this evolved into to a wooden platform attached to the underside of an iron ring. The foot pattens were forerunners of the Wellington boot which came into use in 19th century A.D.