A sizeable Egyptian pale blue glazed faience Pataikos amulet Late Period, 26th Dynasty, circa 664-332 B.C.The protective dwarf god standing naked, with rounded limbs, clenched fists, and finely defined facial features, with short-cropped hair, a suspension loop at the back of the neck, 7cm highFootnotes:Provenance:Anonymous sale; Bonhams, 8 December 1992, lot 383.Private collection, London, acquired from the above sale.For a discussion of Pataikos amulets cf. C. Andrews, Amulets of Ancient Egypt, British Museum, 1994, p.39, fig.36a. She notes that the finest examples of these sizeable detailed modelled amulets were created from the Third Intermediate Period onwards. There is a 26th Dynasty Pataikos amulet fragment with similarly finely modelled features on display at the Metropolitan Museum of Art, collection no.26.7.892For further information on this lot please visit Bonhams.com
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An Egyptian green glazed faience amulet of Nephthys Late Period, circa 664-332 B.C.Wearing the hieroglyph of her name on her head, and striated tripartite wig, and long close-fitting dress, 36mm highFootnotes:Provenance:With B.M.S., Switzerland.Private collection, London, acquired from the above on the 14 September 1981.From the 26th Dynasty amulets of Nephthys, depicting the goddess as a woman wearing the two hieroglyphic parts of her name, were commonly included on the upper torso of every mummy. C. Andrews, Amulets of Ancient Egypt, British Museum 1994, p.48.For further information on this lot please visit Bonhams.com
A small Egyptian blue-green faience amulet of Isis Late Period, circa 664-332 B.C.The goddess wearing the hieroglyph of her name as her headdress, 2.3cm highFootnotes:Provenance:With B.M.S., Switzerland.Private collection, London, acquired from the above on the 14 September 1981.For further information on this lot please visit Bonhams.com
An Egyptian turquoise glazed faience amulet of Imsety Late Period, circa 664-332 B.C.The flat-backed standing human-headed canopic deity in profile, holding a long bandage, with broad collar and wig details, pierced in three places for stitching to the mummy wrappings, 3.6cm highFootnotes:Provenance:With Ancient World Arts, New York. Private collection, London, acquired from the above in 1994.For further information on this lot please visit Bonhams.com
A large Egyptian carnelian udjat eye amulet Late New Kingdom - Third Intermediate Period, circa 1292-735 B.C.Engraved on both sides with incised details and characteristic falcon-eye markings, 3.5cm x 5cmFootnotes:Provenance: With Petit Musée, Montreal.Harry Toulch Collection, Montreal, acquired from the above on the 15 May 1982.The udjat, or in ancient Egyptian 'wedjat' eye, is one of the most popular amulets from ancient Egypt. It represents elements of both human and falcon eyes, representing the healed eye of the god Horus, after it was stolen by the god Seth, later recovered by Thoth. It was regarded as having protective, as well as regenerative, qualities for those who wore it in life or in death.For further information on this lot please visit Bonhams.com
An Egyptian jasper grasshopper amulet bracelet New Kingdom, circa 1550-1069 B.C.Each of the fourteen amulets with linear notches at the heads and the legs indicated by a double inverted 'V' form and pierced at either end, interspersed with two rows of small yellow faience disc beads, with button clasp, re-strung as a bracelet, 20cm longFootnotes:Provenance:French art market.Anonymous sale; Christie's, London, 25 November 1997, lot 105. Private collection, Europe. Exhibited: APM, Archaeological Museum of the University of Amsterdam, 17 November 2006-25 March 2007. Published: C.A.R. Andrews and J. van Dijk (eds), Objects for Eternity: Egyptian Antiquities from the W. Arnold Meijer Collection, Mainz, 2006, p. 89, no. 2.11.For a discussion of the funerary symbolism of locust/grasshopper amulets cf. C. Andrews, Amulets of Ancient Egypt, London, 1994, p.66; the Pyramid Texts refer to the ascent to heaven in the form of grasshoppers. Due to their fecundity, grasshoppers may also have been associated with fertility, while their plentiful swarming activities could have been linked to abundance and wealth.There is a New Kingdom necklace composed of almost identical carnelian grasshopper amulets on view at the Metropolitan Museum, New York, acc. no. 1987.105.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
An Egyptian amethyst amuletic recumbent sphinx Middle Kingdom, circa 2025-1700 B.C.Mounted on a Roman gold navicella-shaped earring, amulet 13mm long, earring 24mm wide, 4gFootnotes:Provenance:Aziz Khayat, Haifa and New York.Anonymous sale; Sotheby's, New York, 25 June 1992, lot 196.Acquired by the present owner from the above sale.For further information on this lot please visit Bonhams.com
An Egyptian carnelian and jasper bead necklace New Kingdom - Third Intermediate Period, circa 1550-664 B.C.Composed of a central amuletic djed column amulet, 3cm, ink inscribed in red: 388.30 interspersed with poppy head pendants, 9mm-23mm, and graded spherical beads, 37cm long, re-strungFootnotes:Provenance:Goddard (1869-1925) and Josephine Cook DuBois (1864-1961) Collection, USA, acquired in Egypt, circa 1901-1907; thence by descent to grandson George DuBois, then passed to his wife Judith on his death; by decent to the present owner.The Goddard & Josephine Dubois Collection was exhibited at the Metropolitan Museum of Art, New York 1920-38, the Museum of Fine Arts Boston, 1945-60, and the Museum of Man California 1968. The presence of the ink inscribed number on the djed pillar, suggests this was a museum exhibit at the Metropolitan Museum.For further information on this lot please visit Bonhams.com
A Roman gold, amethyst, pearl and emerald pendant Circa 2nd Century A.D.The gold manus fica amulet with a serpent bracelet detail around the wrist, suspended from an oval cabochon amethyst, flanked by gold wire threaded with pearls and emerald beads, with gold chain necklace, 2.7cm highFootnotes:Provenance:With l'Art Ancien, Montreal.Acquired by the present owner from the above on the 13 September 1996.For further information on this lot please visit Bonhams.com
A Roman onyx cameo of Medusa Circa 2nd Century A.D.The oval stone of two layers, white on grey-black, the head stylistically carved turning slightly to the left, the curling hair surmounted by wings, 1.7cm high, contained in a modern gold mount with linked gold chainFootnotes:Provenance: With Petit Musée, Montreal.Harry Toulch Collection, Montreal, acquired from the above on the 13 September 1996.Gorgoneia or Medusa-heads were a popular subject in Roman jewellery. Images of the fearsome winged gorgon with serpent hair may have served an apotropaic purpose as a protective amulet.For further information on this lot please visit Bonhams.com
A Suite of Finnish Jewellery by Inari, Pendant and Screw Back Earrings, Traditional Komsiopallo Form, or Cradle Ball- The Cradle Ball is used in Sami Culture as an Amulet to Protect Children and Bring Good Fortune-Pendant Mounted on and Italian Silver Chain, 30.9gms Total, and all Hallmarked for Inari, One Screw Back Earring Back Slightly Warped.
A PERSIAN KULAH KHUD METAL HELMET. With tall central spike and adjustable nose guard between two plume holders, decorated with continuous floral pattern with hanging chains. Helmet 18.8cm diam. Together with an Islamic Middle Eastern agate carnelian amulet, a rectangular form pendant inscribed with calligraphy in a metal mount. Together with a glass and metal display case. Amulet 7.5cm x 6cm. (3) Chains detached from pierced holes around helmet rim. Metal in aged condition. Age unknown.
ATTRIBUTED TO CLAUDE MICHEL, CALLED CLODION (FRENCH, 1738-1814) OR PERHAPS JOSEPH CHARLES MARIN (FRENCH, 1759-1834): A TERRACOTTA BUST OF A BACCANTECirca 1800The young female with downcast eyes, her curling hair adorned with a fruiting vine wreath, her head turned slightly to dexter, her right arm adorned with an amulet and her loose drapery exposing her right breast, supported on a swept and beaded gilt bronze circular socle and raised on a 'bleu turquin' marble dwarf plain column pedestal with shallow stepped circular and square gilt bronze base, 32cm high overallFootnotes:ProvenanceThe collection of Sir Michael and Lady Oppenheimer DD (3rd Baronet, British, 1924-2020), Jersey, thence by family descent.Sir Michael Oppenheimer's maternal grandparents were Sir Robert Grenville Harvey, 2nd Baronet (1856-1931) and Lady Emily Blanche Harvey (1872-1935) of Langley Park, Buckinghamshire which was the Harvey Baronet's main family seat from 1788 until 1945.Sir Michael's paternal family wealth was derived from mining interests in South Africa and his father Bernard Oppenheimer, as Chairman of the South African Diamond Corporation, received a baronetcy from George V in 1921 for setting up diamond sorting factories to employ wounded ex-servicemen after the First World War. The Oppenheimer family was involved with the prestigious De Beers brand over the subsequent decades of the 20th century and Lady Oppenheimer DD (1926-2022) was a distinguished moral and philosophical theologian, with a particular interest in the ethics pertaining to personal relationships.Claude Michel, called Clodion, was perhaps one of the most celebrated European sculptors of the 18th century. Born in Nancy in northeast France, he was a contemporary of Houdon and Fragonard and in his teenage years he travelled to Paris to enrol in the studio of his uncle Lambert-Sigisbert Adam's sculptural studio working on competitions pieces for the Academy. He subsequently enrolled as a pupil at the studio of Jean Baptiste Pigalle (French, 1714-1785) which fortuitously enabled him to win the prestigious Prix de Rome. Leaving Paris in 1762 to travel to Rome, Clodion spent nine years refining his craft and studying the works of the classical world and antiquity and was undoubtedly influenced by the works of his compatriot Poussin. He also importantly acquired several high-profile clients and patrons including Catherine the Great of Russia and the Duc de la Rochefoucauld. Clodion returned to Paris in 1771 upon the request of the Marquis de Marigny, Directeur des Batiments du Roi and established a studio in an area of the city where the Place de la Concorde is now located. He quickly achieved great success and was awarded several important, large-scale commissions. Despite interest in his larger works, it is however his intimate terracotta groups depicting nymphs, satyrs and cherubs such as in the offered lot which perhaps define Clodion's importance as one of the most famous sculptors of the 18th century. These innovative works, often executed in terracotta in a highly recognisable style were heavily influenced by antiquity and his Bacchanalian subjects were defined by incredibly fine modelling and a meticulous attention to detail.Many of Clodion's terracottas are not dated and many were also left unsigned. The current lot depicts a priestess or female follower of the cult of Bacchus typical of Clodion's output in the late 18th and early 19th century. The Bacchante characteristically wears a wreath of finely modelled fruiting vines in her flowing hair, typically celebrating the themes of Bacchus, the god of wine and fertility. The subject, like much of Clodion's work in terracotta reveals the sculptor's fundamental influences - that of classical and antique sculpture which he studied in Rome alongside the work of his fellow compatriot Poussin. Furthermore, the composition of the bust is stylistically very much in the manner of the sculptor, showing the animated character of the sitter including the detail to the curls and locks of her hair, together with individually tooled bunches of grapes.Joseph Charles Marin was a student of Claude Michel and made several attempts to win the Grand Prix de Sculpture before the French Revolution, only winning it in 1801 with a bas-relief of Caius Gracchus leaving his wife Licinia.Although Marin was a pupil of the sculptor Joseph Chinard (French, 1756-1813), Clodion was perhaps a much stronger influence on Marin's early style in the late 18th century although he subsequently went on to adopt a more austere and severe style in the manner of the later neo-classical sculptors.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Middle Kingdom-Ptolemaic Period, 2133-31 B.C. A mixed group of Egyptian and other hardstone amulets of various types, including a haematite headrest; a red jasper heart (ib) amulet and another in green stone; a frog in pale green stone and another in faience; a fragmentary carnelian couchant lion; a lapis lazuli wedjat eye; a feldspar seated hawk; the scarabs include two uninscribed lapis lazuli scarabs, a naturalistically modelled feldspar scarab; an alabaster scarab with a dog(?) above a lion on the underside; and a Late-Ptolemaic Period agate scarab with a modern loop fitting; materials include lapis lazuli, turquoise, chrysocolla, carnelian, emerald, amethyst, rock crystal, agate, faience and jasper. 94 grams total, 8-37 mm (1/4 - 1 1/2 in.). Acquired Paris, France, 1950-1970. Private collection of Madeline Meunier (1921-2009). with Christie's Millon, Paris, France, 16 December 2016, lot 152. From an important Paris gallery, France. Ex private Parisian collection. [33]
New Kingdom-Roman Period, 1550 B.C.-323 A.D. A gold amulet formed in the round as a baboon, sacred to the god Thoth, walking on all-fours on a slender base, with simple anatomical detailing and suspension loop to one face. 3.32 grams, 20 mm wide (3/4 in.). Acquired 1990s.with Pierre Bergé & Associés, Paris, 28-29 May 2008, lot 436. From an important Paris gallery, France. Ex Parisian collection. Accompanied by copies of the Pierre Bergé & Associés catalogue pages. The baboon likely represents the god Thoth. For a gold amulet with similar base and suspension loop see: Ancient Egyptian Art from the Harper Family Trust Collection, Christie's, New York, 9 December 2005, lot 5, which dates to 2134-1640 B.C.
Late Period, 664-525 B.C. A red-brown glass or faience amulet in the form of a mongoose (herpestes ichneumon) crowned by a cobra, modelled resting on its haunches on a rectangular base, with its forelegs raised in an attitude of adoration; suspension loop to reverse. Cf. The Brooklyn Museum, accession number 76.105.2, for a mongoose in similar pose; see Houlihan, P.F., The Animal World of the Pharaohs, London and New York, 1996, pp.125-127, for discussion of the Egyptian mongoose and an image of a comparable otter and shrew. 8.21 grams, 39 mm (1 1/2 in.). Acquired prior to 2000. Ex collection Mr. A.K., London, UK. Considered divine due to its ability to kill snakes, the mongoose could represent either the god Horus or Atum, or the goddess Mafdet.
Russian fruit flowerpot-biscuit bowl made of solid crystal and 84 silver, in the form of a female figure, a winged bird Alkonost. A modest masterpiece of Russian Art Nouveau. The plot and idea go back to Slavic mythology and Vasnetsov`s 1896 painting of the same name, Sirin and Alkonost, where the opposition of good and evil, despondency and prosperity, are embodied in effeminate winged birds. Alkonost brings prosperity, hope and joy. It is not surprising that she frames the flowerpot; saving with one wing, offering the fullness of life with the other. Physical and metaphysical amulet of the house, hearth. The bewitching, dynamic movement of the figure, spreading its wings, embraces the diamond-shaped boat of crystal. The willful nature of the myth and the variability of luck are contained in the energy of a bird`s impulse, the turn of the head, the face and the dynamic expansion of the beads. The rich, viscous plasticity of open wings, feathers, and women`s hair create a moving, viscous pattern that enlivens a myth that comes to life with the utilitarian practicality of crystal. Moscow hallmark 84 samples of silver, 1908-1917. The maker`s mark is illegible next to it. Length: 29 cm. Total product weight: 2161 gr. Width: 29cm, Height: 17cm, Depth: 19cm, Weight: 2.161kg, Condition: Good, with traces of use , Material:Silver 84
CHINESE CLOISONNE TRAY, 26cm diameter, together with further cloisonne items and white metal amulet, funnel and cupPlaque with chip to lower section and further pitting, rim slightly misshapen; box with slightly misshapen rim; general pitting and usual wear otherwise; metal items with further knocks, misshaping, scratches and rubbing; additional images available
A Thai Phra Pidta Buddha amulet pendant necklace, in high carat gold engraved frame with high carat gold chain, amulet height excluding bale 26.7mm, chain length 50cm, 17.2gNo damage or repairs, light wear to high points, no broken links, dog clip clasp possibly a replacement but still working, marks clear
A hammered Silver Groat, Light Coinage (1464-1470), London Mint, Class Va var, mm. Rose, 1464-1465, (North 1562), 3.06g. Pellet to left and amulet to right of neck. The 2018 Wiltshire Hoard. *CR: A good crisp example, slight marking, nice tone. *BP 22.5% (18.75% plus VAT) plus a lot fee of £8 inc. VAT on each lot.
A 16th or 17th century high carat gold 'toadstone' ring, with a 9.0 x 8.8mm toadstone, rub set to a shallow collet with a pierced quatrefoil to the underside of the head, with incised leaves between. Tapered shoulders to a plain shank with a later Victorian chain and brooch pin attached. Toadstones were for centuries believed to have come from the head of a living toad, and worn as an amulet to protect the wearer against poison and even epilepsy. They are in fact the fossilised palate teeth of lepidotes, an extinct ray finned fish of the cretaceous and jurassic period. The pierced quatrefoil to the underside of the head would have been to allow the amulets protective powers to work against the skin of the wearer. By the 19th century this example was probably too small for the hand of its then owner, so the chain was added to enable it to still be worn. Later chain and brooch fitting tested as approximately 20ct gold. Head 10.6mm 4.019g.Finger size H approximately (Not round)Accompanied by a report from Gemmological Certification Services dated 13/10/2022, no. 5782-3412, stating fossilised fish tooth - toadstoneBuying this second-hand gemstone ring could save up to 0.42 tonnes of CO2e compared to buying new.Condition ReportShank very slightly oval in shape, a later safety chain fitting, so that it can be worn as a brooch. Under 10 x magnification, light marks to the toadstone.Surface marks to the gold, commensurate with age. A nick to one side of the shank, near the safety chain setting. Marks to the inside of the shank.
Antiquities. An ancient Egyptian turquoise faience ushabti, 6.4cm l, four similar faience figural amulets, including the gods Anubis, Taweret, and Thoth, an earthenware seal scarab, possibly Grand Tour, intalgio matrix, a small verdigris patinated bronze head, probably Hellenic, etc, in a Hamilton & Inches box (7) Anubis amulet with loss to face. Some anticipated wear and damage throughout, with occasional repairs.
A GROUP OF VARIOUS EGYPTIAN, ROMAN AND MEDIEVAL FRAGMENTS AND AMULETS (17)Including a Mesopotamian stone fragment or ‘Eye Idol’, 2cm wide; an Egyptian amulet of a crocodile, apparently 600-400 B.C; A Roman metal toga pin, 3rd Century A.D.; a padlock, 4cm high; and a Roman cast bronze foot, originally fitted to a casket or smaller piece of furniture, modelled as an addorsed dolphin, probably 2nd Century A.D.. 7cm high including Perspex baseProvenance: The ‘Eye-Idol’, crocodile amulet and dolphin foot - Coincraft
Ca. 400-500 AD.A grey chlorite-schist statue of the Bodhisattva Maitreya seated in the so-called "European pose” with his feet crossed at the ankles. The face is well proportioned and has half closed eyes, straight nose in the Classical style, moustache and small mouth above a strong chin. At the top of the head he wears a diadem. The body is strong, yet sensitively carved and is adorned with necklaces, one running diagonally across the chest with a series of amulet cases, known as Kavacha. The robes hang over the left shoulder and fall about the waist and are tucked into the long loin cloth. The left hand holds a water vase, one of the distinguishing symbols of Maitreya. The figure sits on a double lotus throne. The style therefore well illustrates the fusion of eastern and western cultures. The crossed ankles of this type, known as the "European pose,” was similar to the so-called "Royal ease pose” figures, in that Maitreya is depicted as contemplating the suffering of the world prior to his birth from the Tushita heaven to help beings achieve enlightenment. For more information about Gandharan art, see Jongeward, D. (2019). Buddhist Art Of Gandhara in the Ashmolean Museum. Oxford: Oxford University Press.Size: L:410mm / W:195mm ; 8.25kgProvenance: From the collection of a London gentleman; formerly acquired in early 2000s in Belgium; previously in 1970s European collection.
Ca. 2500-2200 BC.A lovely fossilised shell amulet carved in the shape of a recumbent lion. The animal presents an erect head, raised ears, and drilled dots decoration.Size: L:25mm / W:10mm ; 4.4gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Ca. 664-332 BC.A turquoise faience amulet of the Egyptian god Maahes, depicted as a lion-headed man. Maahes is modelled striding forward, hands clenched into fists by his side. He wears a short kilt and the double crown of Egypt on his head. Maahes was known as the son of Ptah and Sekhmet, although varying parentage was also attributed to Bastet and Ra. As the son of Sekhmet, Maahes also favored her strong nature and was known primarily as a god of war. For a similar see Amulets, Flinders Petrie.Size: L:54mm / W:23mm; 6.7gProvenance: From the collection of a London gentleman; formerly acquired in early 2000s; previously in the 1960s UK collection.
Ca. 1570-1070 BC. A charming lapis lazuli amulet in the form of a hedgehog with an egg-shaped body with hatched details on its back, and a protruding snout with a finely defined face features set in a later gold ring of a round hollow hoop with a flat bezel. The ancient Egyptians considered the hedgehog as a symbol of a re-birth, due to their ability to hibernate underground for long periods when food is scarce and re-appear when food is abundant again. Size: D: 17.35mm / US: 7 / UK: O; 11g Provenance: Property of a London Art gallery; formerly a private UK collection since pre-2000.
Late-Ptolemaic Periods, Ca. 663-30 BC.An Eye of Horus amulet made by wrapping a core in gold leaf, details of the eye and its cosmetics are finely worked into the metal on one side, and there is a suspension loop above. The Eye of Horus, said to be torn out by that god's uncle Seth during an ambush and replaced by the loving Hathor, was a symbol associated with protection from all sorts of bad forces.Size: L:22mm / W:20mm ; 0.52gProvenance: Private London collection; formerly acquired in the UK art market from the 1960s-80s collections.
New Kingdom, Ca. 1550-1070 BC.A steatite carved scarab beetle amulet with incised features such as clypeus, prothorax and elytra. The reverse is detailed with a human figure possibly Horus facing double uraeus. The amulet is pierced longitudinally for suspension.Size: L:17.2mm / W:12.2mm ; 2.05g.Provenance: From a London private family collection, formerly acquired on the UK art market in the 1960s - 1970s; then passed by descent.
Ca. 664-332 BC.A glazed composition amulet in the form of a wedjat-eye, or eye of Horus. The eye is surmounted by a gold pendant with a hoop to the top attached to a modern chain. The eye of Horus, was an ancient symbol of protection, particularly for the afterlife, and was also used to deflect evil. For this reason, it was often worn or hung on the deceased at the burial. This symbol was highly influential in Egyptian life, with ancient sailors painting the image on the bow of their vessels to ward off evil.Size: L:22mm / W:22mm ; 7.9gProvenance: Private UK collection; From an old British collection formed in the 1990s.
Late Period, Ca. 664-32 BC.A large, green, glazed faience composition amulet of Thoth represented as a naturalistic baboon, the god of the moon. Thoth is depicted with stylised iconography of a hamadryas baboon with a long snout, strong eternal eyes, and front paws resting comfortably on his knees, his body his body highlights variations of levels of fur which is uncommon in amulets - this example has been moulded to a high standard. For a similar see Petrie, W. M. Flinders; Amulets, UCL, London (1914), pl. XXVI, no. 148c. Size: L:290mm / W:225mm ; 12.1g. Provenance: Private UK collection; From an old Oxford collection formed in the 1990s.Provenance: Private UK collection; From an old Oxford collection formed in the 1990s.
Ca. 664-332 BC.A glazed composition amulet in the form of a wedjat-eye, or eye of Horus. The eye is surmounted by a gold pendant with a hoop to the top attached to a modern chain. The eye of Horus, was an ancient symbol of protection, particularly for the afterlife, and was also used to deflect evil. For this reason, it was often worn or hung on the deceased at the burial. This symbol was highly influential in Egyptian life, with ancient sailors painting the image on the bow of their vessels to ward off evil.Size: L:16mm / W:17mm ; 6.7gProvenance: From the collection of a London gentleman; formerly acquired in early 2000s; previously in 1970s UK collection.
Ca. 500 BC.A finely modelled lapis lazuli scarab with its oval body gently rounded, upper side detailing the clypeus, prothorax and wings. Mounted in a gold pendant setting and it comes with a modern necklace cord. The scarab was an amulet of life and power in the form of a dung beetle, an animal associated with Khepri, the self-created, Ra as the rising sun. In ancient times it was believed that the beetle was only of the male sex and that it reproduced itself using a dung ball as the ovum. The supposed self-reproduction of the beetle was similar to that of Khepri, who created himself out of nothing. At the same time, the dung ball which was rolled by the beetle was identified with the sun in its cycle across the heavens. The scarab was, therefore, a symbol of resurrection in Egyptian mythology. In one's lifetime it provided protection against evil, visible or invisible, supplying strength and power every day. In death, he who wore this amulet had the possibility of resurrection and being granted eternal afterlife.Size: L:24mm / W:12mm ; 7.5gProvenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s.
Ca. 664-332 BC.A finely modelled carnelian scarab with its oval body gently rounded, upper side detailing the clypeus, prothorax and wings. The scarab was an amulet of life and power in the form of a dung beetle, an animal associated with Khepri, the self-created, Ra as the rising sun. In ancient times it was believed that the beetle was only of the male sex and that it reproduced itself using a dung ball as the ovum. The supposed self-reproduction of the beetle was similar to that of Khepri, who created himself out of nothing. At the same time, the dung ball which was rolled by the beetle was identified with the sun in its cycle across the heavens. The scarab was, therefore, a symbol of resurrection in Egyptian mythology. In one's lifetime it provided protection against evil, visible or invisible, supplying strength and power every day. In death, he who wore this amulet had the possibility of resurrection and being granted eternal afterlife.Size: L:15mm / W:11mm ; 2gProvenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s.
Ca. 1550-1070 BC.A naturalistically modelled amethyst scarab with a small head, and folded wings. Pierced lengthways for suspension. The scarab was an amulet of life and power in the form of a dung beetle, an animal associated with Khepri, the self-created, Ra as the rising sun. In ancient times it was believed that the beetle was only of the male sex and that it reproduced itself using a dung ball as the ovum. The supposed self-reproduction of the beetle was similar to that of Khepri, who created himself out of nothing. At the same time, the dung ball which was rolled by the beetle was identified with the sun in its cycle across the heavens. The scarab was, therefore, a symbol of resurrection in Egyptian mythology. In one's lifetime it provided protection against evil, visible or invisible, supplying strength and power every day. In death, he who wore this amulet had the possibility of resurrection and being granted eternal afterlife.Size: L:19mm / W:14mm ; 4.4gProvenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s.
Pendant amulet with a shell. Smyrna, 4th-3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 8.8 cm. high with stand.Hanging amulet with a shell. This piece is part of an archaeological collection of 670 fragments, considered to be the second largest after the Louvre (1094 fragments) and ahead of those of the Istanbul Archaeological Museum (135) and the British Museum (108). According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, there was the most important Hellenistic and Greco-Roman workshop there, both in terms of the quality and originality of its production, and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesque ones - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.
A group of Small Buddhist Images, mostly Tibet, 19th and 20th centuries, comprising eleven bronze figures, a silver amulet box and a small Thai terracotta votive plaque, possibly 16th century, largest Buddha 11cm high (13) Provenance: By repute purchased by the current owner's father between 1950 and 1990 and hence by family descent 各式佛像等一组十三件 Condition Report: some wear commensurate with age Condition Report Disclaimer
TWO HIMALAYAN CONTAINERS, 19TH CENTURY, comprising a Tibetan copper amulet box with brass overlaid scrollwork design, and a Nepalese brass scent bottle on lotus base with Mughal style ribbed body, later chain, 13 x 10.5 x 3.5cm; 8.4cm high Provenance: Private collection, Western England For a near identical Nepalese container, see Bussabarger and Robins 1968, p.75
A Yupik Eskimo attachment in the form of a seal head, late 18th/early 19th century, Bering Strait, with baleen inlaid eyes,4.5cm long, mounted on a modern stand (2)Condition ReportCharacterful wear.A hole pierced through the neck. small scratch marks and discolorations, a groove to the back of the neck, the stand made to fit the preexisting drilled hole. we believe this is likely half a toggle or possibly an amulet that was worn on a cord it may be that the grove on the back face formed part of a drilled hole and that this lot forms half of the original.
Property of a Gentleman (Lots 55-80)A Chinese dark green jade 'bird' amulet, late Shang/early Western Zhou dynasty, carved with slender neck and elongated beak, decorated to both sides in low relief with archaic scroll motifs, 10x6cm, later metal standProvenance: Ex. Spinks, London (label)商晚期/西周早期 青玉鳥形佩來源：Ex. Spinks標籤；紳士私人收藏Some natural cracks to the stone. A dent to the tail. Ware commensurate with age.
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