This turned bowl is made of beige ceramic covered with a red slip; decorated patterns are painted on the inner wall of the vessel only, with thick lines and in blackish brown color.
The two bracelets, which look very similar but are not identical, are composed of several twisted wires of silver arranged in a semi-circle; they are soldered to two triangular plates that form the ends of the adornment.
The bowl is perfectly turned. The ceramic is beige, but the surface is entirely covered with colored paint. The element that makes this piece a very special, perhaps unique object, is certainly the statuette of the quadruped.
This thick-walled bowl is outstanding both for its excellent state of preservation and for its perfect shape. It was molded and pressed in light green glass, while the finish was obtained by polishing and by grinding.
To the eyes of the modern viewer, this large glazed ceramic bowl is outstanding for its aesthetic qualities resulting from the formal simplicity and the turquoise color.
Vessels in the shape of dates, which look very realistic with the vertical grooves imitating the wrinkles of the dried fruit, are among the most famous and popular glass vases of the early Imperial period.
This ushabti represents a male figure with a short false beard and a rounded wig, only painted on the front part of the statuette.
This idol is composed of three elements separated from each other: the bottle-shaped base, the cylindrical stem and the standard with the stylized animals.
The statuette depicts a standing man, with a mask, which characterizes him as an actor. He is dressed in a large cloak. As it is usually the case at that time for terracotta examples, our figurine was molded in two parts, the front and the back.
This male head is cut straight under the neck. It is hollow and would have been molded in a bivalve mold. The face shows the exaggerated and archetypal features of the Greek-Roman images known as “grotesque”.
This face certainly represents a male figure; it shows some of the distinctive features of the Greek-Roman images known as “grotesque”, such as the big aquiline and pointed nose, the strongly marked, frowning eyebrows and the wrinkled forehead.
This statue was cast into a rosy beige clay covered with a white slip. The old woman, is seated on a stool; her face is covered with a grotesque mask and her gaze directed toward the baby she holds in her naked arms.
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