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 remains of pigment to the tripartite wig, face and eyes; vertical band of hieroglyphic inscription in black on the front giving dedication: 'sḥḏ wsir Ꜣbt-iyiry(?) mꜢʾ ḫrw' ‘The illuminated, the Osiris, Abet-iyiry(?), true of voice’; with remains of red borders and red detailing to the back. 162 grams, 13.3 cm



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

With detailed carapace, legs and mouth; hieroglyphs to the underside including cartouche of Thutmose III. 2.74 grams, 17.13 mm



From an old Suffolk, UK, collection. Acquired in the UK before 1980. From the personal collection of Derek Rogers, Suffolk, UK.

Thutmose III was a renowned warrior king widely revered even centuries after his reign.

A netted beadwork panel of annular and tubular glazed composition beads in blues, greens, black, cream and red-brown colours, depicting a mummy face mask with a false beard, a scarab with extended wings below, and the 'Four Sons of Horus’ figures beneath the scarab, joined together with areas of open netting of tubular examples; restrung with some later beads. 113 grams, 30 cm



Ex Mariaud des Serres, Paris, France, 1990s.

Winged scarabs were often used as funerary amulets and believed to symbolise the deceased's rebirth and regeneration. The Four Sons of Horus were deities responsible for protecting the deceased's internal organs. Here, on the left, is the erect-eared jackal-headed Duamutef who protects the stomach, followed by the falcon-headed Qebehsenuef, who protects the intestines, then the human-headed Imsety, protector of the liver and, finally, the baboon-headed Hapy on the right, protector of the lungs. The internal organs were often placed in canopic jars with the head of the respective Son of Horus. Amulets depicting these deities were placed within the mummy wrappings.

Formed as a fly with long triangular wings and domed eyes. 0.84 grams, 16 mm



From an early 20th century collection.

Considering Egyptian artists often depicted fly whisks in the hands of pharaohs and high officials, one might assume that flies were simply a nuisance. However, the Egyptians held flies in high regard due to their quick speed, reactions, and persistence. Small fly amulets first appeared in burials during the Naqada II Period, c. 3200 B.C. These amulets grew in popularity, and the materials used to make them expanded during the New Kingdom. They are crafted from various materials such as gold, silver, lapis lazuli, carnelian, amethyst, faience, and bone. These amulets were thought to protect against insect bites and to ward off troublesome flying creatures through apotropaic magic. Some believe they may have even been intended to symbolise the fly’s fecundity. Additionally, pharaohs would bestow gold fly-shaped pendants as military awards to honour soldiers' bravery and fly-like persistence in battle.

Multi-stranded restrung composition necklace composed of beads of mainly annular and tubular types. 27 grams, 66 cm



Acquired before 1979. From the private collection of Mr F. A., South Kensington, London, UK; thence by descent 2014.

For thousands of years, artisans in Egypt created vibrant ceramics to echo the beauty of rare jewels. These ornaments were created with almost every material, colour, and texture imaginable and they come from across Egypt and beyond: vibrant blue lapis lazuli from Afghanistan, glossy black obsidian from Turkey, and aqua-green turquoise from the Sinai. They were worn in life and, after death, they served as precious ornamentation for mummies.

Broad squat bowl with dished profile, rounded rim, single pierced ledge handle; with inked inscription to base: 'L.S / 726'. 1.32 kg, 28.5 cm



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.

Including globular jar with painted fish detailing, globular jar with trumpet-shaped neck and mouth, and other types. 1.07 kg total, 10.5-14.7 cm



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.

Mammiform bowl with deep body and pointed base; two vertical concave lugs, one of which is pierced; fired black above and in the interior, and red below, all decorated with white lime-filled zigzags and circles on the body, with semicircles at the rim; repaired. 426 grams, 17 cm wide



TBC. Acquired from Chrisitie’s, London, 29 April 2009, no.315./ From an important Cambridgeshire estate; thence by descent.

Broad with low profile, rounded underside; with old collector's label 'Late Bronze Age Period Bowl/Circa 1600 BC /I II'. 452 grams, 22.5 cm



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.

Standing on a conical foot with rounded upper body, applied disc breasts, impressed necklace, pinched facial features, old label '24' to reverse; mounted on a custom-made stand. 69 grams total, 92 mm including stand



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.

Of gently tapering profile with pinched trefoil rim to the mouth and strap handle to the rear, painted band to the neck and ring-and-dot motifs above, chevron herringbone motif below; mouth chipped. 272 grams, 18 cm



Acquired Christie's, London, 25 April 2001, no.477 (part). From an important Cambridgeshire estate; thence by descent. Accompanied by a copy of the relevant Christie's catalogue pages.

With globular body and flat base, trumpet-shaped neck and mouth with stepped profile, strap handle to the rear; three painted bands to the equator, painted detailing to the mouth and handle; gammadion to the shoulder. 45 grams, 78 mm



Acquired in the mid 1980s-1990s. Private collection, Switzerland, thence by descent. Private collection, since the late 1990s.