Imperial Collection - sterling silver bracelet & 14k gold with iolite : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 100 : 7"

Imperial Collection - sterling silver bracelet with iolite : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 101 : 7"

Imperial Collection - double sided locket sterling silver : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 102 : on 18" chain

Imperial Collection - wire earring sterling silver : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 103 : 0

Imperial Collection - locket necklace sterling silver : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 104 : 16"

Imperial Collection - locket necklace sterling silver : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 105 : 16"

Imperial Collection - locket bracelet sterling silver with 14k gold and iolite : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 106 : 7"

Imperial Collection - locket bracelet sterling silver with garnet : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 107 : 7"

Imperial Collection - locket bracelet sterling silver : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 108 : 7"

Imperial Collection - double sided locket sterling silver with 14k gold and cubic zirconia : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 109 : on 18" chain

Imperial Collection - locket bracelet sterling silver with cubic zirconia : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 110 : 7"

Imperial Collection - locket necklace sterling silver with 14k gold and peridot : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 111 : 16"

Imperial Collection - locket bracelet sterling silver with blue topaz : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 112 : 7"

Imperial Collection - locket necklace sterling silver with 14k gold and blue topaz : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 113 : 16"

Imperial Collection - necklace sterling silver with blue topaz : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 114 : 16"

Imperial Collection - bracelet sterling silver with blue topaz : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 115 : 7"

Imperial Collection - post clip earrings sterling silver with blue topaz : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 116 : 0

Imperial Collection - necklace sterling silver with pearl drop and blue topaz : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 117 : 16"

Imperial Collection - post earrings sterling silver with pearl drop and blue topaz : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 118 : 0

Imperial Collection - bracelet sterling silver with amethyst : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 119 : 7"

Imperial Collection - post earrings sterling silver with amethyst : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 120 : 0

Imperial Collection - necklace sterling silver with amethyst : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 121 : 16"

Imperial Collection - filigree bead necklace sterling silver : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 122 : 16"

Imperial Collection - filigree bead bracelet sterling silver : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 123 : 7"

Imperial Collection - filigree bead wire earrings sterling silver : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 124 : 0

Imperial Collection - necklace - adjustable length sterling silver : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 125 : 16"

Imperial Collection - bracelet sterling silver : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 126 : 7"

Imperial Collection - post earrings sterling silver : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 127 : 0

Imperial Collection - Tahitian Pearl on Handmade Chain : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 128 : 16"

Imperial Collection - hoop earrings sterling silver : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 129 : 0

Imperial Collection - hoop earrings sterling silver : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 130 : 0

Imperial Collection - bracelet sterling silver : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 131 : 7"

Imperial Collection - bracelet sterling silver : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 132 : 7"

Imperial Collection - sterling silver bracelet & 14k gold with Garnet : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 133 : 7"

Imperial Collection - locket necklace sterling silver with 14k gold and garnet : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 134 : 16"

Imperial Collection - bracelet sterling silver : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 135 : 7"

Imperial Collection - filigree necklace with freshwater pearls : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 136 : 16"

Imperial Collection - wire earrings with freshwater pearls : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 137 : 0

Imperial Collection - white pearl necklace sterling silver with adjustable length : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 138 : 16"

Imperial Collection - freshwater pearl necklace with pearl drop : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 139 : 16"

Imperial Collection - pearl drop earrings with posts sterling silver : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 140 : 0

Imperial Collection - freshwater pearl bracelet white : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 141 : 7"

Imperial Collection - post earrings sterling silver with garnet : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 142 : 0

Imperial Collection - beaded necklace with briolette drop sterling silver with aquamarine : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 143 : 16"

Imperial Collection - hoop earrings sterling silver & 14k gold : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 144 : 0

Imperial Collection - Mesh chain necklace sterling silver with 14k gold : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 145 : 16"

Imperial Collection - wire earrings sterling silver with 14k gold : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 146 : 0

Imperial Collection - necklace sterling silver with 14k gold with iolite : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 147 : 16"

Imperial Collection - bracelet sterling silver with 14k gold with iolite : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 148 : 7"

Imperial Collection - post earrings sterling silver with 14k gold with iolite : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 149 : 0

Imperial Collection - necklace sterling silver with 14k gold : The Imperial Collection is inspired by the Byzantine and Ottoman Empires; 17th Century Russia; and European wrought-ironwork and architectural detail.

LOT 150 : 16"

Jeweled Cross Pendant & Necklace : American Collection

LOT 201 : 32"

Trinity Churt Alter Cross Pendant & Necklace : American Collection

LOT 202 : 18", Vermeil

Cupid & Psyche Brooch : American Collection

LOT 203 :

Marcasite Locket Pendant : European Collection

LOT 204 : 22", Sterling

Mystical Rune Ring : European Collection

LOT 205 : Sizes 5-10, please specify in order comments, Sterling

Viking Snake Brooch : European Collection

LOT 206 : Sterling

Mystical Rune Hoop Earrings : European Collection

LOT 207 : Sterling

Celtic Swirl Drop Earrings : European Collection

LOT 208 : Sterling

Celtic Swirl Drop Pendant & Necklace : European Collection

LOT 209 : 16", Sterling

Viking Hammered Curr Bracelet : European Collection

LOT 210 : Sterling

Celtic Square Knot Earrings : European Collection

LOT 211 : Sterling

Crusader Cross Pendant & Necklace : European Collection

LOT 212 : 28"

Medieval Elephant Brooch : European Collection

LOT 213 :

Celtic Cross Pendant : European Collection

LOT 214 : 32"

Catherine the Great Necklace : Russian Collection

LOT 215 : 16", Sterling

Catherine the Great Earrings : Russian Collection

LOT 216 : Sterling

Anchors of Faith Pendant : Russian Collection

LOT 217 : 36", Sterling

Monomakh Cross with Pearls Pendant : Russian Collection

LOT 218 : 17", Sterling

Kiev Cat Brooch : Russian Collection

LOT 219 :

Imperial Blue Argyle Egg Pendant : Russian Collection

LOT 220 : 17"

Imperial Red Star Egg Pendant : Russian Collection

LOT 221 : 17"

Imperial Blue Egg on Bow with Pearl Necklace : Russian Collection

LOT 222 : 17"

Imperial Blue Fleur de Lys Egg Pendant : Russian Collection

LOT 223 : 17"

Imperial Blue and Green Egg Pendant : Russian Collection

LOT 224 : 17"

Geometric Greek Horse Sculpture : Classical Collection

LOT 225 : 2" high

Aphrodite Scene Brooch : Classical Collection

LOT 226 : 1.5"

Geometric Greek Horse Brooch : Classical Collection

LOT 227 : 2" high

Artemis Coin Necklace : Classical Collection

LOT 228 : 16"

Artemis Coin Earrings : Classical Collection

LOT 229 :

Classical Meander Link Hinged Bracelet : Classical Collection

LOT 230 :

Classical Meander Link Earrings : Classical Collection

LOT 231 :

Classical Meander Link Necklace : Classical Collection

LOT 232 : 16"

Cypriot Earrings : Classical Collection

LOT 233 : Sterling

Ritual Dancers Brooch : Classical Collection

LOT 234 : Sterling

Cylinder Seal Pendant : Ancient Collection

LOT 235 : 32"

Alpahbet Fragment Cufflinks : Ancient Collection

LOT 236 :

Alphabet Fragment Ring : Ancient Collection

LOT 237 : Sizes 6-10, please specify in order comments, Sterling

Shou Symbol with Jade Earrings : Asian Collection

LOT 238 :

Shou Symbol with Jade Necklace : Asian Collection

LOT 239 : 17"

I Ching Coin with Cord Earrings : Asian Collection

LOT 240 :

Chinese Rooftile Motif Cufflinks : Asian Collection

LOT 241 :

Tang Earrings : Asian Collection

LOT 242 :

I Ching Coin with Jade Earrings : Asian Collection

LOT 243 :

Cat with Robe Brooch : Asian Collection

LOT 244 :

Kanji Love Bead Pendant : Asian Collection

LOT 245 : 32"

I Ching, Jade & Carnelian Necklace : Asian Collection

LOT 246 : 26"

Hummingbird Necklace : Pre-Columbian Collection

LOT 247 : 18"

Pre-Columbian Cat Brooch : Pre-Columbian Collection

LOT 248 :

Pre-Columbian Cat Earrings : Pre-Columbian Collection

LOT 249 :

Tuareg Cross Pendant : African Collection

LOT 250 : 32"

Tuareg Cross Earrings : African Collection

LOT 251 :

Dahshur Earrings : Egyptian Collection

LOT 252 :

Akuaba Doll Earrings : African Collection

LOT 253 :

Akan Disc Earrings : African Collection

LOT 254 :

Akan Disc Necklace : African Collection

LOT 255 : 18"

African Diamond Shape Bracelet : African Collection

LOT 256 :

Mummy Shaped Cat Sculpture : Egyptian Collection

LOT 257 : 2.5" high

Cartouche Pendant - "I Love You" : Egyptian Collection

LOT 258 : 18", Vermeil

Dahshur Necklace : Egyptian Collection

LOT 259 : 18"

Egyptian Scarab Pectoral Brooch : Egyptian Collection

LOT 260 : 0

Cartouche Pendant - "I Love You" : Egyptian Collection

LOT 261 : 18", Sterling

Ankh Pendant : Egyptian Collection

LOT 262 : 32", Sterling

Pre-Dynastic Figurine Pendant : Egyptian Collection

LOT 263 : 32", Sterling

Ahkh Earrings : Egyptian Collection

LOT 264 : 0

Ankh Pendant : Egyptian Collection

LOT 265 : 28"

Sacred Cat Brooch : Egyptian Collection

LOT 266 :

Cat with Kittens Sculpture : Egyptian Collection

LOT 267 : 2.2"

Montuhotep III Cufflinks : Egyptian Collection

LOT 268 :

Egyptian Shell Earrings : Egyptian Collection

LOT 269 : Sterling

Archaeopteryx lithographica (Bird Fossil Reproduction) - Late Jurassic Period : 150 Million Years Ago Solnhofen Plattenkalk, Bavaria, Germany

LOT 270 : 18.75" x 15.25" x 1"

Crinoids (Invertebrate Reproduction) Actinocrinites Gibsoni (2), Macrocrinus Mundulus, Halysiocrinus Nodosus : Mississippian Age, 345 Million Years Ago, Edwardsville Formation, Indiana, United States

LOT 271 : 15.25" x 9" x 2"

Diplomystus Dentatus (Fish Fossil Reproduction) - Eocene Eposch : 55 Million Years Ago, Wyoming, United States

LOT 272 : 25.5" x 13.25" x1.5" in Frame

Eurypterus Remipes (Arthropod Reproduction) Upper Silurian Period : 420 Million Years Ago, Fiddlers Green Formation, New York, United States

LOT 273 : 11.75" x 9.5" x 1.5" in Frame

Mesosaurus Braziliensis (Reptile Fossil Reproduction) Permian Period : 285 Million Years Ago, Irati Formation, Brazil

LOT 274 : 17.5" x 11" x 1"

Parkinsonia Sp. (Mollusk Fossil Reproduction) Middle Jurassic Period : 165 Million Years Ago, Burton Bradstock, England

LOT 275 : 14" x 13.5" x 3.5"

Salteraster (Invertebrate Reproduction) Middle Ordovician Period : 443 Million Years Ago, Bobcaygeon Formation, Ontario, Canada

LOT 276 : 7.75" x 8.5" x 1"

Smilodon Fatalis: Pleistocene Epoch : 2 Million Years Ago, Rancho La Brea Tar Pits, California, United States

LOT 277 : 15" x 14" x 2.5"

Theropod Track (Dinosaur Fossil Reproduction) Mid to Late Jurassic Period : 150-155 Million Years Ago

LOT 278 : 11.75" x 9.5" x 1.5" in Frame

Velociraptor Mongoliensis (Dinosaur Fossil Reproduction) Late Cretacceous Period : 76 Million Years Ago, Djadokhta Formation, Mongolia

LOT 279 : 11" x 8" x 1.5"

Smilodon californicus (Saber Tooth Cat) Pleistocene Epoch : Smilodon californicus has been extinct for about 12,000 years and is a widely recognized symbol of power and beauty. A Saber Tooth Tiger’s strength combined with its two lethal sabers made it a fearsome predator. Living alongside the American Lion, one can only imagine the fierce competition for food between these two animals. The original skull is part of the collection at the Los Angeles County Natural History Museum.

LOT 280 : 13" x 8" x 12" high on a solid oak display base

Tyrannosaurus rex Tooth: (Dinosaur Reproduction) End of the Cretaceous Period : This is an exact replica directly from the jaws of the most ferocious animal to ever stalk the Earth. This serrated, dagger-like tooth is 11" long and covered with wonderful detail. The original is on display at the Museum of Geology in South Dakota.

LOT 281 : 11" Long on Display Stand

Tyrannosaurus Rex (1/4 Scale Reproduction) End of the Cretaceous Period : Tyrannosaurs were a group of large carnivorous dinosaurs that roamed North America and Asia 85 to 65 million years ago. The most famous tyrannosaur, of course, is Tyrannosaurus rex, which was one of the last non-avian dinosaurs to walk the earth before the great extinction.

LOT 282 : 13" x 8" x 11" on oak display base with identifying brass plaque.

Triceratops (Dinosaur Reproduction) Cretaceous Period : A herbivorous dinosaur having a bony plate covering the neck, a large horn above either eye, and a smaller horn on the nose

LOT 283 : Triceratops skull is 17" long with 9" horns.

Australopithecus Afarensis Skull (Hominid Skull Reproduction) : Australopithecines afarensis is the oldest of four species of australopithecines,an extinct genus of the hominid family found in E and S Africa between 4 and 1 million years ago dating, which is know to be at least 3.75 million years ago. Evidence from 3.6 million-year-old footprints, preserved in volcanic ash at Laetoli, and from postcranial skeletal remains show that Australopithecines afarensis was relatively small, standing 3.5 to 5 ft (1 to 1.6 m) tall and weighing 45 to 110 lb (20 to 50 kg). All four species shared a number of anatomical similarities, including a fully erect posture and bipedal gait. The most “primitive” feature was a small and apelike braincase, comparable in size to those of both gorillas and chimpanzees when measured relative to overall body size

LOT 284 : 7"H x 6ΌW" x 8Ύ" plus stand

Neanderthal Skull (Homo neanderthalensis) Pleistocene Epoch : An extinct human species (Homo neanderthalensis) or subspecies (Homo sapiens neanderthalensis) living during the late Pleistocene Epoch throughout most of Europe and parts of Asia and northern Africa and associated with Middle Paleolithic tools.

LOT 285 : 9"H x 5.5" x 9.25" plus Stand

Allosaurus (Dinosaur Fossil Reproduction) Late Jurassic and early Cretaceous Period : A carnivorous dinosaurs of the late Jurassic and early Cretaceous Periods, similar to but smaller than the tyrannosaur

LOT 286 : 12" x 6.5"

Osiris Relief : Osiris, the Resurrection God, is the central figure in the afterlife myth and in Egyptian mythology as a whole. His name means "The Seat of the Eye". To die and be properly prepared for the other life is to become one with Osiris in the underworld over which he rules. Osiris received earthly rule from his father, Geb. His brother Seth envied his hegemony; he enticed Osiris into a chest and flung him into the Nile. His wife sought and found his body and with her own magic powers and the help of Thoth, Nephthys, Anubis and Horus, restored Osiris to life. Osiris, however already belonged to the world of the dead, and although after his resurrection he could have reclaimed his throne, he preferred to maintain his kingdom in the Land of the Dead, leaving his vindication on earth in the hands of his posthumous son Horus.

LOT 300 : 11.5"H, Wall Hanging

Maat Relief - Painted : The Goddess Maat is the personification of all the elements of cosmic harmony as established by the Creator-God at the beginning of time-including truth, justice, law, world order and moral integrity. Maat is shown as a lady wearing on her head an ostrich feather. The seated image of Maat was held in pharaoh’s hand like a doll and was presented as an offering to the Gods.

LOT 301 : 11.5"H, Wall Hanging

Isis and Queen Nefertari - Valley of the Queens, Luxor, 1270BC : The tomb of Nefertari, from which this wall fragment comes, is the largest architectural and decorative enterprise ever dedicated to a Pharaoh’s wife. Nefertari was named Nefertari was the chief Queen and favorite wife of Ramses II. The name Nefertari means “the most beautiful of them”. Ramses II devoted the minor temple of Abu Simbel to the Goddess Hathor and dedicated it to Nefertari. There, identified with the Goddess, Nefertari intensely participated in the divine cult. Nefertari gave Ramses II his firstborn son as well as three other sons and two daughters. Nefertari died in her forties. Nefertari, with a beautiful white ceremonial garb receives the breath of life from Isis, the Mother Goddess. The hieroglyphic inscription gives the name of the Queen and her titles as well as the one from Isis: “Isis, Lady in Heaven, Great Royal Wife, Nefertari-Mery-En-Mut. Justified”.

LOT 302 : 24.5"H x 11.5"W Wall Hanging

Winged Isis Relief - Tomb of Seti I, Valley of the Kings. Luxor, Egypt 1280 B.C. : This sculpture shows Isis with her wings extended in a pose of protection. The name Isis means "Seat" or "Throne". She was regarded as the symbolical mother of the King. In myth she sought her dead husband and brother, Osiris, conceived her son Horus by him, buried him and mourned him together with her sister Nephtys. Isis was regarded as the “Eye of Ra” and was worshipped as the "Great of Magic" who had protected her son Horus from snakes, predators and other dangers; thus she would protect mortal children also. In the New Kingdom Isis was closely connected with Hathor whose physical attributes, the cow's horns and sun-disk she adopted.

LOT 303 : 21.5"W x 7.5"H

Egyptian Cat Relief : The first reference to the domestic cat appears in the eleventh dynasty. Because it was hostile to snakes, it became a sacred animal of the Sun God. In the New Kingdom, the male cat was regarded as an incarnation of the Sun God and the female cat was equated with the solar eye. Feline figures may display a scarab, the symbol of the rising sun, engraved on the head or breast thus showing their solar significance. The domestic cat attained special significance as the sacred animal of the Goddess Bastet. Hundreds of figures were set up as votive offerings in the temple at Bubastis in order that the donor might share in the Goddess's grace. Actual mummies of cats were buried by the thousands in special cemeteries in the area.

LOT 304 : 7.5"H x 11.5"W, Wall Hanging

Reclining Anubis Relief : Anubis, God of the Dead, represented with a head of a jackal or simply as a jackal opened the road to the other world and presided over embalmments. After a funeral, Anubis would take the deceased by the hand and introduce him into the presence of the sovereign judges where the soul of the deceased would be weighed. Anubis was the Guardian of Offerings brought to the ceremony by heirs of the deceased and he also guarded the mummy from evil forces in the night. When the body was embalmed, a priest wearing a jackal mask acted as Anubis's representative. He also was the guardian of the Sacred Esoteric Mysteries. The origin of this God lay in the fact that jackals could be heard howling in the desert to the west of the Nile at sunset-at the time when burials took place.

LOT 305 : 7.5"H x 10.5"W, Wall Hanging

Horus Falcon Relief : In Egyptian mythology, Horus was the Divine Child of Osiris and Isis. As the Incarnate God, his roles were numerous. He united the cosmic principles of male and female. He acted as the uniting force between Upper and Lower Egypt. He interceded on behalf of the King to the Gods and as a living God, it is Horus who bestowed supreme power and divine kingship to a Pharaoh. From his union with Isis he has four sons, guardians of the four Canopic Jars that contain the visceras of the embalmed deceased. Horus's most important cult centers were at Edfu, where the God was venerated in the image of the winged disk, at Kom Ombo, where as Son of Ra he bore the name Haroeris, and at Heliopolis where he was regarded as the God of the Morning Sun under the name of Ra-Harakhty.

LOT 306 : 7.5"H x 11.5"W, Wall Hanging

Hathor Relief - Temple of Abidos, Egypt. 19th. Dynasty 1317 B.C. : Her name means “The Dwelling of Horus”, for it was thought that Horus as the Sun God came to rest each evening on her breast before being reborn with the awakening dawn. Hathor is the great Sky-Goddess that as a celestial cow gave birth to the universe. She was often represented as a cow or with bovine attributes such as a cow’s head, cow’s ears or horns on her headdress. Hathor was the Goddess of Joy and Motherhood and the embodiment of all that is best in women. She was also considered the Goddess of music, song, dance and lighthearted pleasure, but she was essentially a Moon Goddess. She was considered the protectress of pregnant women and midwives. Her main cult centre was at Dendera, where she was worshipped along with her husband, Horus. Hathor was the Supreme Goddess of sexual love in Egypt, immediately identified with Aphrodite by the Greeks. Her temple at Dendera was “The House of Intoxication and Enjoyment”.

LOT 307 : 10.5"H x 13"W, Wall Hanging

Ramses II at the battle of Kadesh - Temple of Ramses II, Abu Simbel, Egypt. Dynasty XIX, 1255 B.C. : The most celebrated of all Pharaohs, Ramses II, is well known for the length of his reign, the numerous temples he built and his military campaigns, such as the battle of Kadesh where Ramses II, facing the army of Muwattali, King of the Hittites found himself surrounded by 2500 Hittite Charioteers with only his personal bodyguard to help him. As the enemy closed in around him, Pharaoh leaped into his chariot, tied the reins around his waist to leave his hands free, sent forth a great cry for help to Amun and charged six times against the Hittites, finally breaking through and winning the battle. Ramses II was the son of Seti I and was crowned Pharaoh in 1290 b.c. when he was 18 years old. Ramses II had many wives but the first and favorite chief Queen was Nefertari. Ramses died at the age of 85 after ruling Egypt for 67 years.

LOT 308 : 11"H x 15"W, Wall Hanging

The Goddess Nekhbet Relief , Painted - Temple of Abydos, Egypt. Dynasty XIX, 1317 B.C. : The vulture Goddess Nekhbet was originally worshipped in the city of Nekhbet but later she became a national Goddess representing Upper Egypt in the same way that Lower Egypt was represented by the protective snake Goddess, Edjo of Buto. The animals of the two Goddesses became the symbolic animals of the two halves of the country. The vulture and the snake became the royal insignia, especially as adornments for the head, in fact, they became embodiment of the two crowns. Nekhbet is often shown with her wings outstretched in protection, often hovering over the Pharaoh and holding in her claws the hieroglyphic symbol the “Shem”, which means “to encircle” and “infinity”, and represents lordship over all that the sun encircles. Nekhbet was also considered a Goddess of childbirth, often shown suckling the royal child or even the King himself. Here Nekhbet is depicted in the guise of an elegant Queen.

LOT 309 : 11"H, Wall Hanging

Isis Relief, Painted - Temple of Kalabsha, Egypt. 300 B.C. : The name Isis means “seat” or “throne”. She was regarded as the symbolical mother of the King. In myth, she sought her dead husband and brother, Osiris, conceived her son Horus by him, buried and mourned him together with her sister Nephtys. Isis was regarded as the “Eye of Ra” and was worshipped as the “Great of Magic” who had protected her son Horus from snakes, predators and other dangers: thus she would protect mortal children also. The ancient Egyptians regarded the Goddess as the “Eye of Ra”. Here she carries the ankh and the papyrus sceptre of Goddesses; the horns and sun disk of Hathor and the hieroglyph for the name Isis on top of the sun-disk. She wears a feather dress and a headdress composed of a vulture, showing that she was identified with Mut.

LOT 310 : 23"H x 9"W, Wall Hanging

Queen Nefertari - Valley of the Queens, Luxor, Egypt. Dynasty XIX, 1270 B.C. : The tomb of Nefertari, from which this wall fragment comes, is the largest architectural and decorative enterprise ever dedicated to a Pharaoh’s wife. Nefertari was the chief Queen and favorite wife of Ramses II. The name Nefertari means “the most beautiful of them”. Ramses II devoted the minor temple of Abu Simbel to the Goddess Hathor and dedicated it to Nefertari. There,identified with the Goddess, Nefertari intensely participated in the divine cult. Nefertari gave Ramses II his firstborn son as well as three other sons and two daughters. Nefertari died in her forties. Nefertari is standing with arms raised in signal of adoration towards an altar where Osiris is seated and Anubis is standing. The Queen, dressed in white ceremonial garb, wears the crown with the vulture headdress of Nekhbet, the protective Goddess of Upper Egypt.

LOT 311 : 9"H, Wall Hanging

Cleopatra Relief (Posing as Isis) - Temple of Denderah, Egypt. 35 B.C. : The last of the Macedonian rulers of Egypt, Cleopatra VII has been preserved in legend as a woman of formidable intellect and ambition who used her beauty and charm to advance Egypt’s fortunes. In 51 B.C. she became joint ruler with her father Ptolemy XII and then with her brother and husband Ptolemy XIII. When he died in 47 B.C., her younger brother (also her husband) Ptolemy XIV succeeded him. When Ceasar came to Alexandria, Cleopatra persuaded him to support her cause and she regained her throne and jointly ruled with their son Caesarion from 36 B.C. After Caesar’s death, she joined Mark Anthony hoping that he would help to restore Egypt to its past glory by using Rome’s power. Mark Anthony gave Cleopatra much of Rome’s eastern possessions but his Roman rival Octavian used this episode as a pretext to turn the Roman senate against Mark Anthony and begin a war against him & Cleopatra. Augustus Octavian defeated him at the battle of Actium. Anthony and Cleopatra withdrew to Alexandria where they committed suicide. Cleopatra was a remarkable woman and a formidable queen. She was the only Ptolemaic ruler to learn to speak Egyptian.

LOT 312 : 10.5"H, Wall Hanging

Egyptian Princess Relief - Temple of Abydos, Egypt. Dynasty XIX 1270B.C. : Her name was Nes-Amun. She was one of the more than fifty daughters of Ramses II. Princesses were called Royal Daughters. They often had their own palaces or at least their own compound within the palace with an extensive staff of attendants. Sometimes the older daughter would marry their father after the death of their mother thus becoming the new Chief Queen. Often when a brother became king, he would marry the older sister probably following the tradition of the gods Osiris and Isis, who were brother and sister as well as husband and wife. A princess was often very involved in religious duties usually as priestesses of the goddess Hathor. In this wall fragment, Nes-Amun wears an elaborate wig and a white linen dress while presenting an offering to a deity

LOT 313 : 12"h x 16"W, Wall Hanging

Winged Maat - Tomb of Nefertari, Luxor. Egypt. Dynasty XIX, 1270 B.C. : This relief shows the Goddess Maat kneeling with her wings extended in a pose of protection or paying homage. Maat is the Goddess of Truth and Justice who personifies cosmic order and harmony as established by the Creator God at the beginning of time. Her symbol is an ostrich feather. The seated image of Maat was held in pharaoh’s hand like a doll and was presented as an offering to the Gods. This meant that the king was the representative of divine order since Maat was seen as legitimizing their authority to govern and to uphold the laws of the universe which she embodies. Judges were regarded as priests of Maat. In the hall of judgement at the weighing of the heart, the heart of the deceased was placed on the scales of justice, balanced against the feather of Maat, symbol of justice.

LOT 314 : 6"H, Wall Hanging

Ramses II as a Child - The Louvre Museum, Paris. Dynasty XIX 1300 B.C. : This representation of the Great Pharaoh of Egypt shows the King as a child with a nude torso. The plait falling at one side of the shaved head is the typical ornament of a young Prince. He also has a heavy pendant in the ear, which would be abandoned after puberty and finally the finger in the mouth imitates the attitude of the young God Horus. Facing him is the name of the crowned Ramses II, clearly showing that he already is the enthroned sovereign. Ramses II is well known for the length of his reign, the numerous temples he built and his military campaigns. Ramses was the son of Seti I and was crowned Pharaoh in 1290 B.C. when he was 18 years old. Ramses had many wives but the first and favorite chief Queen was Nefertari. Ramses died at the age of 85 after ruling Egypt for 67 years.

LOT 315 : 6"H, Wall Hanging

Kneeling Isis - Temple of Abydos, Egypt. Dynasty XIX, 1371 B.C. : This sculpture shows Isis kneeling and making an offering of the ankh, the symbol of life. The name Isis means "Seat" or "Throne". She was regarded as the symbolical mother of the King. In myth she sought her dead husband and brother, Osiris, conceived her son Horus by him, buried him and mourned him together with her sister Nephtys. Isis was regarded as the “Eye of Ra” and was worshipped as the "Great of Magic" who had protected her son Horus from snakes, predators and other dangers; thus she would protect mortal children also. In the New Kingdom Isis was closely connected with Hathor whose physical attributes, the cow's horns and sun-disk she adopted.

LOT 316 : 6"H, Wall Hanging

Eye of Horus Relief : The eye of Horus also called Oudjat or Wedjat, is the left lunar eye which originates from the struggle btween Horus and Seth. In this fight, Horus loses his left eye which is taken by Seth, but then Horus acquires spiritual sight, the eye of light. The eye was later healed by Thoth and returned to Horus and then called “the Oudjat” (“the Whole One”). It was a symbol of the power of the God of light, and therefore a popular amulet for protection and good luck. Some oudjat eyes had an arm carrying the Ankh or the papyrus staff, symbol for “to flourish”. The eye of Horus was also used as a protection against the evil eye. From the late old kingdom, two oudjat eyes were placed on the door recesses of tombs.

LOT 317 : 9"H x 10.75"W, Wall Hanging

Egyptian Musicians - Tomb of Nakht, Egypt. Dynasty XVIII 1450 B.C : According to the great quantity of musical instruments found in the tombs, music was a source of pleasure and relaxation for rich Egyptians. The main instrument was the harp, followed by the flute. In this representation of a painting in the tomb of Nakht (an astronomer of the God Amun during the kingdom of Amenhotep III) we see a flute player, A harp player and a youth playing the norva; the latter one being close to our banjo and made out of a turtle shell. The three instrumentalists are lightly dressed with transparent clothes and veils. They have incense sticks over the head to perfume the body and hair.

LOT 318 : 17"H x 15"W , Wall Hanging

The Breath of Life - Valley of the Queens, Luxor, Egypt. Dynasty xix 1270 B.C. : The tomb of Nefertari, from which this wall fragment comes, is the largest architectural and decorative enterprise ever dedicated to a Pharaoh’s wife. Nefertari was the chief Queen and favorite wife of Ramses II. The name Nefertari means “the most beautiful of them”. Ramses II devoted the minor temple of Abu Simbel to the Goddess Hathor and dedicated it to Nefertari. There, identified with the Goddess, Nefertari intensely participated in the divine cult. Nefertari gave Ramses II his firstborn son as well as three other sons and two daughters. Nefertari died in her forties. Here, Nefertari receives the breath of life from Isis, the Mother Goddess

LOT 319 : 11"W, Wall Hanging

King Tutankhamun & Wife Ankhesenamun - Egyptian Museum, Cairo. Dynasty XVIII 1333-1323 B.C. : This scene is a detail from the shrine of Tutankhamun and shows the King and his wife Ankhesenamun in a boat made of papyrus stems navigating through the papyrus marshes. Despite the richness of his burial, Tutankhamun remains an enigmatic figure. He died as young as 16 or 17 years of age. He was probably a son of King Akhenaton by one of his secondary wives. His wife Ankhesenamun was daughter of Akhenaton and Nefertiti. Tutankhamun came to the throne as a young child and ruled for about nine years under the regency of Vizier Ay and the strong influence of the army commander Horemheb. The main events of his reign were to move the capital of Egypt back from El-Amarna to Memphis and to begin the transiton from the monotheistic cult of Aton created by Akhenaton back to the polytheistic religion of Egypt with Amun-Ra again as the main God.

LOT 320 : 11"W, Wall Hanging

Winged Maat Paying Homage to Hathor - Valley of the Queens, Egypt. Dynasty XIX 1270 B.C. : This scene shows the Goddess Maat kneeling with her wings extended in a pose of paying homage to the Goddess Hathor who is seated on a throne. Maat is the Goddess of Truth and Justice who personifies cosmic order and harmony as established by the Creator-God at the beginning of time. Her symbol is an ostrich feather on her head. Hathor is the great Sky-Goddess often represented as a cow who became known as a universal Mother-Goddess. Hathor was the Goddess of joy and motherhood and the embodiment of all that is best in women. Hathor was also considered the Goddess of music, dance, light-hearted pleasure and love. She was considered the protectress of pregnant women and midwives.

LOT 321 : 10"W, Wall Hanging

Egyptian Musicians - Tomb of Nakht, Egypt. Dynasty XVIII 1450 B.C. : According to the great quantity of musical instruments found in the tombs, music was a source of pleasure and relaxation for rich Egyptians. The main instrument was the harp, followed by the flute. In this representation of a painting in the tomb of Nakht (an astronomer of the God Amun during the kingdom of Amenhotep III) we see a flute player, A harp player and a youth playing the norva; the latter one being close to our banjo and made out of a turtle shell. The three instrumentalists are lightly dressed with transparent clothes and veils. They have incense sticks over the head to perfume the body and hair.

LOT 322 : 9"H x 14"W, Wall Hanging

Ptolemaic Relief, Painted - British Museum, London. 200 B.C. : This relief shows a scene of an offering where the Pharaoh Ptolemy V offers the spiritual inner eyes of Horus, to Horus, seated on the throne. Horus was the son of Isis and Osiris. They form the fundamental triad of the Egyptian religion. Traditionally, Horus is considered the first Pharaoh of Egypt and at later times, the spiritual King where the Pharaoh is only his representative. This sculpture originates from the Ptolemaic period which began when Alexander the Great conquered Egypt from the Persians in 332 B.C. The Pharaohs of this period were Greek but even so they not only respected the Egyptian traditions but also dedicated large funds for the reconstruction of many temples especially in Upper Egypt like the temple of Hathor at Dendera, the temple of Horus at Edfu and the temple of Khnum at Esna.

LOT 323 : 12"H x 20"W Wall Hanging

King Akhenaton Offering to Aton - Egyptian Museum, Cairo. Dynasty XVIII 1370 B.C : Akhenaton, originally named Amenhotep IV, ruled Egypt for 17 years (1367-1350 b.c.) together with his beautiful Queen Nefertiti, he was Son of Amenhotep III. The priesthood of Amun at Thebes, enormously enriched by the tribute donated by the Pharaohs to the God, became the real power. Like his father before him, Akhenaton initially recognized the power of the priests of Amun at Thebes but after the fifth year of his reign, he changed the state cult of Amun to that of Aten, the unique God represented as the sun-disk with its rays ending in small hands. He also assumed the name Akhenaton (“the glory of the Aten”). This began two decades of religious reforms overthrowing millenia of traditional religious and civil life. Here, Akhenaton together with his wife Nefertiti and one of their daughters are seen worshipping the Aten.

LOT 324 : 11"H, Wall Hanging

Kneeling Winged Isis : This sculpture shows Isis with her wings extended in a pose of protection. The name Isis means "Seat" or "Throne". She was regarded as the symbolical mother of the King. In myth she sought her dead husband and brother, Osiris, conceived her son Horus by him, buried him and mourned him together with her sister Nephtys. Isis was regarded as the “Eye of Ra” and was worshipped as the "Great of Magic" who had protected her son Horus from snakes, predators and other dangers; thus she would protect mortal children also. In the New Kingdom Isis was closely connected with Hathor whose physical attributes, the cow's horns and sun-disk she adopted.

LOT 325 : 16.5"H x 25"W Cultured Marble Statue on marble base

Pyramid of the Gods : Ancient Egyptians saw the pyramid as the primeval hill, rising from the waters of the beginning, the creator’s birthplace and throne. The pyramid capstone was their point of contact with the Gods and was related to the rising sun. The king who was buried in the pyramid entered into office in the celestial beyond as the son of Ra. Each one of the four sides of this pyramid is dedicated to a particular God or Goddess. One side is dedicated to Horus, the falcon headed God that represents divine kingship. Another side shows the Goddess Isis, the Mother Goddess, “Great of Magic” wearing the horns and sun disk on her headdress. Another side represents the Goddess Sekhmet, “The Mighty One”, “The Eye of Ra”, Goddess of War as well as healing, represented with a lion’s head. The fourth side shows Amun, supreme state God, “The One Who Abides in All Things”, identified with the Sun God, wearing a crown surmounted by two high plumes.

LOT 326 : 4.5"H

Bust of Queen Hatshepsut - Metropolitan Museum of Art, New York. 18th Dynasty 1500 B.C. : Upon the death of her father, Tuthmosis I, Hatshepsut became sole legitimate heir. Tradition demanded however, that only a male heir could ascend the throne. Hatshepsut married her half-brother Tuthmosis II, who died prematurely. Once again it was a stepson, Tuthmosis III, born of a concubine, who was crowned. Serving first as a regent for the young king, Hatshepsut assumed the royal title in the second year and ruled egypt for two prosperous and relatively peaceful decades. This bust derives from one of the statues placed throughout her magnificent funerary temple at Keir el Bahri which was intended to both legitimize and commemorate her rule. The statue shows the great Queen in idealized masculine guise. Nevertheless, the prim little face and the delicate figure give a distinctly feminine impression.

LOT 327 : 13"H, Statue

Bust of Cleopatra - Antiken Museum, Berlin. 35 B.C. : The last of the Macedonian rulers of Egypt, Cleopatra VII has been preserved in legend as a woman of formidable intellect and ambition who used her beauty and charm to advance Egypt’s fortunes. In 51 B.C. she became joint ruler with her father Ptolemy XII and then with her brother and husband Ptolemy XIII. When he died in 47 B.C., her younger brother (also her husband) Ptolemy XIV succeeded him. When Ceasar came to Alexandria, Cleopatra persuaded him to support her cause and she regained her throne and jointly ruled with their son Caesarion from 36 B.C. After Caesar’s death, she joined Mark Anthony hoping that he would help to restore Egypt to its past glory by using Rome’s power. Mark Anthony gave Cleopatra much of Rome’s eastern possessions but his Roman rival Octavian used this episode as a pretext to turn the Roman senate against Mark Anthony and begin a war against him & Cleopatra. Augustus Octavian defeated him at the battle of Actium. Anthony and Cleopatra withdrew to Alexandria where they committed suicide. Cleopatra was a remarkable woman and a formidable queen. She was the only Ptolemaic ruler to learn to speak Egyptian.

LOT 328 : 11"H, Statue

Bust of King Tutankhamun - Egyptian Museum, Cairo. 18th Dynasty 1347-1337 B.C. :

LOT 329 : 11.5"H

Bust of Ramses II - Egyptian Museum, Turin, Italy, 1250BC : The most celebrated of all Pharaohs, Ramses II, is well know for the length of his reign, the numerous temples he built and his military campaigns, such as the battle of Kadesh where Ramses II, facing the army of Muwattali, King of the Hittites found himself surrounded by 2500 Hittite Charioteers with only his personal bodyguard to help him. As the enemy closed in around him, Pharaoh leaped into his chariot, tied the reigns around his waist to leave his hands free, sent forth a great cry for help to Amun and charged six times against the Hittites, finally breaking through and winning the battle. Ramses II was the son of Seti I and was crowned Pharaoh in 1290BC. When he was 18 years old. Ramses II had many wives but the first and favorite chief Queen was Nefertari. Ramses died at the age of 85 after ruling Egypt for 67 years. This bust from a seated statue of Ramses II is a portrait of the young King in which grace and grandeur are intermixed.

LOT 330 : 13"H

Winged Isis - Egyptian Museum, Cairo. 20th Dynasty 1150 B.C. : This sculpture shows Isis with her wings extended in a pose of protection, often used to protect her son Horus or her husband Osiris. The name Isis means "Seat" or "Throne". She was regarded as the symbolical mother of the King. In myth she sought her dead husband and brother, Osiris, conceived her son Horus by him, buried and mourned him together with her sister Nephtys. Isis was regarded as the “Eye of Ra” and was worshipped as the "Great of Magic" who had protected her son Horus from snakes, predators and other dangers; thus she would protect mortal children also. In the New Kingdom Isis was closely connected with Hathor whose physical attributes, the cow's horns and sun-disk she adopted. The ancient Egyptians regarded the Goddess as the "Eye of Ra".

LOT 331 : 13.5"H, Cultured Marble Statue on marble base

Osiris - Egyptian Museum, Cairo. 700 B.C. : Osiris, the Resurrection God, is the central figure in the afterlife myth and in Egyptian mythology as a whole. His name means "The Seat of the Eye". To die and be properly prepared for the other life is to become one with Osiris in the underworld over which he rules. Osiris received earthly rule from his father, Geb. His brother Seth envied his hegemony; he enticed Osiris into a chest and flung him into the Nile. His wife sought and found his body and with her own magic powers and the help of Thoth, Nephthys, Anubis and Horus, restored Osiris to life. Osiris, however already belonged to the world of the dead, and although after his resurrection he could have reclaimed his throne, he preferred to maintain his kingdom in the Land of the Dead, leaving his vindication on earth in the hands of his posthumous son Horus.

LOT 332 : 14.5"H, On Marble Base

Egyptian Cat Bastet - Egyptian Museum, Cairo. 550 B.C. : The first reference to the domestic cat appears in the eleventh dynasty. Because it was hostile to snakes, it became a sacred animal of the Sun God. In the New Kingdom, the male cat was regarded as an incarnation of the Sun God and the female cat was equated with the solar eye. Feline figures may display a scarab, the symbol of the rising sun, engraved on the head or breast thus showing their solar significance. The domestic cat attained special significance as the sacred animal of the Goddess Bastet. Hundreds of figures were set up as votive offerings in the temple at Bubastis in order that the donor might share in the Goddess's grace. Actual mummies of cats were buried by the thousands in special cemeteries in the area.

LOT 333 : 12" H

The Sacred Triad - Isis, Osiris and Horus : This sculpture was dedicated to Horus, Osiris, and Isis, the most important triad of gods in the ancient Egyptian religion. Osiris wears the Atef crown and carries the royal crook and flail, while his son Horus is represented as a falcon-headed man, Isis has on her head the hieroglyph and symbol of her name, Isis, represented as a step throne or seat. She wears an elegant feather dress. Osiris was the god of the underworld and resuscitation while his sister and wife Isis was considered the symbolic mother of the Pharaoh and was worshipped as the “Great of Magic” and regarded as the “Eye of Ra”. Their son Horus is traditionally considered the first Pharaoh of Egypt and at later times, the spiritual king where the Pharaoh is only his representative on Earth.

LOT 334 : 9.5"H

Mirror of Isis - Louvre Museum, Paris. 21th Dynasty 1000 B.C. : Egyptian mirrors always retained more or less the same shape as a flat, oval plate of polished copper or bronze often with a wooden or bone handle. Since the Middle Kingdom at least, the Sun-Disk provided a model for the mirror as in the case of this reproduction. The handle of this mirror is shaped in the form of the Goddess Isis. In the old Egyptian religion some Goddesses, usually Isis, Hathor and Mut, were presented with two mirrors as a cultic offering.

LOT 335 : 10"H

Egyptian Sphinx - Egyptian Museum, Cairo. 18th Dynasty 1450 B.C. : The word "Sphinx" used by the Greeks derives perhaps from the Egyptian Shesepankh "Living Statue". It designates a type of statue joining a human head to the body of a lion and symbolizes sovereignty combining the strength of the lion with a human intelligence. The Egyptian Sphinx was, with only a few exceptions in representations of some Queens of the Middle Kingdom, shown as male. Also, the Egyptian Sphinx was viewed as benevolent, a guardian, whereas the Greek Sphinx was invariably malevolent towards people. The Sphinx was the embodiment of royal power often shown smiting the King's enemies, or the King himself being represented as a victorious Sphinx trampling on his foes. This Sphinx represents King Thutmosis III wearing a striped "Nemes" headcloth protected by an Uraeus and a false beard.

LOT 336 : 6"H x 12"L

Egyptian Sphinx - Egyptian Museum, Cairo. 18th Dynasty 1450 B.C. : The word "Sphinx" used by the Greeks derives perhaps from the Egyptian Shesepankh "Living Statue". It designates a type of statue joining a human head to the body of a lion and symbolizes sovereignty combining the strength of the lion with a human intelligence. The Egyptian Sphinx was, with only a few exceptions in representations of some Queens of the Middle Kingdom, shown as male. Also, the Egyptian Sphinx was viewed as benevolent, a guardian, whereas the Greek Sphinx was invariably malevolent towards people. The Sphinx was the embodiment of royal power often shown smiting the King's enemies, or the King himself being represented as a victorious Sphinx trampling on his foes. This Sphinx represents King Thutmosis III wearing a striped "Nemes" headcloth protected by an Uraeus and a false beard.

LOT 337 : 7"L

Egyptian Obelisk - Typicallyin pairs before the entrances to the tombs, : Obelisks are tall, slender four sided shafts carved from a single stone and topped with a point known as a pyramidion. Obelisks were known to the ancient Egyptians as Tekhenu. They were typically inscribed with the names and titles of the king who commissioned them. Obelisks were considered to be sacred to the Sun God Ra, whose main center of worship was at Heliopolis where the oldest surviving monumental obelisk in Egypt still stands. Obelisks were first erected at Heliopolis and the practice was continued throughout the pharaonic period. Obelisks probably evolved from the so-called Benben Stone which resembles the pyramidion of an obelisk and was considered sacred to the Sun God even before the appearance of the first pharaoh. These stones were the fetish of the primeval God Atum (the setting sun) and the God Ra or Ra-Harakhti (the rising sun). The stones were also associated with the Benu-Bird or Phoenix. Some small squat obelisks survive from the early years of dynastic Egypt when they usually stood in pairs before the entrances to the tombs.

LOT 338 : 16.5"H

Egyptian Scarab - Egyptian Museum, Cairo. New Kingdom, 1550-1196 B.C. : The scarab was associated very early on in Egypt with the generative forces of the rising sun and with the concepts of eternal renewal. The beetle is known for coming out of the sand backwards dragging its ball of dung behind it along the ground before depositing it in underground tunnels as a source of food for its larvae, therefore symbolizing the sun’s daily journey across the heavens from East to West. Because the young beetles seemed to emerge spontaneously from these tunnels, the Egyptians worshipped the scarab under the name Khepri: “He who came forth from the earth” or “He who came into being”. Thus the beetle was equated with the creator Got Atum from early times. Scarabs thus became potent amulets and were often placed upon the breasts of mummies in the position of the heart as a symbol of new life and were then weighed against the feather of truth in the final judgment. They were usually inscribed with part of chapter 30 of the Book of the Dead.

LOT 339 : 4.75"H, Statue / Paperweight

Ramses II Offering a Libation - Egyptian Museum, Cairo. Dynasty XIX 1290-1224 B.C. : The most celebrated of all Pharaohs, Ramses II, is well known for the length of his reign, the numerous temples he built and his military campaigns, such as the battle of Kadesh where Ramses II, facing the army of Muwattali, King of the Hittites found himself surrounded by 2500 Hittite charioteers with only his personal bodyguard to help him. As the enemy closed in around him, Pharaoh leaped into his chariot, tied the reins around his waist to leave his hands free, sent forth a great cry for help to Amun and charged six times against the Hittites, finally breaking through and winning the battle. Ramses II was the son of Seti I and was crowned Pharaoh in 1290 b.c. when he was 18 years old. Ramses II had many wives but the first and favorite chief Queen was Nefertari. Ramses died at the age of 85 after ruling Egypt for 67 years. Here kneeling on a base, wearing a khepresh headdress with Uraeus, Ramses II piously offers libation vessels known as nu-jars, most likely filled with wine or milk.

LOT 340 : 8"H

Egyptian Frog Goddess Heket - Egyptian Museum, Cairo. 664-332 B.C. : The Goddess Heket, who was represented in the form of an Egyptian frog or with a frog’s head, was worshipped especially in the town of Hew-Wer as the female complement of Khnum. Together with other Gods she assisted in fashioning the child in the womb and presided over the birth in her capacity of midwife. Amulets and scarabs worn by women to protect them during childbirth often bear the image of the Frog Goddess. The life-giving powers of Heket enabled her to be adopted as a benign deity fit to accompany Osiris, in whose temble at Abidos she receives wine from King Seti I and is labelled “Mistress of the Two Lands”.

LOT 341 : 3"H , Bronze finish with gold detail

Kuan-Yin in Meditation : Kuan Yin, originally known as Avalokiteswara (‘the Lord who regards’), is a highly revered manifestation of the Buddha who appears in Chinese scriptures around 400 a.d. Kuan Yin means ‘one who hears the cries of the world’ and personifies the compassion of the Buddha for the needy. She is the embodiment of the yin principle. She is usually represented as a young female deity but she has the power to assume whatever form necessary in order to carry out her vow which is to appear in any way necessary to lead beings out of suffering. She is often shown holding a vase containing the waters of compassion,the lotus flower of enlightment or the jewel of three treasures.

LOT 342 : 15"H

Mask of Buddha : Gautama Buddha was born in 563 b.c. in northeast India. The Buddha was the son of the King of the Sakyas. Suddhodana, who ruled at Kapilavastu, on the border of Nepal. His mother was Queen Maya. He was named Siddhartha. He lived amidst the pleasures of palace life and at age 16 he was married to Princess Yasodhara. They had a son named Rahula. After seeing a decrepid old man, an invalid, and an ascetic beggar, he learned of suffering and decided to embrace asceticism. Soon afterwards, at age 29, Siddhartha left the palace and his family and went to a hermitage where he became the monk Gautama, or, as he is still called, Sakyamuni (The ascetic of the Sakyas). One day, meditating under a sacred figtree, he attained perfect illumination (Bodhi). He had become a Buddha. From there on he traveled and preached for 44 years what was to become one of the main religions of the world. He died at Kusinagara at age 80.

LOT 343 : 11.5"H, Wall Hanging

Medicine Buddha : Buddha called himself the healer of the suffering world and explained that his Dharma (teaching) was his medicine. In Tibetan Buddhism, the image of Buddha with his bowl of herbal elixers is used to invoke his healing presence. Gautama Buddha was born in 563 b.c. in northeast India. The Buddha was the son of the King of the Sakyas. Suddhodana, who ruled at Kapilavastu, on the border of Nepal. His mother was Queen Maya. He was named Siddhartha. He lived amidst the pleasures of palace life and at age 16 he was married to Princess Yasodhara. They had a son named Rahula. After seeing a decrepid old man, an invalid, and an ascetic beggar, he learned of suffering and decided to embrace asceticism. Soon afterwards, at age 29, Siddhartha left the palace and his family and went to a hermitage where he became the monk Gautama, or, as he is still called, Sakyamuni (The ascetic of the Sakyas). One day, meditating under a sacred figtree, he attained perfect illumination (Bodhi). He had become a Buddha. From there on, he traveled and preached for 44 years what was to become one of the main religions of the world.

LOT 344 : 7.5"H

Life of Buddha : This sculpture shows key scenes in the life of Buddha beginning with his birth in the lower left corner and also including his illumination and death. Gautama Buddha was born in 563 b.c. in northeast India. The Buddha was the son of the King of the Sakyas. Suddhodana, who ruled at Kapilavastu, on the border of Nepal. His mother was Queen Maya. He was named Siddhartha. He lived amidst the pleasures of palace life and at age 16 he was married to Princess Yasodhara. They had a son named Rahula. After seeing a decrepid old man, an invalid, and an ascetic beggar, he learned of suffering and decided to embrace asceticism. Soon afterwards, at age 29, Siddhartha left the palace and his family and went to a hermitage where he became the monk Gautama, or, as he is still called, Sakyamuni (The ascetic of the Sakyas). One day, meditating under a sacred figtree, he attained perfect illumination (Bodhi). He had become a Buddha. From there on he traveled and preached for 44 years what was to become one of the main religions of the world. He died at Kusinagara at age 80.

LOT 345 : 12"H, Statue

Happy Buddha : Often called the Happy Buddha, he is really Hotei, a monk of the T’ang Dynasty. He was known for carrying a sack of candy which he handed out to children in the street. Many Chinese Buddhist believe he was an incarnation of the Buddha Maitreya. Gautama Buddha was born in 563 b.c. in northeast India. The Buddha was the son of the King of the Sakyas. Suddhodana, who ruled at Kapilavastu, on the border of Nepal. His mother was Queen Maya. He was named Siddhartha.

LOT 346 : 9" H

White Tara : Tara’s name means One Who Saves. She epitomizes the influence of the older mother-goddess cults upon the Buddhist Mahayana religion. Her concept evolved in India and later she became the most important goddess in the Mahayana pantheon. She holds a very prominent position in Tibet and Nepal. Tara was born from tears of the left eye of the Boddhisatwa of Compassion, Avolokiteswora. She was conceived primarily as a savioress and is, therefore, the female counterpart of Avolokiteswora. She is also generally regarded as his consort and is frequencly protrayed with him. Tara is believed to protect the human beings while they are crossing the ocean of existence. Her compassion for living beings, her desire to save them from suffering, is said to be stronger than a mother’s love for her children

LOT 347 : 10" H

Buddha : Gautama Buddha was born in 563 b.c. in northeast India. The Buddha was the son of the King of the Sakyas. Suddhodana, who ruled at Kapilavastu, on the border of Nepal. His mother was Queen Maya. He was named Siddhartha. He lived amidst the pleasures of palace life and at age 16 he was married to Princess Yasodhara. They had a son named Rahula. After seeing a decrepid old man, an invalid, and an ascetic beggar, he learned of suffering and decided to embrace asceticism. Soon afterwards, at age 29, Siddhartha left the palace and his family and went to a hermitage where he became the monk Gautama, or, as he is still called, Sakyamuni (The ascetic of the Sakyas). One day, meditating under a sacred figtree, he attained perfect illumination (Bodhi). He had become a Buddha. From there on he traveled and preached for 44 years what was to become one of the main religions of the world. He died at Kusinagara at age 80.

LOT 348 : 9" H Bronze Finish

Ganesh : Ganesh, also called Ganapati, the elephant headed God of Wisdom and Success is the defender and remover of obstacles and has to be propritiated first before worshiping other Gods. He is one of the sons of Siva and Parvati. He is known as “Sidhi Data” or bestower of success in the work. His elephant head is believed to be an emblem of wisdom. His head often has one full tusk, while the other is broken. It is said that he lost it in a fight or that he used it to dictate the Maha-Bharata to the sage Vyasa. His mount or standard is a rat, a symbol in Hindu fable of the Sagasity & trickery of this world, much like the fox in the west. So it is natural that the rat should first be conquered, then subdued and employed by the being who represents spiritual strength, whom he was bound to recognise as his superior, since his own cunning would tell him that Ganesh would prove a better guide than even his own perspicacity.

LOT 349 : 7.5"H

Ganesh Relief : Ganesh, also called Ganapati, the elephant headed God of Wisdom and Success is the defender and remover of obstacles and has to be propritiated first before worshiping other Gods. He is one of the sons of Siva and Parvati. He is known as “Sidhi Data” or bestower of success in the work. His elephant head is believed to be an emblem of wisdom. His head often has one full tusk, while the other is broken. It is said that he lost it in a fight or that he used it to dictate the Maha-Bharata to the sage Vyasa. His mount or standard is a rat, a symbol in Hindu fable of the Sagasity & trickery of this world, much like the fox in the west. So it is natural that the rat should first be conquered, then subdued and employed by the being who represents spiritual strength, whom he was bound to recognise as his superior, since his own cunning would tell him that Ganesh would prove a better guide than even his own perspicacity.

LOT 350 : 8.5" H Wall Relief

Dancing Ganesh Relief : Ganesh, also called Ganapati, the elephant headed God of Wisdom and Success is the defender and remover of obstacles and has to be propritiated first before worshiping other Gods. He is one of the sons of Siva and Parvati. He is known as “Sidhi Data” or bestower of success in the work. His elephant head is believed to be an emblem of wisdom. His head often has one full tusk, while the other is broken. It is said that he lost it in a fight or that he used it to dictate the Maha-Bharata to the sage Vyasa. His mount or standard is a rat, a symbol in Hindu fable of the Sagasity & trickery of this world, much like the fox in the west. So it is natural that the rat should first be conquered, then subdued and employed by the being who represents spiritual strength, whom he was bound to recognise as his superior, since his own cunning would tell him that Ganesh would prove a better guide than even his own perspicacity.

LOT 351 : 10" H Wall Relief

Kuan-Yin Praying : Kuan Yin, originally known as Avalokiteswara (‘the Lord who regards’), is a highly revered manifestation of the Buddha who appears in Chinese scriptures around 400 a.d. Kuan Yin means ‘one who hears the cries of the world’ and personifies the compassion of the Buddha for the needy. She is the embodiment of the yin principle. She is usually represented as a young female deity but she has the power to assume whatever form necessary in order to carry out her vow which is to appear in any way necessary to lead beings out of suffering. She is here shown with hands together praying to end the suffering of the needy in the world.

LOT 352 : 14" H

Buddha Relief : Gautama Buddha was born in 563 b.c. in northeast India. The Buddha was the son of the King of the Sakyas. Suddhodana, who ruled at Kapilavastu, on the border of Nepal. His mother was Queen Maya. He was named Siddhartha. He lived amidst the pleasures of palace life and at age 16 he was married to Princess Yasodhara. They had a son named Rahula. After seeing a decrepid old man, an invalid, and an ascetic beggar, he learned of suffering and decided to embrace asceticism. Soon afterwards, at age 29, Siddhartha left the palace and his family and went to a hermitage where he became the monk Gautama, or, as he is still called, Sakyamuni (The ascetic of the Sakyas). One day, meditating under a sacred figtree, he attained perfect illumination (Bodhi). He had become a Buddha. From there on he traveled and preached for 44 years what was to become one of the main religions of the world. He died at Kusinagara at age 80.

LOT 353 : 9"H Wall Hanging

Tibetan Buddha Relief :

LOT 354 : 13.75" H, Wall Hanging

Thai Buddha Relief : Gautama Buddha was born in 563 b.c. in northeast India. The Buddha was the son of the King of the Sakyas. Suddhodana, who ruled at Kapilavastu, on the border of Nepal. His mother was Queen Maya. He was named Siddhartha. He lived amidst the pleasures of palace life and at age 16 he was married to Princess Yasodhara. They had a son named Rahula. After seeing a decrepid old man, an invalid, and an ascetic beggar, he learned of suffering and decided to embrace asceticism. Soon afterwards, at age 29, Siddhartha left the palace and his family and went to a hermitage where he became the monk Gautama, or, as he is still called, Sakyamuni (The ascetic of the Sakyas). One day, meditating under a sacred figtree, he attained perfect illumination (Bodhi). He had become a Buddha. From there on he traveled and preached for 44 years what was to become one of the main religions of the world. He died at Kusinagara at age 80.

LOT 355 : 9" H , Wall Hanging

Khmer Buddha Head : Gautama Buddha was born in 563 b.c. in northeast India. The Buddha was the son of the King of the Sakyas. Suddhodana, who ruled at Kapilavastu, on the border of Nepal. His mother was Queen Maya. He was named Siddhartha. He lived amidst the pleasures of palace life and at age 16 he was married to Princess Yasodhara. They had a son named Rahula. After seeing a decrepid old man, an invalid, and an ascetic beggar, he learned of suffering and decided to embrace asceticism. Soon afterwards, at age 29, Siddhartha left the palace and his family and went to a hermitage where he became the monk Gautama, or, as he is still called, Sakyamuni (The ascetic of the Sakyas). One day, meditating under a sacred figtree, he attained perfect illumination (Bodhi). He had become a Buddha. From there on he traveled and preached for 44 years what was to become one of the main religions of the world. He died at Kusinagara at age 80.

LOT 356 : 4.5"H, Wall Hanging

Sukhotai Buddha Relief : Gautama Buddha was born in 563 b.c. in northeast India. The Buddha was the son of the King of the Sakyas. Suddhodana, who ruled at Kapilavastu, on the border of Nepal. His mother was Queen Maya. He was named Siddhartha. He lived amidst the pleasures of palace life and at age 16 he was married to Princess Yasodhara. They had a son named Rahula. After seeing a decrepid old man, an invalid, and an ascetic beggar, he learned of suffering and decided to embrace asceticism. Soon afterwards, at age 29, Siddhartha left the palace and his family and went to a hermitage where he became the monk Gautama, or, as he is still called, Sakyamuni (The ascetic of the Sakyas). One day, meditating under a sacred figtree, he attained perfect illumination (Bodhi). He had become a Buddha. From there on he traveled and preached for 44 years what was to become one of the main religions of the world. He died at Kusinagara at age 80.

LOT 357 : 11.5" H, Wall Hanging

Khmer Buddha Sheltered by the Naga Snakes : Gautama Buddha was born in 563 b.c. in northeast India. The Buddha was the son of the King of the Sakyas. Suddhodana, who ruled at Kapilavastu, on the border of Nepal. His mother was Queen Maya. He was named Siddhartha. Here the Buddha is depicted in meditation position sheltered by a Naga, it’s body coiled up to serve as a cushion for the Buddha and it’s 7 pronged head spreading over the Buddha’s head as a cover. The Naga is a snakelike animal of Hindu lore. According to legend, the Naga once tried to harm the Buddha but was subdued and became one of the Buddha’s disciples and guardians.

LOT 358 : 10" H Wall Hanging

Buddha Relief : Gautama Buddha was born in 563 b.c. in northeast India. The Buddha was the son of the King of the Sakyas. Suddhodana, who ruled at Kapilavastu, on the border of Nepal. His mother was Queen Maya. He was named Siddhartha. He lived amidst the pleasures of palace life and at age 16 he was married to Princess Yasodhara. They had a son named Rahula. After seeing a decrepid old man, an invalid, and an ascetic beggar, he learned of suffering and decided to embrace asceticism. Soon afterwards, at age 29, Siddhartha left the palace and his family and went to a hermitage where he became the monk Gautama, or, as he is still called, Sakyamuni (The ascetic of the Sakyas). One day, meditating under a sacred figtree, he attained perfect illumination (Bodhi). He had become a Buddha. From there on he traveled and preached for 44 years what was to become one of the main religions of the world. He died at Kusinagara at age 80.

LOT 359 : 12"H, Wall Hanging

Apsara Relief : Apsaras are the beautiful goddesses of water and clouds, heavenly dancers and divine symbols of joy who were born from the foam or milk of the sea and ascended to heaven to entertain an give glory to God. Apsaras are also known as the sensual rewards of kings and heroes who die bravely in Hindu mythology. They always performed with the celestial musicians, Gandharvas, but in Khmer mythology they were elevated alone to special importance in temple decoration specially at the great temple of Angkor Wat where thousands of these graceful females adorn the temple walls. Clad only in a light cloth that hugs the thighs with its ends flying behind and glittering headdresses they are usually represented standing on a lotus blossom or flying in the open air.

LOT 360 : 13" H, Wall Hanging

Dancing Apsaras Relief : Apsaras are the beautiful goddesses of water and clouds, heavenly dancers and divine symbols of joy who were born from the foam or milk of the sea and ascended to heaven to entertain an give glory to God. Apsaras are also known as the sensual rewards of kings and heroes who die bravely in Hindu mythology. They always performed with the celestial musicians, Gandharvas, but in Khmer mythology they were elevated alone to special importance in temple decoration specially at the great temple of Angkor Wat where thousands of these graceful females adorn the temple walls. Clad only in a light cloth that hugs the thighs with its ends flying behind and glittering headdresses they are usually represented standing on a lotus blossom or flying in the open air.

LOT 361 : 15"W x 8"H, Wall Hanging

Brahma Relief : He is the lord of creation and wisdom. Brahma has four faces and at least four hands. The four faces represent the four vedas, and the four hands represent the four directions. The hands hold a book of the vedas (Book of Wisdom & Learning), a string of pearls for counting time, a scepter, a sacrificial spoon which is symbolic of spiritual nature and a water pot to point out that the universe evolved from water symbolizing his function as the creator. In the Upanishads, Brahma is the all-pervading divine essence : everything flowed from this and everything returned to it. Later, legends told that the formless lord of the universe, who existed in himself, created the waters and planted a seed from which a golden egg developed. He was hatched from this egg as Brahma, the absolute creator of the universe. In Hindu cosmology, the time of creation is recorded in the days of the life of Brahma. When Brahma awoke from his sleep and opened his eyes, the universe was created. When he shuts his eyes at the end of the day to go to sleep, the universe comes to an end.

LOT 362 : 12"H, Wall Hanging

Indian Buddha (Teaching pose) : Gautama Buddha was born in 563 b.c. in northeast India. The Buddha was the son of the King of the Sakyas. Suddhodana, who ruled at Kapilavastu, on the border of Nepal. His mother was Queen Maya. He was named Siddhartha. He lived amidst the pleasures of palace life and at age 16 he was married to Princess Yasodhara. They had a son named Rahula. After seeing a decrepid old man, an invalid, and an ascetic beggar, he learned of suffering and decided to embrace asceticism. Soon afterwards, at age 29, Siddhartha left the palace and his family and went to a hermitage where he became the monk Gautama, or, as he is still called, Sakyamuni (The ascetic of the Sakyas). One day, meditating under a sacred figtree, he attained perfect illumination (Bodhi). He had become a Buddha. From there on he traveled and preached for 44 years what was to become one of the main religions of the world. He died at Kusinagara at age 80.

LOT 363 : 11"H, Bronze Statue

Royal Ease Kuan-Yin - Nelson-Atkins Museum of Art, Kansas City 11th-12th century : Kuan Yin, originally known as Avalokiteswara (‘the Lord who regards’), is a highly revered manifestation of the Buddha who appears in Chinese scriptures around 400 a.d. Kuan Yin means ‘one who hears the cries of the world’ and personifies the compassion of the Buddha for the needy. She is the embodiment of the yin principle. She is usually represented as a young female deity but she has the power to assume whatever form necessary in order to carry out her vow which is to appear in any way necessary to lead beings out of suffering. She is often shown holding a vase containing the waters of compassion,the lotus flower of enlightment or the jewel of three treasures.

LOT 364 : 20"H , Bronze Statue

Buddha Sheltered by the Naga Snakes : Gautama Buddha was born in 563 b.c. in northeast India. The Buddha was the son of the King of the Sakyas. Suddhodana, who ruled at Kapilavastu, on the border of Nepal. His mother was Queen Maya. He was named Siddhartha. 0. Here the Buddha is depicted in meditation position sheltered by a Naga, it’s body coiled up to serve as a cushion for the Buddha and it’s 7 pronged head spreading over the Buddha’s head as a cover. The Naga is a snakelike animal of Hindu lore. According to legend, the Naga once tried to harm the Buddha but was subdued and became one of the Buddha’s disciples and guardians.

LOT 365 : 12.5"H, Bronze Statue

Kuan-Yin Standing on a Dragon : Kuan Yin, originally known as Avalokiteswara (‘the Lord who regards’), is a highly revered manifestation of the Buddha who appears in Chinese scriptures around 400 a.d. Kuan Yin means ‘one who hears the cries of the world’ and personifies the compassion of the Buddha for the needy. She is the embodiment of the yin principle. She is usually represented as a young female deity but she has the power to assume whatever form necessary in order to carry out her vow which is to appear in any way necessary to lead beings out of suffering. She is often shown holding a vase containing the waters of compassion,the lotus flower of enlightment or the jewel of three treasures.

LOT 366 : 16" H, Bronze Statue

Nepali Medicine Buddha : Buddha called himself the healer of the suffering world and explained that his Dharma (teaching) was his medicine. In Tibetan Buddhism, the image of Buddha with his bowl of herbal elixers is used to invoke his healing presence. Gautama Buddha was born in 563 b.c. in northeast India. The Buddha was the son of the King of the Sakyas. Suddhodana, who ruled at Kapilavastu, on the border of Nepal. His mother was Queen Maya. He was named Siddhartha. He lived amidst the pleasures of palace life and at age 16 he was married to Princess Yasodhara. They had a son named Rahula. After seeing a decrepid old man, an invalid, and an ascetic beggar, he learned of suffering and decided to embrace asceticism. Soon afterwards, at age 29, Siddhartha left the palace and his family and went to a hermitage where he became the monk Gautama, or, as he is still called, Sakyamuni (The ascetic of the Sakyas). One day, meditating under a sacred figtree, he attained perfect illumination (Bodhi). He had become a Buddha. From there on, he traveled and preached for 44 years what was to become one of the main religions of the world.

LOT 367 : 10.5"H, Bronze Statue

Japanese Buddha :

LOT 368 : 14"H, Bronze Statue

Buddha (Wish granting pose) :

LOT 369 : 8.5" H, Bronze Statue

Indian Buddha (Teaching pose) :

LOT 370 : 18" H, Bronze Statue

Kuan-Yin with Rosary : Kuan Yin, originally known as Avalokiteswara (the Lord who regards), is a highly revered manifestation of the Buddha who appears in Chinese scriptures around 400 a.d. Kuan Yin means “one who hears the cries of the world” and personifies the compassion of the Buddha for the needy. She is the embodiment of the yin principle. She is usually represented as a young female deity but she has the power to assume whatever form necessary in order to carry out her vow which is to appear in any way necessary to lead beings out of suffering. She is often shown holding a vase containing the waters of compassion, the lotus flower of enlightment or the jewel of three treasures. Here she holds a rosary which is a symbol of her compassion for the world.

LOT 371 : 11" H, Bronze Statue

Naga Buddha : Gautama Buddha was born in 563 b.c. in northeast India. The Buddha was the son of the King of the Sakyas. Suddhodana, who ruled at Kapilavastu, on the border of Nepal. His mother was Queen Maya. He was named Siddhartha. Here the Buddha is depicted in meditation position sheltered by a Naga, it’s body coiled up to serve as a cushion for the Buddha and it’s 7 pronged head spreading over the Buddha’s head as a cover. The Naga is a snakelike animal of Hindu lore. According to legend, the Naga once tried to harm the Buddha but was subdued and became one of the Buddha’s disciples and guardians.

LOT 372 : 9.5" H, Bronze Statue

Thousand Arms Kuan-Yin Standing on a Dragon :

LOT 373 : 15.5" H, Bronze Statue

Set of Two Chinese Dragons :

LOT 374 : 7.5"W Each, Bronze Statues

Set of Two Chinese Foo-Dogs :

LOT 375 : 5"H Each, Bronze Statues

Seated Thousand Arms Kuan-Yin :

LOT 376 : 9" H, Bronze Statue

Hand of Buddha (Teaching pose) :

LOT 377 : 10" H, Bronze Statue

Buddha-Shakti :

LOT 378 : 9" H, Bronze Statue

Chenrezi :

LOT 379 : 10" H, Bronze Statue

Thousand Arms Kuan-Yin :

LOT 380 : 3.25" H, Bronze Statue

Green Tara : Tara’s name means One Who Saves. She epitomizes the influence of the older mother-goddess cults upon the Buddhist Mahayana religion. Her concept evolved in India and later she became the most important goddess in the Mahayana pantheon. She holds a very prominent position in Tibet and Nepal. Tara was born from a tear of the Boddhisatwa of Compassion, Avolokiteswora. She was conceived primarily as a savioress and is, therefore, the female counterpart of Avolokiteswora. She is also generally regarded as his consort and is frequencly protrayed with him. Tara is believed to protect the human beings while they are crossing the ocean of existence. Her compassion for living beings, her desire to save them from suffering, is said to be stronger than a mother’s love for her children.

LOT 381 : 12" H, Bronze Statue

Seated Ganesh : Ganesh, also called Ganapati, the elephant headed God of Wisdom and Success is the defender and remover of obstacles and has to be propritiated first before worshiping other Gods. He is one of the sons of Siva and Parvati. He is known as “Sidhi Data” or bestower of success in the work. His elephant head is believed to be an emblem of wisdom. His head often has one full tusk, while the other is broken. It is said that he lost it in a fight or that he used it to dictate the Maha-Bharata to the sage Vyasa. His mount or standard is a rat, a symbol in Hindu fable of the Sagasity & trickery of this world, much like the fox in the west. So it is natural that the rat should first be conquered, then subdued and employed by the being who represents spiritual strength, whom he was bound to recognise as his superior, since his own cunning would tell him that Ganesh would prove a better guide than even his own perspicacity.

LOT 382 : 14" H, Bronze Statue

Shiva : Shiva, the destroyer and regenerator forms part of the main hindu trinity of gods together with Brahma, the creater and vishnu, the protector. Shiva is one of the oldest gods of India. Shiva is the god who destroyed creation after every Kalpa, and at the same time he became the great ascetic who preserved the world with his meditation. He was related to aspects of fertility, and his symbos is the lingam, the male reproductive organ and the source of his power. He is usually represented in one of three forms: As Nataraj in a dancing pose, as a lingam (phallus) or as an anthropomorphic form. This sculture show him as Shiva-Dakshina-Murti or Mahayogi, one of the best known depictions of shiva. He is seated on the tops of the Himalayas in deep meditation. His abode is the sacred mountain Kailash. He is wearing a simple loincloth, sometimes with the hide of an antelope around him, and seated on a tiger skin. He wears a moon sickle in his hair and a snake coil around his neck. In his hands he holds a trident and an ax. His attributes include a water jug. His face is turned to the south (Dakshina), the direction which brings good luck. He is the greatest of all the yogi’s.

LOT 383 : 9" H, Bronze Statue

Brahma : He is the lord of creation and wisdom. Brahma has four faces and at least four hands. The four faces represent the four vedas, and the four hands represent the four directions. The hands hold a book of the vedas (Book of Wisdom & Learning), a string of pearls for counting time, a scepter, a sacrificial spoon which is symbolic of spiritual nature and a water pot to point out that the universe evolved from water symbolizing his function as the creator. In the Upanishads, Brahma is the all-pervading divine essence : everything flowed from this and everything returned to it. Later, legends told that the formless lord of the universe, who existed in himself, created the waters and planted a seed from which a golden egg developed. He was hatched from this egg as Brahma, the absolute creator of the universe. In Hindu cosmology, the time of creation is recorded in the days of the life of Brahma. When Brahma awoke from his sleep and opened his eyes, the universe was created. When he shuts his eyes at the end of the day to go to sleep, the universe comes to an end.

LOT 384 : 11" H, Bronze Statue

Laksmi - Durga :

LOT 385 : 14.5" H, Bronze Statue

Dancing Ganesh : Ganesh, also called Ganapati, the elephant headed God of Wisdom and Success is the defender and remover of obstacles and has to be propritiated first before worshiping other Gods. He is one of the sons of Siva and Parvati. He is known as “Sidhi Data” or bestower of success in the work. His elephant head is believed to be an emblem of wisdom. His head often has one full tusk, while the other is broken. It is said that he lost it in a fight or that he used it to dictate the Maha-Bharata to the sage Vyasa. His mount or standard is a rat, a symbol in Hindu fable of the Sagasity & trickery of this world, much like the fox in the west. So it is natural that the rat should first be conquered, then subdued and employed by the being who represents spiritual strength, whom he was bound to recognise as his superior, since his own cunning would tell him that Ganesh would prove a better guide than even his own perspicacity

LOT 386 : 10" H, Bronze Statue

Crawling Baby Ganesh : Ganesh, also called Ganapati, the elephant headed God of Wisdom and Success is the defender and remover of obstacles and has to be propritiated first before worshiping other Gods. He is one of the sons of Siva and Parvati. He is known as “Sidhi Data” or bestower of success in the work. His elephant head is believed to be an emblem of wisdom. His head often has one full tusk, while the other is broken. It is said that he lost it in a fight or that he used it to dictate the Maha-Bharata to the sage Vyasa. His mount or standard is a rat, a symbol in Hindu fable of the Sagasity & trickery of this world, much like the fox in the west. So it is natural that the rat should first be conquered, then subdued and employed by the being who represents spiritual strength, whom he was bound to recognise as his superior, since his own cunning would tell him that Ganesh would prove a better guide than even his own perspicacity

LOT 387 : 6"W, Bronze Statue

Reclining Ganesh : Ganesh, also called Ganapati, the elephant headed God of Wisdom and Success is the defender and remover of obstacles and has to be propritiated first before worshiping other Gods. He is one of the sons of Siva and Parvati. He is known as “Sidhi Data” or bestower of success in the work. His elephant head is believed to be an emblem of wisdom. His head often has one full tusk, while the other is broken. It is said that he lost it in a fight or that he used it to dictate the Maha-Bharata to the sage Vyasa. His mount or standard is a rat, a symbol in Hindu fable of the Sagasity & trickery of this world, much like the fox in the west. So it is natural that the rat should first be conquered, then subdued and employed by the being who represents spiritual strength, whom he was bound to recognise as his superior, since his own cunning would tell him that Ganesh would prove a better guide than even his own perspicacity

LOT 388 : 7" H, Bronze Statue

Greek Sphinx - Metropolitan Museum of Art, New York. 540-530 B.C. : This sphinx was a part of a Attic grave monument of the middle archaic period that reflected the opulence of the wealthy class of that time. The sphinx was placced atop a tall shaft, decorated with high relief sculpture and crowned by a cavetto capital. The shaft was supported by a rectangular base. All together the monument stands over 13 feet high. The sphinx is shown crouching instead of seated. The greek sphinx had a woman’s head, lion’s body, serpent’s tail and eagle’s wind. In Greek myth the sphinx was sent by Hera to punish Thebes for displeasing the Goddess. The sphinx settled on Mount Phicium, near the city and asked everyone who passed by to answer a riddle she had learned from the three muses: “What being, with only one voice, has sometimes two feet, sometimes three, sometimes four and is weakest when it has the most?” Anyone unable to render the correct answer was immediately slain. One day Oedipus chanced along that road and guessed the answer: “Man, because he crawls on all four as an infant, stands firmly on his two feet in his youth and leans on a staff in his old age.” Completely shattered by her defeat, the sphinx threw herself from the mountain and Oedipus was acclaimed king.

LOT 389 : 10"H

Parthenon Horse - Parthenon Temple, Athens. 465 B.C. : Horses were an integral part of life in ancient Greece. They played an active role in warfare, transportation and in the games such as the Panathenaic Games in Athens with its huge contingent of cavalry riders. Athenian enthusiasm for the horse was clearly expressed in the many civic buildings and temples that were adorned with paintings and sculptures of riders and battle scenes showing cavalry such as in the Parthenon friezes where this wonderful horse head originates. Two deities, Poseidon and Athena, together served as protectors of horses and patrons of horsemanship and equestrian activities. Athena, Patron Goddess of Athens, was credited with the invention of the bridle and the use of chariots. The horse was a symbol of prestige, wealth and status. Social rank has often been defined by the ability to own and maintain a horse. The Aristocratic families that ruled Athens during the 6th century B.C. often took pride in their nobility by starting or ending their name with the word hippos (horse). The aristocracy bred and raced horses from very early times and it seems that chariot racing was the preferred form of competition and maybe the foundation of the Olympic Games

LOT 390 : 8"H, Statue on marble base

Caryatid Column - The Acropolis, Athens. 465 B.C. :

LOT 391 : 26"H

Head of Hygeia - National Archaeological Museum, Athens. 360 B.C. : She was the daughter of Asclepios, the God of medicine. She was worshipped as the Goddess of Health. Her worship probably started in the 4th century at Epidauros in association with the great temple to Asclepios that was bringing thousands of infirm people to that city for medical assistance. The beautiful marble head from which this reproduction was made has a divine sweetness and is thought to have been the work of Skopas, one of the three greatest sculptors of the 4th century B.C. It probably belonged to a statue which stood in the temple of Athena Alea at Tegea in the Peleponnese

LOT 392 : 8"H, Statue on marble base

Head of Pan - National Museum, Athens. 460 B.C. : A God of shepherds and flocks, he was depicted with a reed pipe, a shepherd's crook and being half-man half-goat, with horns, a goat's beard and goat legs. He personifies humanity's animal nature. He was a popular God, though never part of the official Olympian pantheon. Pan has much in common with Dionysos in that he is associated with wine, sex, and passion in general. A Homeric hymm says that he was the son of Hermes by a daughter of Dryops. Pan's mother was frightened by her monstrous offspring, so Hermes took him to Olympus. The Gods were delighted with the child, especially Dionysos, and he was given the name Pan because he made them all happy. (In Greek, Pan means "All").

LOT 393 : 9.5"H, Statue on marble base

Pan Statue : A God of shepherds and flocks, he was depicted with a reed pipe, a shepherd's crook and being half-man half-goat, with horns, a goat's beard and goat legs. He personifies humanity's animal nature. He was a popular God, though never part of the official Olympian pantheon. Pan has much in common with Dionysos in that he is associated with wine, sex, and passion in general. A Homeric hymm says that he was the son of Hermes by a daughter of Dryops. Pan's mother was frightened by her monstrous offspring, so Hermes took him to Olympus. The Gods were delighted with the child, especially Dionysos, and he was given the name Pan because he made them all happy. (In Greek, Pan means "All").

LOT 394 : 10.5" H

Aphrodite of Melos - Louvre Museum, Paris, 200BC : Her graceful body symbolizes an ideal of beauty that many long for but none attain. The French named her the Venus of Milo. In 1820 a peasant named Yorgos found her broken body in an underground cavern on the Aegean island of Melos. Later she was taken out of Greece under unclear circumstances to be taken to Paris where she was to be admired by the millions of visitors to that country's great museum-the Louvre! Aphrodite was the Goddess of Love, identified in Rome with Venus. Although Homer describes Aphrodite as the daughter of Zeus and Dion, the more popular view was that she was conceived in the foam of the ocean from the seed of Uranus. Dropped there when he was castrated, her name meaning "foam-born". Aphrodite was married to Hephaestus, but she loved Ares and she was known for her many love affairs, notably with Adonis and Anchises.

LOT 395 : 20" H, Statue on marble base

The Contemplative Athena Relief - Acropolis Museum, Athens. 460 B.C. : Athena was the Goddess of wisdom and women's crafts in the mythology of the Greeks. She was also a defender against evil and as such she was a warrior Goddess par excellence. She was the daughter of Zeus and Metis. When Metis became pregnant, Gaia and Uranus told Zeus that after giving birth to a daughter, she would then have a son by Zeus who would later dethrone him. On Gaia's advice, Zeus swallowed Metis. When the time came for the child to be born, Zeus was afflicted with a dreadful headache and sought the help of Hephaestus who split his skull with a bronze axe to relieve the pain. A girl in full armor sprang forth from his head: It was Athena. Athena's attributes were the spear, the helmet and the Aegis (a goat-skin shield). She attached the Gorgon's head which Perseus had given her to her shield, and this turned to stone every living thing that looked at it.

LOT 396 : 17"H x 10"W , Wall Hanging

Mask of Pan : A God of shepherds and flocks, he was depicted with a reed pipe, a shepherd's crook and being half-man half-goat, with horns, a goat's beard and goat legs. He personifies humanity's animal nature. He was a popular God, though never part of the official Olympian pantheon. Pan has much in common with Dionysos in that he is associated with wine, sex, and passion in general. A Homeric hymn says that he was the son of Hermes by a daughter of Dryops. Pan's mother was frightened by her monstrous offspring, so Hermes took him to Olympus. The Gods were delighted with the child, especially Dionysos, and he was given the name Pan because he made them all happy. (In Greek, Pan means "All").

LOT 397 : 9.5"H , Wall Hanging

Demeter Relief - Versailles Municipal Library, France. 18th century : This medallion represents Demeter, maternal Goddess of the Earth, and especially of cultivated land. One of her attributes is wheat, shown here on her head. The adventures of Demeter and her daughter Persephone constitute the central myth of The Eleusinian Mysteries, the most important mysteries of classic Greece.

LOT 398 : 14.5"H x 11"W , Wall Hanging

Poseidon Relief : Poseidon was above all, the God of the Sea, who was capable of calming the waves or of summoning up terrible storms and so taking the lives of those who displayed disrespect for him. One of the twelve Olympic Gods, he was brother of the mighty Zeus and son of Cronus and Rhea. Poseidon helped Zeus in the Battle of the Titans and received his famous trident, which became his symbol from the Cyclopes. He also contributed to the victory of the Gods in the Battle of the Giants. Zeus, Poseidon and Hades shared out power over the cosmos. Zeus was given the sky, Poseidon the sea, and Hades the underworld. He was usually depicted voyaging across the waves in his golden chariot, drawen by monstrous animals, hald horse and half serpent, surrounded by dolphins, nereids, and the other creatures of the deep. Poseidon was the progenitor of many mythical heroes such as Proteus, Orion, Theseus, etc.

LOT 399 : 13.5W x 10.5"H

Fauns pressing grapes - The Louvre Museum, Paris. 18th century : This Neo-classic sculpture represents the “Lenea” or festival of the wine-pressing which is an Athenian fertility celebration in honor of Dionysos (also known as Bacchus in Rome), the Dionysian mysteries being one of the main components of the old Greek religion. As the wine was sacred to Dionysos, the grapes became one of his main attributes and symbols. The followers of Dionysos likened the plucking, crushing and pressing of the grape to form a pleasing nectar to the progress of the soul, which is formed whole and then crushed and pressed into shape by the trials of its earthly adventures, eventually to re-emerge as a refined and useful intelligence. This analogy was seen in the life of Dionysos himself, whose purification by way of madness and suffering finally gained him admittance to Olympus.

LOT 400 : 12"H x 23"W

Fauns and Bacchantes Dancing - The Louvre Museum, Paris. 18th century : This sculpture shows a celebration by the fauns (male followers of Dionysos) and the Bacchantes or Maenads who were women followers of Dionysos frenzied with wine that rushed through woods and mountains swept away in a fierce ecstasy. They celebrated his orgies with drunkenness, nakedness, singing and sacramental feasting. The Gods of Olympus loved order and beauty in their sacrifices and their temples. The madwomen, the Bacchantes, had no temples. They went to the wilderness to worship. There was much that was lovely, good and freeing in this worship under the open sky and yet alway present, too, was the horrible bloody feast. The worship of Dionysos was centered in these two ideas so far apart-of freedom and ecstatic joy and of savage brutality. The God of wine could give either of them to his worshippers. Throughout the story of his life, he is sometimes man’s blessing, sometimes his ruin.

LOT 401 : 13"H x 24"W

Celtic Cross : The Celts were the ancient inhabitants of much of Europe. A spiritual people, their rich mythology and symbology later merged with the Christian beliefs they embraced to create a distinctive art seen especially in Ireland and Scotland. The Celtic Cross is known throughout the world as the emblem of Celtic Christianity and it can be considered the symbol of Celticness itself. Celtic Crosses began to appear during the fifth century A.D., it’s shape is derived from a pagan sun symbol, the sunwheel, which later became a symbol of the Christian Godhead. The sunwheel was originally a cross surrounded by a circle with a center stone representing the sun and “mock suns” at the four quarters. The stone at the center of the circle also represents the navel of the world. The stone pillar of the cross also embodies phallic and fertility characteristics. The cross represents eternal life; it’s horizontal axis being the earthly world and the vertical axis the heavenly world coming together as the union of Heaven and Earth. Celtic Crosses are imbued with continuous and interwoven knot and spiral motifs symbolizing the continuity of life, death and rebirth. Celtic Crosses often have images of the Christian cruxifiction, patriarchs and saints.

LOT 402 : 12" H, Wall Hanging

Pictish Cross : The Celts were the ancient inhabitants of much of Europe. A spiritual people, their rich mythology and symbology later merged with the Christian beliefs they embraced to create a distinctive art seen especially in Ireland and Scotland. The Celtic Cross is known throughout the world as the emblem of Celtic Christianity and it can be considered the symbol of Celticness itself. Celtic Crosses began to appear during the fifth century A.D., it’s shape is derived from a pagan sun symbol, the sunwheel, which later became a symbol of the Christian Godhead. The sunwheel was originally a cross surrounded by a circle with a center stone representing the sun and “mock suns” at the four quarters. The stone at the center of the circle also represents the navel of the world. The stone pillar of the cross also embodies phallic and fertility characteristics. The cross represents eternal life; it’s horizontal axis being the earthly world and the vertical axis the heavenly world coming together as the union of Heaven and Earth. Celtic Crosses are imbued with continuous and interwoven knot and spiral motifs symbolizing the continuity of life, death and rebirth. Celtic Crosses often have images of the Christian cruxifiction, patriarchs and saints.

LOT 403 : 12" H, Wall Hanging

Celtic Sun Cross - County Kilkenny, Ireland. 900 A.D. : The Celts were the ancient inhabitants of much of Europe. A spiritual people, their rich mythology and symbology later merged with the Christian beliefs they embraced to create a distinctive art seen especially in Ireland and Scotland. The Celtic Cross is known throughout the world as the emblem of Celtic Christianity and it can be considered the symbol of Celticness itself. Celtic Crosses began to appear during the fifth century A.D., it’s shape is derived from a pagan sun symbol, the sunwheel, which later became a symbol of the Christian Godhead. The sunwheel was originally a cross surrounded by a circle with a center stone representing the sun and “mock suns” at the four quarters. The stone at the center of the circle also represents the navel of the world. The stone pillar of the cross also embodies phallic and fertility characteristics. The cross represents eternal life; it’s horizontal axis being the earthly world and the vertical axis the heavenly world coming together as the union of Heaven and Earth. Celtic Crosses are imbued with continuous and interwoven knot and spiral motifs symbolizing the continuity of life, death and rebirth. Celtic Crosses often have images of the Christian cruxifiction, patriarchs and saints.

LOT 404 : 12" H, Wall Hanging

Celtic Cross : The Celts were the ancient inhabitants of much of Europe. A spiritual people, their rich mythology and symbology later merged with the Christian beliefs they embraced to create a distinctive art seen especially in Ireland and Scotland. The Celtic Cross is known throughout the world as the emblem of Celtic Christianity and it can be considered the symbol of Celticness itself. Celtic Crosses began to appear during the fifth century A.D., it’s shape is derived from a pagan sun symbol, the sunwheel, which later became a symbol of the Christian Godhead. The sunwheel was originally a cross surrounded by a circle with a center stone representing the sun and “mock suns” at the four quarters. The stone at the center of the circle also represents the navel of the world. The stone pillar of the cross also embodies phallic and fertility characteristics. The cross represents eternal life; it’s horizontal axis being the earthly world and the vertical axis the heavenly world coming together as the union of Heaven and Earth. Celtic Crosses are imbued with continuous and interwoven knot and spiral motifs symbolizing the continuity of life, death and rebirth. Celtic Crosses often have images of the Christian cruxifiction, patriarchs and saints.

LOT 405 : 6.5" H, Wall Hanging

Celtic Sun Cross - County Kilkenny, Ireland. 900 A.D. : The Celts were the ancient inhabitants of much of Europe. A spiritual people, their rich mythology and symbology later merged with the Christian beliefs they embraced to create a distinctive art seen especially in Ireland and Scotland. The Celtic Cross is known throughout the world as the emblem of Celtic Christianity and it can be considered the symbol of Celticness itself. Celtic Crosses began to appear during the fifth century A.D., it’s shape is derived from a pagan sun symbol, the sunwheel, which later became a symbol of the Christian Godhead. The sunwheel was originally a cross surrounded by a circle with a center stone representing the sun and “mock suns” at the four quarters. The stone at the center of the circle also represents the navel of the world. The stone pillar of the cross also embodies phallic and fertility characteristics. The cross represents eternal life; it’s horizontal axis being the earthly world and the vertical axis the heavenly world coming together as the union of Heaven and Earth. Celtic Crosses are imbued with continuous and interwoven knot and spiral motifs symbolizing the continuity of life, death and rebirth. Celtic Crosses often have images of the Christian cruxifiction, patriarchs and saints.

LOT 406 : 6.5" H, Wall Hanging

Coronation scene of Seti I, Painted - Temple of Abidos, Egypt. 19th. Dynasty 1317 B.C. : This relief shows King Seti I on his throne at his coronation carrying the crook and flail scepters symbols of kingship, wearing the Atef crown and supported on one side by Edjo, the cobra Goddess of Upper Egypt and by Nekhbet, the vulture Goddess of Lower Egypt in the missing part of the relief, both in the guise of elegant Queens. A capable ruler, excellent field commander and energetic builder, Seti I embarked on a series of military campaigns in an effort to secure the boundaries of Egypt, echoing the achievement of Kings of the XVIII dynasty before Akhenaten. The sculpted reliefs of this reign attained a degree of refinement rarely excelled, particularly in the colorful scenes of the Abydos temple and his royal tomb in the Valley of the Kings. The tomb, the deepest and longest in the valley, established an entirely new type of layout, an extended tunnel decorated with elaborate representations of the journey of the sun, incorporating the king, through the night sky and the mysteries of solar rebirth. Seti I was seceded by his son, the famous Ramses II The Great.

LOT 407 : 33"H x 29"W, Wall Hanging of Casting stone with fiberglass reinforcement

Coronation scene of Seti I - Temple of Abidos, Egypt. 19th. Dynasty 1317 B.C. : This relief shows King Seti I on his throne at his coronation carrying the crook and flail scepters symbols of kingship, wearing the Atef crown and supported on one side by Edjo, the cobra Goddess of Upper Egypt and by Nekhbet, the vulture Goddess of Lower Egypt in the missing part of the relief, both in the guise of elegant Queens. A capable ruler, excellent field commander and energetic builder, Seti I embarked on a series of military campaigns in an effort to secure the boundaries of Egypt, echoing the achievement of Kings of the XVIII dynasty before Akhenaten. The sculpted reliefs of this reign attained a degree of refinement rarely excelled, particularly in the colorful scenes of the Abydos temple and his royal tomb in the Valley of the Kings. The tomb, the deepest and longest in the valley, established an entirely new type of layout, an extended tunnel decorated with elaborate representations of the journey of the sun, incorporating the king, through the night sky and the mysteries of solar rebirth. Seti I was seceded by his son, the famous Ramses II The Great.

LOT 408 : 33"H x 29"W, Wall Hanging of Casting stone with fiberglass reinforcement

Egyptian Pricess Relief, Painted - Temple of Abidos, Egypt. 19th. Dynasty 1317 B.C. : Her name was Nes-Amun. She was one of the more than fifty daughters of Ramses II. Princesses were called Royal Daughters. They often had their own palaces or at least their own compound within the palace with an extensive staff of attendants. Sometimes the older daughter would marry their father after the death of their mother thus becoming the new Chief Queen. Often when a brother became king, he would marry the older sister probably following the tradition of the gods Osiris and Isis, who were brother and sister as well as husband and wife. A princess was often very involved in religious duties usually as priestesses of the goddess Hathor. In this wall fragment, Nes-Amun wears an elaborate wig and a white linen dress while presenting an offering to a deity.

LOT 409 : 39"H x 17"W , Wall Hanging of Casting stone with fiberglass reinforcement

Egyptian Pricess Relief - Temple of Abidos, Egypt. 19th. Dynasty 1317 B.C. : Her name was Nes-Amun. She was one of the more than fifty daughters of Ramses II. Princesses were called Royal Daughters. They often had their own palaces or at least their own compound within the palace with an extensive staff of attendants. Sometimes the older daughter would marry their father after the death of their mother thus becoming the new Chief Queen. Often when a brother became king, he would marry the older sister probably following the tradition of the gods Osiris and Isis, who were brother and sister as well as husband and wife. A princess was often very involved in religious duties usually as priestesses of the goddess Hathor. In this wall fragment, Nes-Amun wears an elaborate wig and a white linen dress while presenting an offering to a deity.

LOT 410 : 39"H x 17"W , Wall Hanging of Casting stone with fiberglass reinforcement

Anubis Relief, Painted - Temple of Abidos, Egypt. 19th.Dynasty 1317 B.C. : Anubis, God of the Dead, represented with a head of a jackal or simply as a jackal opened the road to the other world and presided over embalmments. After a funeral, Anubis would take the deceased by the hand and introduce him into the presence of the sovereign judges where the soul of the deceased would be weighed. Anubis was the Guardian of Offerings brought to the ceremony by heirs of the deceased and he also guarded the mummy from evil forces in the night. When the body was embalmed, a priest wearing a jackal mask acted as Anubis's representative. He also was the guardian of the Sacred Esoteric Mysteries. The origin of this God lay in the fact that jackals could be heard howling in the desert to the west of the Nile at sunset-at the time when burials took place. Here, Anubis is shown carrying the long ‘was’ scepter and the crook and flail, symbols of kingship.

LOT 411 : 38"H x 22"W , Wall Hanging of Casting stone with fiberglass reinforcement

Anubis Relief - Temple of Abidos, Egypt. 19th.Dynasty 1317 B.C. : Anubis, God of the Dead, represented with a head of a jackal or simply as a jackal opened the road to the other world and presided over embalmments. After a funeral, Anubis would take the deceased by the hand and introduce him into the presence of the sovereign judges where the soul of the deceased would be weighed. Anubis was the Guardian of Offerings brought to the ceremony by heirs of the deceased and he also guarded the mummy from evil forces in the night. When the body was embalmed, a priest wearing a jackal mask acted as Anubis's representative. He also was the guardian of the Sacred Esoteric Mysteries. The origin of this God lay in the fact that jackals could be heard howling in the desert to the west of the Nile at sunset-at the time when burials took place. Here, Anubis is shown carrying the long ‘was’ scepter and the crook and flail, symbols of kingship.

LOT 412 : 38"H x 22"W , Wall Hanging of Casting stone with fiberglass reinforcement

The offering of Maat, Painted - Temple of Abydos, Egypt - 1317B.C. : Here, Pharaoh Seti I, (father of Ramses II) is seen offering to the Gods the seated image of Maat, held in his hand like a doll. The Goddess Maat is the personification of all the elements of cosmic harmony as established by the Creator-God at the beginning of time-including truth, justice, law, world order and moral integrity. She is shown as a lady wearing on her head an ostrich feather. This scene establishes the king as the representative of divine order since Maat was seen legitimizing his authority to govern and to uphold the laws of the universe which she embodies.

LOT 413 : 38"H x 20.5"W , Wall Hanging of Casting stone with fiberglass reinforcement

The offering of Maat - Temple of Abydos, Egypt - 1317B.C. : Here, Pharaoh Seti I, (father of Ramses II) is seen offering to the Gods the seated image of Maat, held in his hand like a doll. The Goddess Maat is the personification of all the elements of cosmic harmony as established by the Creator-God at the beginning of time-including truth, justice, law, world order and moral integrity. She is shown as a lady wearing on her head an ostrich feather. This scene establishes the king as the representative of divine order since Maat was seen legitimizing his authority to govern and to uphold the laws of the universe which she embodies.

LOT 414 : 38"H x 20.5"W , Wall Hanging of Casting stone with fiberglass reinforcement

Egyptian Priest Relief, Painted - Temple of Abidos, Egypt. 19th. Dynasty 1317 B.C. : This relief depicts the young prince Seti I with his arm raised in the summoning position as part of a religious ritual. Here, he is serving in a priestly function as a innmutef priest symbolizing the divine child Horus with hair in a sidelock to represent youth and dressed with a leopard skin. As the eldest son of the royal family who cared for the deceased king he summons the revered spirit of the King, now identified with Osiris, and pronounces a formula before the image of his father Ramses I. A capable ruler, excellent field commander and energetic builder, Seti I embarked on a series of military campaigns in an effort to secure the boundaries of Egypt. Echoing the achievements of kings of the XVIII dynasty before Akhenaten, he inaugurated a major program to build and refurbish religious monuments at Thebes and Abydos. He took the additional title of “Repeater of births” to indicate that he regarded himself as the inaugurator of a new era. Seti I was seceded by his son, the famous Ramses II the Great.

LOT 415 : 31"H x 17"W, Wall Hanging of Casting stone with fiberglass reinforcement

Egyptian Priest Relief - Temple of Abidos, Egypt. 19th. Dynasty 1317 B.C. : This relief depicts the young prince Seti I with his arm raised in the summoning position as part of a religious ritual. Here, he is serving in a priestly function as a innmutef priest symbolizing the divine child Horus with hair in a sidelock to represent youth and dressed with a leopard skin. As the eldest son of the royal family who cared for the deceased king he summons the revered spirit of the King, now identified with Osiris, and pronounces a formula before the image of his father Ramses I. A capable ruler, excellent field commander and energetic builder, Seti I embarked on a series of military campaigns in an effort to secure the boundaries of Egypt. Echoing the achievements of kings of the XVIII dynasty before Akhenaten, he inaugurated a major program to build and refurbish religious monuments at Thebes and Abydos. He took the additional title of “Repeater of births” to indicate that he regarded himself as the inaugurator of a new era. Seti I was seceded by his son, the famous Ramses II the Great.

LOT 416 : 31"H x 17"W, Wall Hanging of Casting stone with fiberglass reinforcement

Archangel Gabriel (LARGE) sounding the trumpet - Church of San Michelle, Florence, Italy. 1359 A.D. : Gabriel means “God is my strength”. Gabriel is the Angel of annunciation, resurrection, mercy, vengeance, death and revelation. Gabriel is the ruler of heaven and ruler of the Cherubim. Gabriel is said to sit on the left hand side of God. Mohammed claimed it was Gabriel who dictated to him the Koran. In Jewish legend it was Gabriel who dealt death and destruction to Sodom and Gommorah. Gabriel appeared to Daniel to tell him of the coming of a Messiah: a message which later he repeats to Mary in the annunciation. Earlier he had announced to Zacharias the coming of John the Baptist.

LOT 417 : 44"W x 24"H , Wall Hanging of Casting stone with fiberglass reinforcement

Aztec Solar Calendar - Antropological Museum, Mexico City. 1500 A.D : The Aztec calendar set out the mathematical formulas according to which the whole universe was organized and which governed the actions of men and Gods alike. The calendar is actually two: the Xiupohualli or the count of the days and the Tonalpohualli or the count of destiny. The calendar had to be consulted through the priests before engaging in any activity whether it was farming, warfare, religion or commerce. In addition to the count of the days, it also has astronomical data like the phases of the moon and Venus and the years of Mercury and Mars. The calendar also mentions the four eras of humanity known as ‘suns’ before our own: all ended in cataclysm. The sun that is now ours, the fifth one, Nahui Ollin (“four earthquake”) is supposed to end by cataclysmic earthquakes. The Aztecs attributed the invention of the calendar to the God Quetzalcoatl. The calandar weighs 25 tons and has a diameter of eleven feet.

LOT 418 : 17" H, Wall Hanging

Aztec Double-Headed Serpent - British Museum, London. 15th century : Splendid relic of the Aztecs, who rose from squalid origins to power and riches in just 200 years, this double-headed rattlesnake serpent was used as a ceremonial chest ornament that may have been worn by a priest. It is incrusted with scales of turquoise, a stone the Aztecs imported from the outposts of their empire to adorn some of their most beautiful possessions. This piece is the work of a Mixtec jeweller, and dates from the 15th century. Mixtec craftsmanship was highly prized; an entire enclave of artisans from this culture lived in the Aztec city of Tenochtitlan. In mesoamerican culture, serpents were very important religious symbols, the shedding of their skin made them a symbol of rebirth and renewal. One of the main mesoamerican deities, Quetzalcoatl, was represented as a feathered serpent.

LOT 419 : 11"H x 19"W

Tablet of the Foliated Tree of Life - Temple of the Foliated Cross, Palenque, Mexico. 698 A.D. : The original of this tablet is located in the temple of the foliated cross, one of the three temples in Palenque, known as the Group of the Cross, built by King Chan-Bahlum to commemorate and celebrate his accession rites to the throne after the death of his father, king Pacal. The tablet shows Chan Bahlum on the left side, dressed simply with a loin cloth and his long hair wrapped in readiness to don the heavy headdress of kingship. His father Pacal stands on the other side, dressed in burial apparel. Pacal holds the insignia of royal power, the passing of authority will occur at the end of ten days of accession rites. In the center we see a variant of the tree of life formed by a maize plant rising from a band of water and the Kan-cross Waterlily Monster, which symbolizes the waters of the earth as the source of life. In the crown of the tree sits a huge water bird wearing the mask of the Celestial Bird. The branches of the tree are ears of maize manifested as human heads since in Maya tradition, human flesh was made from maize dough. Pacal is shown giving to his son a personified bloodletter, an instrument for bloodletting rituals and vision quests. It drew the blood of the King and brought on the trance that opened the portal to Shivalva (the Maya underworld) and brought forth the Gods.

LOT 420 : 13"h x 19"W

Maya Tablet of the Sun - Temple of the Sun, Palenque, Mexico. 692 A.D : The original of this tablet is located at the Temple of the Sun, one of the three temples in Palenque known as the Group of the Cross, built by king Chan-Bahlum to commemorate and celebrate his accession rites to the throne after the death of his father, king Pacal. The tablet shows king Pacal on the left side, dressed in burial apparel and holding a full-bodied eccentric flint and a shield made of a flayed human face, a symbol of war. Pacal still holds the insignia of royal power; the passing of authority will occur at the end of ten days of accession rites. Chan-Bahlum is shown on the other side holding an offering manequin of maya god “K”. At the center of the tablet, we see a Sun Jaguar shield and crossed spears supported aloft by an underworld throne with bleeding jaguar heads emerging from one axis, and bleeding snakes from the other, representing decapitation sacrifice. The throne rests on the shoulders of god “L” and another aged god from the Underworld. Both are bent over like captives, in representation of the defeat of the Lords of Death at the beginning of time by the Hero Twins who became the source of life through magical rebirth after becoming captive sacrificial victims.

LOT 421 : 16"H x 20.5"W

Mask of Death & Rebirth :

LOT 422 : 5.5"H x 7.5"W

Toltec Atlantean Warrior - Tula, Mexico. 900 A.D :

LOT 423 : 14.5"H

Olmec Colossal Head - La Venta, Mexico. 1000B.C. : Few of the world’s art treasures conceal more mysteries than the stone sculptures of the Olmecs, the Gulf Coast people who created Mesoamerica’s first civilization more than 3000 years ago. The objects range from exquisite miniatures fashioned from jade and serpentine to colossal stone heads. One feature that distinguishes them from the art of later peoples is their stark realism, many of the sculptures are fashioned in the round, portraying the human figure in squat but accurate detail. Almost two meters high and weighing over 15 tons, this monumental head is one of four found at La Venta, near the Gulf Coast. Scholars speculate that they may have portrayed rulers of the city. The Olmecs wrought these colossal heads from huge boulders of basalt from the Tuxtla mountains, 100 km away and they must have floated them on balsa rafts along the slow-moving rivers of the Gulf Coast. At La Venta, the four colossal heads were set as if to guard the ceremonial core of the site, three to the south and one to the north, all with their backs to the architecture

LOT 424 : 8.25"H

Maya Vision Serpent - Yaxchilan, Mexico. 755 A.D. : The maya vision serpent symbolizes the passage of ancestral spirits and the gods of Xibalba (the maya underworld) into our world. In states of ecstasy and usually following penis or tongue bloodletting, particularly as graphically depicted at Yaxchilan, maya mobility invoke the vision serpent. During special ceremonies, bloody papers were burnt in a sacred bowl and from it, this great undulating serpent rises and from its mouth emerges an ancestor or, occasionally, a deity. The serpent itself then, is probably what one sees in the clouds of smoke rising from the burning sacrifice, and cloud symbols may flank the vision serpent’s body. The vision serpent can be the vehicle by which ancestors or deities make themselves manifest to humanity. This sculpture depicts a version with a single head and personified blood scrolls attached to its tail.

LOT 425 : 8"H

Maya Calendar : The Maya Calendar depicted here was called “the Haab”, the Maya solar calendar of 365 days. It was divided into 18 months of 20 days each with a period of 5 days left over at the end of the year. This short 5 day month is called Uayeb, “the resting or sleep of the year”. The Maya also used another calendar of 260 days called the sacred round or Tzolkin composed of 13 months of 20 days. A cycle of 52 solar years, called the calendar round was also used. The calendar round of 52 years included both the Haab and Tzolkin calendars intermeshing with each other. Any specific day in the 260 day calendar had a unique corresponding position in the 360 day calendar but that corresponding position would not repeat itself again for 52 solar years. This calendar sculpture shows the Maya God of Time at the center, supporting the burden of time on his back. He is surrounded by the hieroglyphs of the 19 months.

LOT 426 : 10.5"H

Feathered Serpent Head of Quetzalcoaltl - Pyramid of Quetzalcoaltl, Teotihuacan, Mexico. 300 A.D. : One of the great Gods of Ancient Mesoamerica, Quetzalcoatl is a synthesis of serpent and bird. The name means “quetzal serpent”. The quetzal was a sacred bird of very beautiful feathers which were used in elite and ritual costumes. Quetzalcoatl, the patron of rulership, had several incarnations, the most important were as a creator god, as Ehecatl, the God of Wind; as the Morning Star; and asTopiltzin, a semi-human ruler, unique among the Gods. The priestly Quetzalcoatl was often contrasted to his dark shamanic brother Tezcatlipoca, the God of war, and their relation veer between enmity and alliance. According to Aztec and Maya creation accounts, after the great floods ended the era of the Fourth Sun, Quetzalcoatl and Tezcatlipoca raised the heavens and create the Earth. Since no people inhabitated the earth, Quetzalcoatl descended to the underworld to retrieve the remains of the people destroyed by the flood. Their bones were ground like corn into a fine meal and upon it the gods let their blood, thus creating the flesh of the present race and the era of the Fifth Sun.

LOT 427 : 7"H x 7"W x 6"D, Wall Hanging

Head of Maya King Pacal - Palenque, Mexico. 692 A.D. :

LOT 428 : 8"H

Archangel Michael - New York Metropolitan Museum of Art 1475 A.D : His name means “Who is as God”. Michael ranks as the greatest of all angels whether in Jewish, Christian, or Islamic writings. He is Chief of the Order of Virtues, Chief of Archangels, Prince of the Presence, the Angel of Repentance, Righteousness, Mercy, and Sanctification: Also, Ruler of the 4th Heaven and Conqueror of Satan. It is Michael who will descend from heaven with “the Key to the Abyss and a great chain in his hand” to “bind the Satanic Dragon for 1000 years” (Revelation: 20:1). It is foretold in Daniel that when the world is once again in real trouble, Michael will reappear. Among the Dead Sea Scrolls there is one titled “The War of the Sons of Light against the Sons of Darkness”. Here, Michael is called the “Prince of Light”. Here, Michael, holding in his hand the Scales of Justice, is represented as the Angel of the Final Reckoning and the Weigher of Souls. The Museum original of this sculpture was carved by Andrea De La Robia in 1475 A.D.

LOT 429 : 9"H x 17.5"W

Archangel Raphael - L.A. County Museum of Art, Los Angeles. 1600 A.D : Raphael means “God has Healed”. Raphael is above all the Angel of Healing as his name denotes, but also is the chief ruling Prince of the 2nd Heaven, Chief of the Order of Virtues, Guardian of the Tree of Life in Eden and by his own admission “One of the 7 Holy Angels” that attend the throne of God. This he reveals to Tobias in the Book of Tobit. He is declared to be “One of the Four Presences set over all the diseases and wounds of the children of men”(Enoch 1). and in the Zohar is “charged to heal the Earth”. Raphael is one of the six Angels of Repentance, Angel of Prayer, Love, Joy and Light. He is said to have the six wings of a Seraphin but at the same time belongs to the Cherubim, the Dominions and the Powers.

LOT 430 : 13"H

Archangel Gabriel - Ghent Cathedral, Belgium. 1432 A.D. : Gabriel means “God is my strength”. Gabriel is the Angel of annunciation, resurrection, mercy, vengeance, death and revelation. Gabriel is the ruler of heaven and ruler of the Cherubim. Gabriel is said to sit on the left hand side of God. Mohammed claimed it was Gabriel who dictated to him the Koran. In Jewish legend it was Gabriel who dealt death and destruction to Sodom and Gommorah. Gabriel appeared to Daniel to tell him of the coming of a Messiah: a message which later he repeats to Mary in the annunciation. Earlier he had announced to Zacharias the coming of John the Baptist.

LOT 431 : 13"H

Archangel Uriel : His name means “fire of God”. He presides over Tartarus or Hell. Being both a Seraphin and a Cherubim, he is identified as one of the Angels who helped bury Adam and Abel in Paradise: as the dark Angel who wrestled with Jacob at Peniel: as the destroyer of the Host of Sennacherib and as the messenger sent by God to warn Noah of the deluge. Often identified as the Cherub who stands at the gate of Eden with a fiery sword or as in Enoch I where he is the Angel who “watches over thunder and terror”. In the apocalypse, Uriel appears as the Angel of Repentance who is graphically depicted as being about as pitiless as any demon you would not want to meet in hell. Here he is shown holding his fiery sword of justice in one hand and the keys to the gates of Hades in the other hand.

LOT 432 : 13"H

Archangel Michael slaying the Devil - Church of Santa Maria Della Concezione, Rome. 1626 A.D : His name means “Who is as God”. Michael ranks as the greatest of all Angels whether in Jewish, Christian or Islamic writings. He is Chief of the Order of Virtues, Chief of Archangels, Prince of the Presence, Angel of Repentance, Righteousness, Mercy and Sanctification: also, Ruler of the 4th Heaven, and Conqueror of Satan. In Jewish lore, he is regarded as the forerunner of the Shekinah. It is foretold in Daniel that when the world is once again in real trouble, Michael will reappear. It is Michael who will descend from Heaven with “the Key to the Abyss and a great chain in his hand” and will bind the Satanic Dragon for 1000 years (Revelation: 20:1). “And there was war in heaven: Michael and his Angels fought against the dragon....and the great dragon was cast out.” (Revelation: 12:7-9).

LOT 433 : 14"H

Archangel Michael - British Museum, London. 1600 A.D. : His name means “Who is as God”. Michael ranks as the greatest of all angels whether in Jewish, Christian, or Islamic writings. He is Chief of the Order of Virtues, Chief of Archangels, Prince of the Presence, the Angel of Repentance, Righteousness, Mercy, and Sanctification: Also, Ruler of the 4th Heaven and Conqueror of Satan. It is Michael who will descend from heaven with “the Key to the Abyss and a great chain in his hand” to “bind the Satanic Dragon for 1000 years” (Revelation: 20:1). It is foretold in Daniel that when the world is once again in real trouble, Michael will reappear. Among the Dead Sea Scrolls there is one titled “The War of the Sons of Light against the Sons of Darkness”. Here, Michael is called the “Prince of Light”.

LOT 434 : 13"H

Mary and Child :

LOT 435 : 10.5"H

Renaissance Cross :

LOT 436 : 27.5"H

Byzantine Cross :

LOT 437 : 15"H

Black Madonna :

LOT 438 : 9.5"H

Byzantine Cross - Monastery of Mount Athos, Greece :

LOT 439 : 9.5"H

The Tree of Life, Icon : This Bizantine Icon shows the Tree of Life with Christ in the center of the tree and the twelve apostols emerging from the branches of the tree. The Tree of Life also shows the hierarchy of the church, with Christ as the head of the church followed by the apostols.

LOT 440 : 10"H, Gilded old wood frame with Gold leaf polychrome

Our Lady of Corfu , Icon :

LOT 441 : 8"H , Sterling silver on wood frame with Goldplated silver / Polychrome image

St. Nicholas, Icon :

LOT 442 : 8"H , Sterling silver on wood frame with Goldplated silver / polychrome image

Archangel Michael, Icon :

LOT 443 : 8"H , Sterling silver on wood frame with Goldplated silver / polychrome image

The Last Supper, Icon :

LOT 444 : 8"H , Sterling silver on wood frame with Goldplated silver / polychrome image

The Old Testament Trinity, Icon :

LOT 445 : 8"H , Sterling silver on wood frame with Goldplated silver / polychrome image

Alabaster Chest : The original chest found beneath the bed in King Tutankhamun's tomb contained an ivory pomegranate. Cartouches of the King and Queen are inscribed on the front. The Knobs were used to secure the box by means of a cord wrapping.

LOT 446 : 7.5" x 3.5"H, Half sized replica of cultured onyzx and hand detailed

Tutankhamun on Leopard : This figure symbolizes the King, son of the sun god, passing through the underworld each night, bringing a brief spell of light to its inhabitants.

LOT 447 : 27"h x 24"l, cultured marble, hand gold leaf and polymer.

Thoth : God of the moon and inventor of speech, Thoth was credited with considerable magic powers. The divine scribe, he was present at all funeral rites, where his function was to record the deeds of the deceased before they were placed on the scales with the feather of truth.

LOT 448 : 12" H, Of cultured marble, gold leafed and hand detailed

Ra Harakhte : The sun god of Heliopolis. Called father < gods, Ra once ruled on earth during a gc age when men and gods could live togd happily. Each morning Ra, as the sun. ro the east and set off across the world to in the west, eventually entering the real night and meeting the powers of dark™ A nightly struggle ensued and when the reappeared on the horizon, prayers of d fulness were offered to the triumphant

LOT 449 : 11.5"H, of cultured marble, gold leafed and hand detailed

Anubis : God of the dead, Anubis opened the roads to the other world and presided over embalmments. After the funeral, Anubis would take the dead by the hand and introduce him into the presence of the sovereign judges where the soul of the deceased would be weighed. Anubis was the guardian of offerings brought to the ceremony by heirs of the deceased.

LOT 450 : 11"H, Of cultured marble, gold leafed and hand detailed

Sobek : It was believed that on the day of creation, Sobek emerged from the "Dark Waters" in order to arrange the world.

LOT 451 : 12" H, of cultured marble, gold leafed and hand detailed

Nehebka : Serpent-headed Goddess Nehebka aided Anubis in the embalming and funeral rites.

LOT 452 : 12"H, of cultured marble, gold leafed and hand detailed

Horus : Horus. represented by the falcon, was considered the preeminent divine being. The hieroglyph which represented the idea of God was a falcon on its perch. Throughout ancient Egyptian history, this god was personally identified with the king, as each succeeding pharaoh used the name of Horus as the first of his titles.

LOT 453 : 12" H, of cultured marble, gold leafed, and hand detailed

Selket, Goddess of Magic : Selket's divine role was not limited to funerary duties; like her three companion goddesses she acquired those functions in virtue of her long-established reputation in a wider field of protection. She was chiefly noted for her control of magic and, in particular, for treating scorpion stings by means of magic.

LOT 454 : 11" H, Of cultured marble, hand gold leafed and detailed on marble base

Amun-Ra - Great God of Power and Wealth : Amun-Ra. god of kings and king of gods, the oldest and longest venerated rulers of ancient Egypt. Amun, meaning "hidden" and Ra meaning "light" translates to "The Hidden Light The plumes on his head represent the air, which like him. \s felt but not seen. As one of the primordial gods of creation, his name is found in the pyramid texts as far back as the 5th Dynasty (2494-2345 B.C.).

LOT 455 : 13-1/4" H, of cultured marble, hand gold leafed and detailed

Queen Ankhnes-Mery-ra and her Son Pepy II : This piece is ranked among the masterpieces from the Old Kingdom. The Egyptian craftsmen of Dynasty VI (approx. 2345-2181 B.C.) achieved remarkable delicacy of composition. In addition, they attained luminosity with translucent alabaster. Pepy II reigned for almost one hundred years.

LOT 456 : 13" H, of cultured onyx

Ptah, God of Memphis : Ptah was God of Memphis, capital of Egypt in the Old Kingdom (approx. 2600 B.C.). He was also the patron deity of artists and craftsmen. His scepter has symbols of life and stability!

LOT 457 : 12-5/8"H, of cultured marble, hand gold leafed and detailed

Tut on Lotus : The bust represents the King being reborn each day as the Sun God emerges from the lotus flower.

LOT 458 : 11"H, full-size replica in polymer hand detailed with same imperfections as the original.

Walking Tut : The flail and staff carried by the young king were symbols of his royalty. The king's cartouche is detailed on the base.

LOT 459 : 7-1/8" H, of cultured marble, hand gold leafed and detailed

Nefertiti : Nefertiti means the "beautiful one is come"

LOT 460 : 7-3/4" H, of cultured marble, hand gold leafed and detailed.

Throne Chair Box : The original golden throne chair was used for the most formal state occasions. Its principal decoration is of the Queen ministering to the King-certainly an intimate episode. At the front of the seat are two lions heads symbolizing the eastern and western horizons, over which each lion was believed to have stood guard.

LOT 461 : 6-3/4" H, of cultured marble, hand gold leafed and detailed

King Tut on Funerary Bed : This box. showing the king in repose, was a gift from Maya, one of the funerary officials. The human headed bird and a falcon, each with a wing protectively extended over the king's abdomen represent two forms in which he might return after death. Of cultured marble with wood grain detailed finish, length 16", width 5"

LOT 462 : 16" L x 5" W, of cultured marble with wood grain detailed finish

Leopard Head Wall Plaque : Leopard skins with this head were buried with Tutankhamun for his use in the afterlife.

LOT 463 : 10" H, of cast stone, hand gold leafed and detailed

Cheetah Head : The cheetah appeared on the post of the first great burial couch.

LOT 464 : 8" H, of cast stone, hand gold leafed and detailed

Isis and Nephthys Panel : The sarcophagus of King Tutankhamun was found enclosed in four shrines, one inside the other. King Tuts second shrine displayed this beautiful panel of gold on it's rear exterior. It depicts the goddesses Isis and Nephthys, sisters of Osiris, standing on the signs of gold with their outspread wings in protective gesture creating air for the departed soul to breathe. Inscription of words spoken by Isis: "I have come to be thy protection, thou art my son, my beloved Horus, I have taken away the veil above thee, from him who acted against thee". Words spoken by Nephthys: "I have come to protect thee from behind, my brother Osiris, King, Lord of the Two Lands Neb-Kheperu-Re. I have established thy head on thy neck, Anubis has gathered for thee thy bones, he has restored thy limbs to health, he has removed all evil, he has caused all sorrow to depart. Thou shalt not decay!" The Original shrine was made of wood covered with thin layers of gold foil embossed with representations and inscriptions.

LOT 465 : 17.75" W x 12" H, This replica is of cultured marble covered with goldleaf.

Royal Scepter of Tutankhamun : Unlike other precious insignia of this type discovered in King Tut's innermost Treasury room, this scepter lay in the Annex at the time archaeologist Howard Carter entered the tomb. It was hypothesized that this scepter was part of a complete set of ritual regalia stored in one of the ornate chests deposited in the Annex. Scepters of this shape were used by both kings and members of the nobility as insignia of power. Only a pharaoh, however, would be likely to possess such a richly decorated example.

LOT 466 : 23" H, .Full-size replica is of polymer and wood mounted on a cultured black granite base.

Maat - Goddess of Truth : Maat, the goddess of truth was identified with the symbol of truth, the ostrich feather. This feather was also the hieroglyph of her name. Maat played an important role in the ceremony called the "Weighing of the Heart". Here the heart of a deceased was weighed in the scale of justice, against the feather of Maat, as a test of truth in determining worthiness for passage into the blessed afterlife of eternity.

LOT 467 : 11" H, of cultured marble with goldleaf.

Seth - God of Evil, Darkness and Chaotic Forces : Seth was considered the god of evil, darkness, and chaotic forces. He was the wicked brother of Osiris and became the incarnation of the spirit of evil, in eternal opposition to the spirit of good. Depicted with the body of a man and the head of a strange unidentified animal, Seth was surprisingly venerated as well as disdained throughout ancient Egyptian history.

LOT 468 : 11" H, of cultured marble with goldleaf.

Ramses III : Ramses III was the last of the great pharoahs to rule Egypt. He made important donations to temples and institutions of the country. This royal statue of Ramses III bearing the standard of Amun topped with a ram's head was dedicated by the King to the temple of Amun-Ra at Karnak and placed at its entrance.

LOT 469 : 13" H, of cultured marble, hand goldleafed and detailed

Akhenathen : At the end of 18th Dynasty Egypt many radical changes took place when Pharaoh Akhenaten came to power: He established the worship of one god, Aten the Sun Disk, when previously there were many; a new capital was founded at el-Amarna; new artistic directions were developed which contrasted sharply with previous convention. This new art resulted in what became the 'Amarna art' which depicted features of the pharaoh's face and body as intentionally elongated and deformed. Akhenaten's chief wife was the beautiful Queen Mefertiti.

LOT 470 : 13" H, of cultured marble, hand goldleafed and detailed

Taueret - Hippopotamus Goddess : Taueret was a mother goddess revered as the protective deity of fertility, expectant mothers and of women in childbirth. This astonishing statuette depicts "the Great one" represented in the form of a female hippopotamus with human arms, standing on lion's legs and leaning on the magic knot symbolizing protection. Amulets of Taueret were placed in tombs to invoke her protection when the deceased was reborn in the kingdom of the dead.

LOT 471 : 15" H, of polymer

Hatshepsut Sphinx : Hatshepsut was a strong-willed woman who would not let anyone or anything stand in her way. In the second year of her co-regency with the child king Tuthmosis III she subverted his position and proclaimed herself pharaoh and King of Upper and Lower Egypt and ruled for about 20 years from about 1479 to 1457 BC. Hatshepsut was protrayed, as in this sphinx, with all the regalia of kingship, even down to the offical royal false beard.

LOT 472 : 9.5" L, of cultured marble, hand goldleafed, and detailed.

Protective Spirit - Palace of Assurnasirpal II Nimrud, Assyria ca 875-860 B.C. : A protective spirit guarded one entrance of the King's quarters. This spirit is depicted as man with wings like an angel carrying a goat and an ear of corn believed to symbolize fertility. The so-called Standard Inscription is carved across the surface of the relief.

LOT 473 : 16.75"H x 10.25"W, of stone and polymer

Eagle Spirit - Palace of Assurnasirpal II Nimrud, Assyria ca 875-860 B.C. : The palace at Nimrud was decorated with many protective spirits. One figure is depicted as an image in the form of an eagle-headed man. This spirit is shown protecting the palace from evil spirits with a cone described as a purifier, along with a ritual cup.

LOT 474 : 16.75"H x 11.75"W, of stone and polymer

Palace Stairway (3 piece set) - Palace of Darius the Great Persepolis, Assyria ca 548-486 B.C. : This is a portion of the carved stone walls of the palace staircase leading to the Audience Hall depicting a procession of officials and royal subjects bearing tribute for the King

LOT 475 : 29.75"W x 14.75"H, (3-piece set) Made of cast stone and polymer

Royal Lion Hunt - Palace of Assurnasirpal II Nimrud, Assyria ca 875-860 B.C. : The theme of the lion hunt carried special significance in ancient Assyria. The lion represented the wild forces of nature which was the duty of the King to control. Depictions of royal figures engaged in the lion hunt indicated that this activity was reserved for royalty.

LOT 476 : 20"Wxl3.25"H, of cast stone and polymer

Guardian - Palace of Assurnasirpal II Nimrud, Assyria, ca 883-859 B.C. : King Assurnasirpal II built a new capital at Nimrud. This palace was decorated with large sculptural figures in the form of a human-headed winged lion guarding the doorways. Its horned cap affirms its divinity while its belt is indicative of its power.

LOT 477 : 12"L x 14.5"H, of cast stone and polymer.

Lekythos (flask) - Private Collection, Lugano. : White -Ground Period 480-323B.C. - Two Muses on Mount Helicon, Private Collection, Lugano.

LOT 478 : 16.5"H

Kylinx (drinking cup) - Museum of Delphi, Greece : White -Ground Period 480-323B.C. - Apollo holding the lyre. Ca.480B.C., Museum of Delphi, Greece

LOT 479 : 9.5" W

Amphora (storage vessel) - British Museum, London : Black-Figure Period - Chariot race, with Athena on reverse side, ca. end of 5th century B.C.

LOT 480 : 10" H

Kantharos (drinking cup) - Berlin Museum, Germany : Black-Figure Period - Achilles, Theis, and other heros of the Trojan War, ca. 480 B.C.

LOT 481 : 5" H

Aryballos (oil bottle) - Wurzburg Museum, Germany : Black-Figure Period - Wild boar hunting, ca. 6th Century B.C.

LOT 482 : 5" H

Stamos (storage vessel) - National Museum, Athens : Black-Figure Period - Runners and referrees, ca 550 B.C.

LOT 483 : 6.3"H

Oinoche (jug) - Metropolitian Museum, New York : Red-Figure Period (530-400 B.C.)- "The vase of Love" depicting Dionysos, Aphrodite, and Eros ca. 350 B.C.

LOT 484 : 9.3" H

Squat Lekythos (flask) - National Museum : Red-Figure Period (530-400 B.C.)- Bringing gifts to the newly wed brid. Bride being decked by Erotes. Mid 4th century B.C.

LOT 485 : 13" H

Hydria (water jug) - Archaeological Museum, Rhodes : Black-Figure - 6th century B.C.

LOT 486 : 9"H

Amphora (storage vessel) - British Museum, London : Black-Figure Period - The Olive Harves, circa 530-510 B.C.

LOT 487 : 12.6"H

Han Horse - Eastern Han Dynasty (AD 25-200) : Unearthed m 1957 from Chengdu, Sichuan Province.

LOT 488 : 20"

Storyteller - Eastern Han Dynasty (AD 25-220) Unearthed in 1982, Xindu County, Sichuan Province, Southwest China : The Storyteller wears a scarf, a string of jewelry on his left arm and a pair of long trousers. He has a floral pattern on his forehead: his upper torso is naked. In his left hand he holds a drum, and with his right hand he raises a drum stick as if about to strike. With his left leg bent in a squatting position and his right leg kicking forward. His raised eyebrows, open mouth and humorous expression, he seems to be telling the audience a funny and entertaining story

LOT 489 : 12"

Kneeling Archer - Qin Emperor's Terrocatta Soldiers - Qing Dynasty (221-206 B.C.) Unearthed in 1977. : The Kneeling Archer is wearing a gown covered by a suit of armor, square-tipped shoes on his feet and a ribbon tieing his hair up. Keeling on the ground he is about to pull back the bowstring with his two hands. Found beside him. indicating that he was an archer with a sword, were bronze arrow-heads, a bronze sword and the rotted remains of a wooden bow. the garments, armor, posture and expression all show fine craftsmanship in ancient China.

LOT 490 : 12"

Groom - Qing Dynasty (221-206 B.C.) Unearthed in 1964 in the Vicinity of Qinshihuang's Mausoleum, Shaanxi province : Judging from the inscriptions on pottery pieces found in the same place, the pit where this figure was unearthed probably represented the horse stable of the emperor's palace. The groom originally had bright colors. He is wearing a long gown. His two hands are loose, fists placed on his knees. He is kneeling & sitting on his two feet. The facial features are modeled in detail. He looks slightly downwards. His posture and expression display the obedience and humble attitude of a royal servant.

LOT 491 : 12"

Horse - Qing Dynasty (221-206 B.C.) - Unearthed in 1977. : This Horse created 22 centuries ago still maintains its magnificent look. Its tail are knotted half of the length. The mane is short and stands straight at the crest of the neck. The ears are set forward and appear tense, indicating alertness

LOT 492 : 5"

Officer - Qin Emperor's Terrocatta Soldiers - Qing Dynasty (221-206 B.C.) Unearthed in 1977. : The first emperor of China-Qinshihuang (259-210 BC) was the creator of the first unified, centralized feudal state in Chinese history. He spent thirty-six years constructing his mausoleums, which is surrounded by more than eight thousand life-sized terra-cotta warriors and horses. To date, four huge pits have been discovered. Among these warriors, some were perched upon horse-drawn chariots, while others, arranged in infantry groups, held spears, swords and crossbows. Each warrior is unique, being modeled after an actual horseman, soldier or servant in the emperors guard-of-honor

LOT 493 : 14"

Scout - Qin Emperor's Terrocatta Soldiers - Qing Dynasty (221-206 B.C.) Unearthed in 1977. : The first emperor of China-Qinshihuang (259-210 BC) was the creator of the first unified, centralized feudal state in Chinese history. He spent thirty-six years constructing his mausoleums, which is surrounded by more than eight thousand life-sized terra-cotta warriors and horses. To date, four huge pits have been discovered. Among these warriors, some were perched upon horse-drawn chariots, while others, arranged in infantry groups, held spears, swords and crossbows. Each warrior is unique, being modeled after an actual horseman, soldier or servant in the emperors guard-of-honor

LOT 494 : 14"

Han Archer - Han Dynasty (206 B.C.-A.D.220) - Western Han Dynasty (206 BC-AD 24) : Unearthed from Hanyang County, Shannxi Province.

LOT 495 : 17.5" H

Three Acrobats - Eastern Han Dynasty (AD 25-220) : Unearthed in 1972 from Luoyang, Henan Province.

LOT 496 : 10"

Buddha - Tang Dynasty : Unearthed in 1959 from the Tang Dynasty Anguo Monastery. Xian. Shaanxi Province

LOT 497 : 9" H

Camel - Tang Dynasty (A.D. 618-907) : Unearthed from an 8th-century tomb.

LOT 498 : 16"H

Court Lady - Unearthed in 1985 from Xi'an. Shaanxi Province. : Property of the Xi'an Bureau of Cultural Relics and Gardens

LOT 499 : 8.5" H

Charger of Emperor Taizong of Tang - Tang Dynasty (AD.618-907) : The plaques present images of the horses Emperor Taizong of Tang rode in battles. The actual horses carvings are located in front of the tomb of Emperor giving memory of his six chargers.

LOT 500 : 6" x 4" x 1"

Entertainers Yuan Dynasty (1279-1368) - Genghis Khana rule - Henan Provincial Museum Zhengzhou, China : Unearthed 1973 from Henan Province Yuan Dynasty, a 89-Years regime ruled by non-Chniese Genghis Khan and his descendants, left some unique makrs on Chinese art and history.

LOT 501 : 7.25 x 4.25 x .75"

Sri Lanka Buddha - 14th Century. Found in 1826 near a ruined temple : The Buddha sits on a low double lotus base. His hands & feet of almost exaggerated length w/ articulated fingers & toes show auspicious mark. His broad shoulders & modeled trunk give this figure great individuality.

LOT 502 : 8 1/2 x 4 1/2 x 9 1/2"

Teaching Figure Tibet. 15th Century or later. : A celebrated scholar of the Jo-nang-pa philosophical school, who is credied w/ a large literary output and control of various monasteries.

LOT 503 : 5 1/2 x 4 3/8 x 9"

The First Sermon Pakistan. 7th Century AD : Below the preaching Buddha is the Wheel of the Doctrine on a pedestal flanked by deers. There are four audience at Buddhas side.

LOT 504 : 3 1/2 x 1 x 3 3/16"

Tibet Buddha Plaque Tibet. 7th Century AD- present day. : The buddha is in the appropriate earth-touching gesture. It represents the Eastern Indian tradition, which goes far back to the 7th Century A D when Buddhism was introduced into Tibet.

LOT 505 : 1 1/2 x 3/8 x 2 1/8"

Warriors of Mara Burma. 15th Century or later Glazed pottery tile. : This tile, with its ass-headed figures, shows warriors of Mara and is in the style of those placed in niches of buildings commemorating the 7weeks of the Buddha's Enlightenment near the Shwegugyl Pagoda, constructed near Pegu by King Dhammaceti (1472-1492).

LOT 506 : 7 1/4 x 3/4 x 9 3/8"

Peony & Bee - Chinese Painting on Rice Paper :

LOT 507 : 18.75 x 18"

Scene of Tai Lake - Chinese Painting on Rice Paper :

LOT 508 : 22.75 x 12.5"

Bird Standing on a Rock - Chinese Painting on Rice Paper :

LOT 510 : 24 x 11.6"

Houses in the Wood - Chinese Painting on Rice Paper :

LOT 511 : 22.5 x13.6"

Fisherman - Chinese Painting on Rice Paper :

LOT 512 : 26.25 x8.25"

Antique Look Horse - Tang Dynasty (618-907 A.D.) :

LOT 513 : 11" H

Shrimps - Chinese Painting on Rice Paper :

LOT 514 : 27.5 x 15.5"

Royal Palace Collection I - Chinese Painting on Rice Paper :

LOT 515 : 25.25 x 15"

Royal Palace Collection II - Chinese Painting on Rice Paper :

LOT 516 : 25.5 x 16"

Royal Palace Collection III - Chinese Painting on Rice Paper :

LOT 517 : 25.25 x 15"

Royal Palace Collection IV - Chinese Painting on Rice Paper :

LOT 518 : 25.25 x 12.75"

Royal Palace Collection V - Chinese Painting on Rice Paper :

LOT 519 : 25.25 x 13"

Royal Palace Collection VI - Chinese Painting on Rice Paper :

LOT 520 : 25.25 x12"

General - Qin Emperor's Terrocatta Soldiers - Qing Dynasty (221-206 B.C.) Unearthed in 1977. : The first emperor of China-Qinshihuang (259-210 BC) was the creator of the first unified, centralized feudal state in Chinese history. He spent thirty-six years constructing his mausoleums, which is surrounded by more than eight thousand life-sized terra-cotta warriors and horses. Only a few Generals have been found among the more than eight thousand soldier figurines: He is wearing a hat and a warrior's gown covered by a finely knit suit of armor. On his feet are square-tipped shoes. His face is realistically depicted with a thick beard and mustache, the broad forehead and sharp eyes. He looks mature and reserved, calm and resolute The nameless craftsman not only created a perfect image of a commander, but also has given him a spirit and a mind worth pondering.

LOT 521 : 14" H

Reclining Anubis : Anubis, God of the Dead, represented with a head of a jackal or simply as a jackal opened the road to the other world and presided over embalmments. After a funeral, Anubis would take the deceased by the hand and introduce him into the presence of the sov

LOT 522 : 14" x 9"

Anubis Mummy : Anubis, God of the Dead, represented with a head of a jackal or simply as a jackal opened the road to the other world and presided over embalmments. After a funeral, Anubis would take the deceased by the hand and introduce him into the presence of the sov

LOT 523 : 12"