Sitter pictured in profile and slightly raised from the plaque which is buffed to a slightly gold colour over the facial features and other areas, to add a feeling of depth and three-dimensionality. The plaque has inscriptions along the bottom underneath the portrait and is inscribed as above in the top right and left hand corners and along the right hand side. It has bar across the back from which it can be hung.   [More Info]

This figurine of Isis follows the usual pattern of this mass produced icon. The goddess was seated on a throne (now lost) which can be clearly seen by the seated position of the goddess as well as the tang under her feet which was once fitted into a plinth. This feature is rather unusual as the majority of figurines were equipped with a plinth of the same material (see bibliography).

The goddess wears a tight costume. On her head a crown comprising the horns of Hathor (the left horn is broken off) and sun disc can still be seen. Attached to the back of the figurine’s neck is a loop through which a cord could be threaded.

On Isis’ lap and looking to the right, the Horus child can still be seen. His features are less detailed due to the small size of the figurine as a whole.   [More Info]

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Cot-sized sheet, cotton with blue floral print, with tapes at two corners. Marked with Cash's woven nametape - R. Nettlefold. Belonged to Ruth Nettlefold. May have been a needlework practice piece from school, or bed linen used at school. Ruth Nettlefold attended a boarding school at 35-37 Sussex Square Brighton, set up by the Lawrence sisters to prepare girls for Girton and Newnham Colleges, Cambridge. The school later became known as Roedean and moved to a new site in 1895.   [More Info]

Obverse: Patriarchal cross-crosslet on three steps on globe, with floriate extensions from base of cross and crosses with a single pellet in each quadratant in upper l. and r. of field.

Reverse: Inscription.   [More Info]

This depicts one of the favourite subjects of Chinese landscape art - a view of hills surmounted by clumps of trees, whcih rise beyond to a distant mountain range wreathed in mist. With delicate, calligraphic strokes of the brush the artist describes the vegetation and terrain with a precision and finesse that resemble the finest embroidery. In the foreground, thick concentrations of dots create an impression of great density and opulence, which is contrasted with the freer and more impressionistic style of the mountains beyond. At the lower left margin is an inscription with reads: 'Drawn by Sheng Tzu-chao of Wu-Tang.' One of the most notable landscape painters of the Yuan Dynasty, Sheng Tzu-chao specialised in mountainous landscapes of this type. However, it may in fact have been made around 1900 as a "homage" to the master.   [More Info]