James III (b.1688-d.1766), silver Touch-Piece, undated (c.1720), three masted ship "The Sovereign of the Seas" at full sail left, legend and outer toothed border surrounding, IAC. III. D. G. M. B. F. ET. H. R., rev. St. Michael slaying the dragon with a lance, legend and outer toothed border surrounding, SOLI. DEO. GLORIA., 2.66g (Woolf O1/R1, cf. plate 58; MI ii 316/140). Pierced as usual, with attractive, darker toning, a fully centred strike, and underlying lustre particularly to the reverse side, almost extremely fine.James III of England or James VIII of Scotland was the son of King James II. He was recognised by Louis XIV as King of England, Scotland and Ireland, but acts under William II excluded James from the line of succession to secure a protestant monarch.This variety of touch piece with IAC. III legend was made for his use in Italy where he lived for nearly half a century in Rome, after his failed expedition to Scotland and England and subsequent pressure to leave France. One of the Hamerani brothers, either Ermenegildo or Ottone of the Rome mint was responsible for the production of these pieces and Ottone had been appointed engraver to James by a warrant of 25th October 1720. Ottone died in 1761 (his brother had died in 1744) whereupon James appointed his son Fernando to be engraver by a warrant of 16th May 1761 but there is nothing evident to show that Fernando actually produced any medallic work or otherwise for James in the twilight of his life.The so called "Kings Evil" or Morbus Regius also known as the disease scrofula was what the Royal touch from the monarch was purported to be able to cure. Since the time of King Edward the Confessor (later canonised) a belief in prayer coupled with the Royal touch could incur a miraculous recovery and it became usual to give money as alms to the afflicted, in the Middle Ages a Penny as a day's wages for a labourer. Later in the medieval period the gold Angel coin became prominent as the "doctors" coin as the 6s and 8d face value was the standard fee of a medical doctor at the time. The reverse legend of Angel coins was revered as a healing inscription coupled with St. Michael slaying the devil as a dragon. As the monarch was seen to have a divine right to Kingship and was related to the now Sainted King, the coin became effectively a healing amulet especially if the monarch had once touched it. The passing of a Touch-Piece therefore became more commonplace under the Stuart reigns of James I and Charles I, and at these times of plague and other disease it was sensible for the King to pass such Angel coins, rather than to touch those physically ailed, a social distance being maintained by the gift of coin. The recipient who may have cured from their ill would covet such a coin and wear it against their skin probably for the rest of their life, and this is why such coins are often holed. By the time of the later Stuart reigns of Charles II and James II the Angel coin was no longer in production as machinery had become the new norm at the Mint. A need to still touch for the Kings evil meant production of these special pieces as we have for sale herewith prevailed and there was even a gap left in the legend where the piercing would occur. The reverse depicts the warship "The Sovereign of the Seas", launched in October 1637 and in service until it was burned by fire in Chatham docks in 1697.
We found 4003 price guide item(s) matching your search
There are 4003 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
4003 item(s)/page
Eight Egyptian amulets, comprising black stone two figure amulet modelled as an outstretched index and middle finger, two faience Djed pillar amulets, obsidian double plume amulet, faience white crown amulet, papyrus amulet, heart amulet, and another blue example, largest two figure amulet L5.5cm
Mesopotamian stone amulet, circa 2500 BC, carved as a crouching feline with ring-dot eyes and body decoration, with white pearlescent finish, L6cmCondition Report: General wear commensurate with age and use, including wear to pearlescent finish. Please see additional images, or contact the saleroom directly for further information.
A Yoruba bowl bearer Nigeriathe maternal female figure standing supporting a chicken bowl and cover, with a child wrapped to her back, holding a shango wand and a vessel, with a tirah amulet on it's back, with remains of polychrome decoration, 44.3cm high. (2)ProvenanceZbyszek Plocki Collection, London.
λTwo Sami knives with scabbardsLaplandantler, steel and leather, with incised decoration of a caribou pulling a sleigh and carved decoration to one side of the smaller scabbard and with a head terminal,22.5cm and 26cm long,an Inuit cribbage board, walrus tusk with an integral carved seal and applied carved seals, 38.5cm long, an Inuit walrus tusk cribbage board, 35.5cm long, an Inuit walrus ivory gaming piece / amulet, carved as a bird, 4cm long, and an Inuit charm, walrus ivory with pointed ends and with a carved wood seal, previously bound, 31.7cm long. (8)ProvenanceRomy Rey Collection, London.
A collection of Egyptian antiquities, probably Late Period after 600 BC, comprising:a lapis lazuli jackal,a light blue faience amulet of Khnum, anda turquoise faience amulet of Anubis,4.5cm high,together with a bronze recumbent frog,3.5cm long (4)Provenance: Thomas Allworthy (d.1973), thence by descent to the present owner. Allworthy is believed to have been a collector of antiquities, who sold a small number of pieces at Sotheby's, 19 May 1956.
A collection of Egyptian antiquities, comprising a beaded necklace, other faience amulets including a scarab, Horus, Isis, etc., and further beads,largest amulet 3.5cm high (qty.)Provenance: Thomas Allworthy (d.1973);thence by descent to the present owner. Allworthy is believed to have been a collector of antiquities, who sold a small number of pieces at Sotheby's, 19 May 1956.
A faience amulet of one of the Four Sons of Horus, probably Late Period (c.650-300 BC), Egyptian, of the baboon-headed Hapy, in flatback form shown in profile, with turquoise glaze, incised decoration and pierced twice for attachment,8.5cm highProvenance: Thomas Allworthy (d.1973), thence by descent to the present owner. Allworthy is believed to have been a collector of antiquities, who sold a small number of pieces at Sotheby's, 19 May 1956.
Late Period, 664-332 B.C.. Black hardstone scarab with finely carved head, eyes, clypeus, prothorax, elytra, and legs; plain underside. Cf. Schulz, R., Seidel, M., Egyptian Art. The Walters Art Museum, Oakville, 2007, pl.18, cat. no.124, for a similar example. 38 grams, 48 mm (1 7/8 in.). The scarab, representing the dung beetle, was a popular amulet in ancient Egypt for about two thousand years until the Ptolemaic Period. It extended beyond Egypt and was exported to and manufactured in regions like Phoenicia and Israel. The beetle is named khepri and was considered the embodiment of the creator god Khepri. The Egyptians believed that the beetle emerging from the dung ball was an act of self-creation.Ex Irene Newman, Birdham, Chichester, West Sussex, England. with Stride & Son Auctioneers, Chichester, West Sussex, England, 23 April 2015, no.1599 [Part]. Acquired by the present owner at the above sale. (For this specific lot, 5% import VAT is applicable on the hammer price.)
Late Period, 664-332 B.C.. Carved amulet of the baboon-headed mummiform figure of Hapy shown standing with dorsal pillar, pierced for suspension. Cf. Eggebrecht, A., Suche nach Unsterblichkeit: Totenkult und Jenseitsglaube im Alten Ägypten, Mainz, 1990, pp.44-45, no.T9, for a similar example in faience. 2.52 grams, 28 mm (1 1/8 in.). The Four Sons of Horus were deities responsible for protecting the internal organs of the deceased. The baboon-headed Hapy protected the lungs.Private collection of Mr S.A., Switzerland, 1990s, thence by descent. (For this specific lot, 5% import VAT is applicable on the hammer price.)
Late 1st millennium B.C.. Comprising five scarabs: one with a djed pillar surrounded by nwb signs; one with a jackal-headed Anubis holding a staff before a figure, with the scales of Maat above; one with a seated baboon sporting a crescent and sun disc headdress facing a royal cartouche of Thutmose III men-kheper-Re; one with a standing bird and other hieroglyphs; the largest one with worn underside. 1.97 grams total, 14-26 mm (1/2 - 1 in.). The scarab, which represented the dung beetle, was the most popular amulet in ancient Egypt for approximately two thousand years until the Ptolemaic Period when it gradually fell out of favour. The popularity of scarabs extended beyond the borders of Egypt, and they were also distributed and produced in other regions, such as Phoenicia and Israel. The beetle is named khepri, derived from the verb 'to come into existence', and was considered the embodiment of the creator god Khepri, who was self-engendered. The ancient Egyptians mistakenly believed that the young beetle emerging from the dung ball was the result of an act of self-creation.From an early 20th century Home Counties, UK, collection. [5]
Late Period, 664-332 B.C.. Comprising tubular and annular beads in blue, green and cream colours, the upper half of two Tawaret amulets, a fragmentary wedjat eye, the lower half of a seated figure, probably Isis, and a complete amulet of the god Shu. 22 grams total, 2-21 mm (1/8 - 3/4 in.). From an early 20th century Home Counties, UK, collection.
Roman Period, 30 B.C.-323 A.D.. Carved hardstone figure of a Hamadryas Baboon (papio hamadryus), sacred to Thoth, crouching with his forepaws resting on his knees and wearing a segmented and banded hood and collar with elaborately carved textural detailing; face chipped and lower body absent. Cf. Loffet, H.C., La Collection Emmacha: Antiquités Égyptiennes 2 – Objets divers, Paris, 2013, pp.84-7 no.105, for a stone baboon with a similarly elaborate decorated collar; Bartman, E., The Ince Blundell Collection of Classical Sculpture Volume III. The Ideal Sculpture, Liverpool, 2017, pp.185-6, pl.162a, for a baboon statuette with less stylised rendering. 243 grams, 10.6 cm (4 1/8 in.). The baboon was considered an embodiment of the god Thoth. The animal was associated with both the sun and the moon, often depicted wearing a moon and crescent headgear. Together, these aspects symbolised the cycle of rebirth, as it was believed that the deceased travelled through the night and was reborn at dawn. Thoth was highly regarded for his connection to knowledge, healing, and writing. Scribes would wear a Thoth baboon amulet to ensure continued professional success. In the Roman era, Thoth became the 'primary pseudonymous authority for diverse priestly texts' (Frankfurter, D., Religion in Roman Egypt,New Jersey, 1998, p.240). As some religious centres with animal cults were maintained in the Roman Period, it is possible that this figurine was a votive offering to the god. Baboon figurines have also been discovered in Isis sanctuaries in Rome. This discovery may indicate the mythological connection between the two deities, as Thoth provides words to Isis, enabling her to revive her husband, Osiris.Ex Yorkshire, UK, collection, 1960s-1980s. [No Reserve]
Late Period, 664-332 B.C. and later. A group of amulets in a glazed wooden frame, comprising: 1 –stone Sma amulet Although rather gruesome, as it represents an animal’s windpipe and lungs, this amulet symbolised the benign concepts of unity and ensured the integrity of the deceased’s body, which was deemed essential for entry into the Afterlife. Cf. Reisner, G.A., Catalogue général des antiquitéségyptiennes du Musée du Caire, Nos.12528-13595, Vol. II, Amulets, Cairo, 1958, p.52, no. 5582, and pl.III, for a similar black stone example. 2 – Tawaret amulet The goddess Tawaretis a female hippopotamus with the arms and legs of a lion and the back and tail of a crocodile. Despite her fearsome appearance, Tawaret was a household deity and protector of women in childbirth. Cf. Tinius, I., Altägypten in Braunschweig. Die Sammlungen des Herzog Anton Ulrich-Museums und des StädtischenMuseums, Wiesbaden, 2011, p.130, no.216, for similar. 3 – Bes amulet Bes emerged as one of ancient Egypt’s most favoured protective deities during the New Kingdom period and beyond. Despite his intimidating appearance, Bes served as the guardian and defender of pregnant women and children and was also thought to protect them from snakes. Cf. Petrie, W.M.F., Amulets. Illustrated by the Egyptian Collection in University College, London, 1914, pl. XXXIII 188e, for a similar example. 4 – faience Pataikos amulet Pataikos was first mentioned by the historian Herodotus, who refers to dwarf-like representations of Ptah. The name is still used today. These diminutive amulets symbolise Ptah’s immense magical power and protect the wearer from dangerous creatures such as snakes and crocodiles. Cf. Petrie, W.M.F., Amulets. Illustrated by the Egyptian Collection in University College, London, 1914, pl. XXXI, 176c, for a similar small example. 5 – three hardstone heart amulets According to ancient Egyptian beliefs, the heart (ib) was considered to be the centre of intelligence, emotions, and behaviour, as well as the storehouse of an individual's memories. During the Weighing of the Heart ceremony in the afterlife, the heart could advocate for the deceased and account for their lifetime of actions before Osiris. For this reason, heart amulets were placed on the mummy to safeguard the organ and ensure a favourable outcome during judgment. Cf. Andrews, C., and van Dijk, J., Objects for Eternity: Egyptian Antiquities from the W. Arnold Meijer Collection, Mainz am Rhein, 2006, p.128, no. 2.34b, for a similar brown jasper heart amulet. 6 – faience double falcon amulet This uncommon amulet represents two falcons wearing sun disc headdresses. One falcon may represent Horus, the god of the sky, war, and protection; the other perhaps another falcon deity such as Montu. Alternatively, they may be two ba-birds, representing an element of the deceased’s spirit, similar to our concept of soul. Cf. Camino, L., Papier-Lacostey, C., Collections égyptiennes du musée Antoine Vivenel de Compiègne, Compiègne, 2007, p.209, no.259, for a comparable amulet. 7 – Djed pillar The djed pillar symbolised the concepts of 'enduring' and 'stability' and was a common funerary amulet from the Old Kingdom onwards. It was first associated with the gods Ptah and Sokar but later became a symbol of Osiris, representing the god's backbone. In this context, the djed pillar appears in Chapter 155 of the Book of the Dead, concerned with the deceased's resurrection. Cf. Andrews, C., Amulets of Ancient Egypt, London, 1994, p.83, no.84c, for an example with similar detailing. 8 – carnelian wedjat eye The wedjat-eye amulet represents the healed eye of the god Horus, featuring both human and falcon elements. The name wedjat in ancient Egyptian means ‘the one that is sound.’ According to Egyptian mythology, Horus' eye was wounded or taken by the god Seth and restored by Thoth. The wedjat-eye amulet was thought to protect its wearer and bestow the power of recovery and regeneration onto them. It was very popular and used by both the living and the dead. Cf. Lacovara, P., and Markowitz, Y.J., Jewels of the Nile: Ancient Egyptian Treasures from the Worcester Art Museum, Worcester MA, 2020, p.113, no.19, for a similar carnelian example. 9 – faience Shu amulet This Egyptian faience amulet is a schematic depiction of the god Shu, depicted kneeling with his hands upraised, supporting a sun disc. According to Egyptian mythology, Shu was sneezed out by the creator god Atum, initiating the universe’s creation. Shu represents the air that separates the sky and the earth. He is also responsible for holding up the sky, represented by the goddess Nut, thus allowing the cyclical journey of the sun to take place. In the context of the afterlife, Shu allowed the deceased to traverse unhindered on their journey towards rebirth. Shu amulets were placed on the lower part of the deceased's torso, between the mummy bandages. Shu could also serve as a magical amulet at the birth of the living, symbolising a protector of new life. Cf. Camino, L., Papier-Lacostey, C., Collections égyptiennes du musée Antoine Vivenel de Compiègne, Compiègne, 2007, p.174, no.193, for a comparable amulet. 10 – two faiencewedjat eye amulets Both represent less common variants of the wedjat amulet. On these, a series of small front-facing uraei run across the top of the amulet, with a larger uraeus depicted in profile on either side of the eye. Cf. World Museum Liverpool, M11893aa, for a similar, though less well-defined example. 11 – stone wedjat eye Cf. Petrie, W.M.F., Amulets. Illustrated by the Egyptian Collection in University College, London, 1914, pl. XXIV139e, for a similar example. 12 - carnelian Bes amulet This somewhat cursorily fashioned example of a Bes amulet may date to around a century before the New Kingdom. Cf. Thomas, G.A., A Handbook of the Egyptian Collection (Chicago: The Art Institute of Chicago, 1923), p. 130, for a similar example. 13 – carnelian poppy pendant Amulets in the form of poppies were used to heal and alleviate pain and to ward off death. These amulets were also linked to Osiris, the Egyptian deity of agriculture, death, and the afterlife. Cf. Lacovara, P., and Markowitz, Y.J., Jewels of the Nile: Ancient Egyptian Treasures from the Worcester Art Museum, Worcester MA, 2020, p.145, no.2, for a necklace composed of similar examples. 14 – faience uraeus amulet The uraeus represents a rearing cobra and symbolises royal power and authority, as well as the Lower Egyptian goddess Wadjet. The uraeus amulet was worn to ensure the protective power that was granted to the pharaoh. Cf. Petrie, W.M.F., Amulets. Illustrated by the Egyptian Collection in University College, London, 1914, pl. IV58f, for this amulet type. 15 – two lapis lazuli djed pillars Cf. Tinius, I., Altägypten in Braunschweig. Die Sammlungen des Herzog Anton Ulrich-Museums und des StädtischenMuseums, Wiesbaden, 2011, p.166, no.323, for a similar example of the taller pillar; Lacovara, P., and Markowitz, Y.J., Jewels of the Nile: Ancient Egyptian Treasures from the Worcester Art Museum, Worcester MA, 2020, p.115, no.1, for a similar example of the shorter pillar. 773 grams total, 23 x 17.5 cm (9 x 6 7/8 in.). Ex H.M. Barker. Private collection, England.
Late New Kingdom-Third Intermediate Period, circa 1300-700 B.C.. Modelled in the round as a perching falcon on a rectangular base and wearing the double-crown; loop to rear of head. Cf. Andrews, C., and van Dijk, J., Objects for Eternity: Egyptian Antiquities from the W. Arnold Meijer Collection, Mainz am Rhein, 2006, p.231, no.3.45, for a similar example. 12.5 grams, 54 mm (2 1/8 in.). The falcon amulet was a symbol of Horus, the god of the sky, war, and protection.From an old Suffolk, UK, collection. Acquired in the UK before 1980. From the personal collection of Derek Rogers, Suffolk, UK. [No Reserve]
Mainly Late Period, 664-332 B.C.. Comprising mainly blue tubular and annular beads, and a small Tawaret(?) amulet; a fragmentary glass bead(?) with some iridescence, a fragmentary scarab and a carnelian scarab with the throne name of Thutmose III, men-kheper-Re, to the underside, chipped. 8 grams total, 2-17 mm (1/8 - 5/8 in.). Ex Belinda Elliston collection. [78, No Reserve]
Late New Kingdom, circa 1300-1075 B.C.. Openwork wedjat eye pendant with suspension loop above and slender frame. Cf. Kalloniatis, F., The Egyptian Collection at Norwich Castle Museum, Oxford, 2019, pl.17 no.117, for a similar openwork example. 0.78 grams, 21 mm (3/4 in.). The wedjat eye amulet symbolised the eye of the falcon god Horus. According to ancient Egyptian mythology, Horus’ eye was gouged out by his treacherous uncle Seth and then healed by Thoth. While these amulets could be worn for protection in daily life, they also played a significant role in the funerary sphere. Wedjat eye amulets were believed to offer protection to the deceased’s mummy and could serve as substitutes for daily food offerings.Acquired 1970s onwards. Private collection of Michael O'Hara, Cambridgeshire, UK.
1st millennium B.C.. Comprising: a pillow-shaped carnelian amulet pierced through the notched upper edge, hatched panels to both faces; a triangular-section stamp seal displaying ring-and-dot motifs and a possible animal figure; a plano-convex stamp seal bearing a geometric motif; a square-shaped lapis lazuli amulet engraved with a horned quadruped standing right. 19.4 grams total, 12-24 mm (1/2 - 1 in.). Collected since the 1970s. Ex Everitt collection, acquired by descent 2017. [4, No Reserve]
New Kingdom, 18th-19th Dynasty, circa 1550-1213 B.C.. Polished and with integral pierced suspension loop. Cf. The Metropolitan Museum, New York, accession number 40.9.26, for similar; cf. Andrews, C., Amulets of Ancient Egypt, London, 1994, pl.65 (n). 0.78 grams, 15 mm (5/8 in.). Amulets in the form of poppies were used to heal, alleviate pain, and ward off death. This type of amulet was also associated with Osiris, the Egyptian deity of agriculture, death, and the afterlife.From an early 20th century collection. [No Reserve]
9th-11th century A.D. or earlier. Sheet gold sleeve and wire dangle, crystal lobed bead mounted in the socket. 0.83 grams, 23 mm (1 in.). This amulet was believed to offer protection against 'Elfshot'. The attack of elves was believed responsible for mysterious suffering in men and livestock: sudden shooting pains localised to a particular area of the body, such as in rheumatism, arthritis or muscle stitches or cramps. Elves were thought to shoot darts or arrows where such pains had no obvious external cause. Belief in elfshot persisted into the 20th century in rural areas, and as proof country folk would sometimes find small arrowheads (the remains of Neolithic or Mesolithic flints, or naturally-occurring spear-shaped stones) that were believed to be the magical weapons that caused the afflictions. Belief in elfshot began in the Pagan Germanic period.Ex property of a late Japanese collector, 1970-2000s.
Ca. 100 BC - AD 100A Romano Egyptian carnelian amulet with beautiful vermillion hues with swirls of white inclusions. Seated on its haunches, tail curved around its body, effortlessly regal, perhaps representing Bastet. The front limbs have a shallow groove to indicate two legs, with incised lines on the paws to denote toes and to delineate the flat base it sits upon from the body. A perforation through the neck allows this bead to be strung as an amulet, a popular practice to protect the wearer, and this elegant cat represents good health. A gold ring is set in the hole.Size: 22mm x 13mm; Weight: 2gProvenance: Property of a London gallery; previously in a collection of a North London gentleman; formerly in a collection of Mrs B. Ellison, a deceased former member of the Egyptian Exploration Fund, bought from the 1940s, Cairo and London.
Late Period, Ca. 688-332 BCAn Egyptian green-glazed faience amulet depicting Sekhmet, the lioness-headed goddess of war, healing, and the sun. The leonine deity presents seated upon a throne, with hands placed atop her lap, wearing an ankle-length sheath dress. A crown consisting of 4 ostrich feathers, Hathoric horns, and a sun disc – known as the “Four Feathers Crown” – rises above her protruding countenance. For similar see: MET Museum Accession Number: 10.130.2071.Size: 60mm x 15mm; Weight: 10gProvenance: Property of a London gallery; previously in a collection of a North London gentleman; formerly in a collection of Mrs B. Ellison, a deceased former member of the Egyptian Exploration Fund, bought from the 1940s, Cairo and London.
Late Period, Ca. 664 - 332 BCAn Egyptian white/green faience amulet of Pataikos. The bow-legged Pataikos deity was meant as a protector and a mitigator of violent natural forces. He stands atop an integral plinth, and has a small suspension loop set on the head of the figure. For similar see: MET Museum Accession Number: 74.51.4461.Size: 35mm x 13.5mm; Weight: 4gProvenance: Private collection, London, UK. ex. M. Koenig, Brussels 1990s.
Late Period, Ca. 1550-1069 BCAn Egyptian faience amulet depicting a large avian-form version of Horus, god of the sun, with the head of ram with long and curved horns. Size: 30mm x 10mm; Weight: 5gProvenance: Property of a London gallery; previously in a collection of a North London gentleman; formerly in a collection of Mrs B. Ellison, a deceased former member of the Egyptian Exploration Fund, bought from the 1940s, Cairo and London.
Late Period, Ca. 664 - 332 BCAn Egyptian carnelian Eye of Horus amulet. The Egyptian god Horus was usually depicted in human form but with the head of a falcon. His eye was taken to represent the sun, whose setting and rising symbolized loss and recovery a fitting sign for an amulet. For similar see: MET Museum Accession Number: 89.2.416.Size: 11mm x 18mm; Weight: 2.6gProvenance: Property of a London gallery; previously in a collection of a North London gentleman; formerly in a collection of Mrs B. Ellison, a deceased former member of the Egyptian Exploration Fund, bought from the 1940s, Cairo and London.
New Kingdom, Ca. 1550 - 1069 BCAn Egyptian mould-formed faience amulet of the deity Bes with a long beard. Bes's head is represented frontally with yellow details of the eyes, the eyebrows, and the beard's hair. The amulet is covered in a lustrous turquoise-hued glaze. For similar see: Amulets, of Ancient Egypt, Carol Andrews, Published by British Museum Press.Size: 27mm x 27.2mm; Weight: 7gProvenance: Private collection, London, UK; Ex. M. Koenig, Brussels, 1990s.
Ca. AD 800 - 1100A silver Viking amulet in the shape of a bearded axe head. Where the handle would have been attached on a full-size example is the suspension hole for a necklace. There are three engraved vertical lines on both sides of the amulet.Size: 30mm x 12mm; Weight: 5.4gProvenance: Private UK collection, acquired on the Belgian art market in the 1990s.
Third Intermediate Period-Late Period, Ca. 1069 - 332 BCA group of 3 mould-formed faience eye amulets covered in lustrous layers of glaze. First is a detailed Wadjet eye amulet in green faience for protection. The second is a Wadjet amulet in pale green faience with details of the pupil and eyebrows The third is a Wadjet amulet made in pale green faience with detail in black hue. For similar see: Amulets, of Ancient Egypt, Carol Andrews, Published by British Museum Press.Size: 15-19.5mm x 25-27.5mm; Weight: 10.8gProvenance: From the private collection of a Kent gentleman; previously in an old British collection, formed in the 1990s on the UK /European art markets.
Ca. 664 - 332 BCAn Egyptian mold-formed faience amulet depicting the god in shape of standing baboon with facial features marked. The baboon was an important animal in ancient Egypt because was associate to the god Thoth. The entire artifact is covered in turquoise-hued glaze.Size: (with stand) 75mm x (stand base 50mm)10mm; Weight: (with stand) 43.28gProvenance: Private Old English collection; acquired on the UK art market.
Ca. 664 - 332 BCAn Egyptian late period necklace made from green glaze faience and blue glass beads comprising in the centre an stone amulet in shape of heart. The necklace has been restrung. For similar see: examples in museums of Turin and Cairo.Size: 230mm x 5mm; Weight: 5.66gProvenance: Property of a London gallery; previously in a collection of a North London gentleman; formerly in a collection of Mrs B. Ellison, a deceased former member of the Egyptian Exploration Fund, bought from the 1940s, Cairo and London.
New Kingdom, Ca. 1550 - 1069 BCAn Egyptian carnelian fly amulet with spread wings and a long ribbed body. The ancient Egyptians, seemed to have held flies in high esteem, presumably because of this insect’s powers of fast reaction and indomitable, insistent presence. For similar see: MET Museum Accession Number: 26.7.1285.Size: 20mm x 13mm; Weight: 1.8gProvenance: Property of a London gallery; previously in a collection of a North London gentleman; formerly in a collection of Mrs B. Ellison, a deceased former member of the Egyptian Exploration Fund, bought from the 1940s, Cairo and London.
Third Intermediate Period- Late Period, Ca. 1069 - 332 BCA group of 3 mould-formed faience amulets covered in lustrous layers of glaze. First is a wadjet eye amulet in green faience for protection. Secondly, is a pale green Sekhmet standing atop an integral plinth, and with a perforated suspension loop emanating from its back. Third is a turquoise faience amulet of Thoth with long pillar. For similar see: Amulets, of Ancient Egypt, Carol Andrews, Published by British Museum Press.Size: 26-55mm x 32-9mm; Weight: 17gProvenance: Property of a London gallery; previously in a collection of a North London gentleman; formerly in a collection of Mrs B. Ellison, a deceased former member of the Egyptian Exploration Fund, bought from the 1940s, Cairo and London.
New Kingdom, Ca. 1550 - 1069 BCAn Egyptian carnelian amulet with spread wings and a long central body. In ancient Egypt, amulets were abundant and most were probably inexpensive, which made them available to nearly everyone.Size: 25mm x 18mm; Weight: 3gProvenance: Property of a London gallery; previously in a collection of a North London gentleman; formerly in a collection of Mrs B. Ellison, a deceased former member of the Egyptian Exploration Fund, bought from the 1940s, Cairo and London.
Ca. AD 100 - 300A Roman cast bronze phallic amulet featuring phallic imagery. To the left side a manus fica, a clenched fist representing a rude gesture, is depicted whilst an erect phallus is displayed to the right side. At the centre is a further representation of male genitalia, topped by moulded detailing of pubic hair. The amulet displays four loops for suspension. The reverse is unadorned.Size: 65mm x 50mm; Weight: 32gProvenance: Private UK collection; previously acquired on the Holland art market in the 1990s.
Ca. AD 100 - 200A Roman bronze pendant shaped like a gladius, the iconic weapon of the Roman army. This kind of amulet was routinely worn by legionaries throughout the Roman Empire.Size: 46mm x 9mm; Weight: 11.4gProvenance: Private UK collection, acquired on the Belgian art market in the 1990s.
Late Period, Ca. 664 - 332 BCA selection of Egyptian amulets carved in the semi-precious stone lapis lazuli. The first amulet depicts a baboon in mummiform shape. Secondly there is a scarab with the inscription Djezer-ka-re (“Holy is the soul ofRa), prenomen of Amenhotep I (1526-1506 BC). Thirdly there is a Djed pillar. Each amulet is similarly carved on both sides, with a piercing through the top loop for suspension. For similar see. MET Museum Accession Number: 22.3.64. Studied by PD Dr. habil. Pieter Gert van der Veen, Johannes Gutenberg-Universität Mainz.Size: 13-20mm x 9-5mm; Weight: 3.13gProvenance: Property of a London gallery; previously in a collection of a North London gentleman; formerly in a collection of Mrs B. Ellison, a deceased former member of the Egyptian Exploration Fund, bought from the 1940s, Cairo and London.
Loading...-
4003 item(s)/page