Egyptian Faience Necklace with Pendant

Comprising monochrome glossy photographs with printed caption to the reverse: 'Tutankhamun's Funerary Couch. The divine cow in the final stages of wrapping, being embraced by Mr. T.G.H. James, Assistant Keeper of the British Museum'; 'The six stages in the packing of the gilded wooden statue of Tutankhamun; one of a pair that stood sentinel at the entrance to the inner chamber'; 'Colin Ashby of Walford Wingate Forwarders Ltd in the course of packing the major item in the Tutankhamun collection at the Cairo Museum. The funerary mask from Tutankhamun's mummy is made of beaten gold and is the finest ever found.' (Colour photo); 'The funerary mask from Tutankhamun's mummy made of beaten gold and the finest ever found. (Please credit the Cairo Museum)'; 'Part of the carefully-packed contents of Tutankhamun's tomb at London Airport on arrival from Cairo. Lt.Col. E.C. Easter MBE, Chairman of Walford Wingate Forwarders Ltd. the company responsible for the entire packing and surface transportation operation, supervises the off-loading of part of the world's most fabulous treasure.' (2 photographs); 'Never has B.O.A.C.'s slogan been more assuring. the innocent looking cargo being unloaded at London Airport is part of a priceless consignment from Cairo for the forthcoming exhibition of the contents of Tutankhamun's tomb to be held at the British Museum. Flown in by the R.A.F. and B.O.A.C. under British Government indemnity, the world's greatest treasure trove was packed and handled by Walford Wingate Forwarders Ltd.'; 'Tutankhamun's Funerary Couch. Preliminary inspection of Tutankhamun's funerary couch by Messrs Ashby and Burnett of Walford Wingate Forwarders Ltd.'; 'Tutankhamun's Funerary Couch. One of the divine cows separated from the couch in the early stages of wrapping'. 102 grams total, 25.2 x 17.7 - 25.3 x 20.4 cm



Property of a Cambridgeshire, UK, gentleman.

An over-life-size head of a pharaoh, likely from a monumental sphinx, wearing the royal nemes headdress with a prominent headband and the remains of a rearing uraeus on the brow with a single coil of the body on either side of the cobra’s hood, its tail extending towards the back of the headdress; the large, almond-shaped eyes prominently outlined, and unlike on some portraits, the cosmetic lines do not extend beyond the outer corner; the fragmentary nose almost spanning the width of the small mouth modelled with straight and somewhat pursed lips; mounted on a custom-made display stand. 45.15 kg, 43 cm



Private collection, Germany, 1975. European collection, 1980s-late 1990s. By descent from the above to the present owner. 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.12201-218142.

The presence of tool marks around the neck and sides of the head, contrasting the smooth surface of the face and front part of the headdress, suggests that the sculpture is an unfinished piece. The noticeably heavy brow line is a feature of the 30th Dynasty style, which influenced Ptolemaic royal portraiture (cf. Tomoum, N., The Sculptors' Models of the Late and Ptolemaic Periods, Cairo, 2006, pl.17, for a finished portrait assigned to the 30th Dynasty). The distinctive features of the head are reminiscent of a granite sphinx head discovered at the Egyptian Delta site of Canopus, now housed in the Graeco-Roman Museum in Alexandria. Two additional heads, one also from the Canopus region, exhibit similar traits, hinting that this style may be indicative of the artistic output of this Delta region.

D-shaped in plan with carved facial detailing, thick nose and narrow mouth, with ochre-coloured painted finish; pierced for attachment. 170 grams, 20 cm



with a London, UK gallery, 1971-early 2000s.

This is the face and front portion of a wig belonging to a mummiform wooden coffin. It was attached using wooden dowels, the holes for which are visible.