Ancient Art, Antiquities, Books, Natural History, Stamps & Coins

Large rectangular shrine-shaped pectoral with subtle cavetto cornice top; obverse with black-painted Anubis reclining on a low pedestal, the reverse with two stylised tyet flanking a djed pillar; four piercings through the rear edge. 20 grams, 45 mm



From a 20th century UK collection.

Modelled seated on a tongue-shaped base, with simple facial detailing and a suspension loop to the back. 5.76 grams, 21 mm



UK private collection before 2000. London collection, acquired on the UK art market.

The goddess Bastet was believed to be the daughter of the sun god and was shown with the features of a lion up until about 1000 B.C., when she was first portrayed as a cat or human with a cat head. As the daughter of Ra, she was associated with the rage inherent in the sun god's eye, which was considered to be his instrument of vengeance. Her development into a cat goddess occurred during the New Kingdom, but did not fully develop until the Late Period. She was still associated with the destructive power of the sun and was shown on the prow of the solar boat, decapitating the evil serpent Apophis in the Book of the Dead. The maternal, protective and hunting characteristics of the cat are obvious in Bastet, and she was seen as a protector of pregnant women and young children. In the Pyramid Texts, she is invoked by the deceased king to act as his protector and to help him reach the sky to join the sun god; the king proclaims that Bastet is his mother and nurse. Like her counterpart, Sekhmet, Bastet has an aggressive side and, in a text from Karnak, Amenhotep II described his enemies being slaughtered like the victims of Bastet. The goddess had a shrine at Karnak, where she is known as the 'Lady of Asheru', which aligns her closely with the goddess Mut, the consort of Amun-Ra. Her most famous shrine was in the north-east Delta region, at Bubastis, and was known as Per-Bastet or 'the House of Bastet.' Herodotus describes the festival of Bastet as one of the most elaborate in all of Egypt and identifies her with the Greek Artemis. Cemeteries of cats have been excavated at Bubastis, and at Saqqara and Memphis.

Carved in the round with closed wings and a slightly curving body, pierced through the body for suspension. 3.7 grams, 26 mm



From the private collection of a European gentleman (1942-2024), formed since the 1970s.

The depiction somewhat resembles a cicada, although this would be very rare in ancient Egyptian plastic arts. The grasshopper and the locust were known in Egyptian as sꜣnḥm or snḥm. Although the insect was often depicted in Old Kingdom tomb scenes, it appeared in various other forms of visual art, such as amulets, cosmetic vessels, and beads, only during the New Kingdom, when it served as a symbol of regeneration.

Carved architectural block fragment comprising: a shallow niche with arched top and parallel sides, with concentric mouldings to create a reveal and ledge below to accept offerings; horizontal tiered base; attachment sockets for two figurines (absent) flanking the niche; to left, a column modelled in the half-round with two parallel vertical stems, shallow roundel to the base and stylised foliage at the top; pediment above with scooped profile; above each figurine recess an incised initial, 'A' and 'M'; facing surface keyed for plaster finish. 57.55 kg, 49 cm



From the estate and private collection of Matthew Upham (1962-2025), an antiques trader from Budleigh Salterton, Devon, UK. Acquired at an estate sale at auction. Property of a Cambridgeshire, UK, gentleman. Accompanied by an academic report by Dr Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no. 13297-255939.

In the Christian Roman Empire, the stelae in the form of aedicula, which could be funerary monuments with crosses or the images of the deceased, or devotional niches with images of saints, appear to be independent sculptures. These stelae consisted of a rectangular body surmounted by a circular arch or trapezoidal structure. At the centre of the niche, the deceased was often depicted full-length, in a praying position (orans). Devotional stelae were also placed inside a church or shrine, with images of the Virgin and Child, or saints.

Tongue-shaped with low rounded pad on the underside, raised edge with low-relief decoration of grape vines and leaves, the edge with pairs of opposing doves eating grapes; dedicatory Demotic inscription on the underside. 87 grams, 55 mm



Acquired in the mid 1980s-1990s. Private collection, Switzerland, thence by descent. Private collection, since the late 1990s. Accompanied by an academic report by Dr Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12575-232108.

These vessels were used as liturgical objects for church offerings or ritual, and were extensively employed from late antiquity in ecclesiastical contexts.

Small alabastron in banded Egyptian calcite-alabaster, pointed ovoid body and tall neck divided by a broad annular collar and finished with a plain straight rim. 7.71 grams, 44 mm



Acquired on the European art market in 1990s. English private collection.

A well-attested type produced from the Twenty-Seventh Dynasty through the Ptolemaic period and continuing into the early Julio-Claudian era.

Scarab with incuse image to the underside of Fortuna with cornucopia and ship's rudder; in later gold swivel ring. 4.34 grams, 22.63 mm overall, 19.34 mm internal diameter (approximate size British N, USA 6 1/2, Europe 13.72, Japan 13)



Private collection, Europe. Acquired on the English art market.

With ribbed carapace and suspension loop to underside. 2.89 grams, 22 mm



Acquired on the European art market in the early 2000s. with Galerie Rhéa, Zurich, Switzerland.

Standing pose wearing the atef crown with flanking ostrich plumes and frontal uraeus; holding the crook (heka) and flail (nekhakha) regalia in his crossed hands; peg to underside of feet; repaired. 16.17 grams, 68 mm



From the private collection of a Canadian gentleman living in Essex, UK, formed since the 1920s-circa 1990. Property of an Essex lady until the late 1990s; thence by descent. From the private collection of an Essex gentleman since the late 1990s.

Two wooden panels showing two standing nimbate figures, probably Saint Daloucham on the right, wearing a red veil, and a bearded figure on the left, probably Saint Pachomius, holding a small cross and prayer beads; mounted on a fabric-covered backing board. 1.05 kg total, 65.2 x 50 cm



Leclere, Marseille, 20 April 2013, no.99. Private collection, UK. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12184-221677.

Stylistically, the icon can be compared to the paintings in the Church of St. Thomas in Achmim, which could also help identify one of the two saints. Especially important in this regard are the parallels between the robes of the saints and those of Saint Thomas in the church’s Doom, with long folds coloured with identical colours; the floral decoration of the sleeves of the inner tunic, and the faces of the Saints, with oval and widened eyes. The influence of Ethiopian paintings of the same period is evident in the Church of Achmim, like in this icon. The painting preserves the distant memory of medieval paintings, through a Coptic cultural humus whose vestiges are still today in Egypt, Nubia and Ethiopia. In the Church of Achmim are represented the martyrs of Achmim, i.e. Saint Pachomius and his sister Saint Daloucham. It is not impossible that one of the represented ascetic monks could be Pachomius. It is also probable that the icon was part of a wider group, representing also other important characters of the Coptic Church.

Formed as a poppy seed with flaring terminals. 0.91 grams, 9 mm



Ex French art market, 1920s.

Matched pair of amulets with a long cylindrical neck and a spherical body, with a ribbed suspension loop above. 2.12 grams total, 15-16 mm



Ex London, UK, collection, 1920s-1940s. Accompanied by a previously illustrated catalogue card with provenance.

Amulets in the form of poppies were used to heal and alleviate pain. These types of amulets were also linked to Osiris, the Egyptian deity of agriculture, death, and the afterlife.