Egyptian Blue Faience Clothing Mounts

Discoid receptacle with a military saint in Roman armour (Saint Menas), with muscular cuirass and pteryges, arms open in the manner of the orans pose, animals (camels?) on his side. 198 grams, 89 mm



Maurice Bouvier, Alexandrie, prior 1959. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato.

The majority of the terracotta ampullae come from Egypt and bear representations of St. Menas or Mennas, an Egyptian Christian officer decapitated during the persecutions of Diocletian's time. The legend relates that the saint's body was placed upon a camel which was let loose to follow what course it chose; in the place where the camel stopped, some miles from Alexandria, a grave and a shrine were subsequently built. In allusion to this legend, St. Menas is often represented as standing between two camels, though the animals are often of so fantastic a form as to be very difficult to recognise.

Multi-stranded designer necklace composed of beads of mainly annular and cylindrical types; restrung. 26 grams, 72 cm



Acquired before 1979. From the private collection of Mr F. A., South Kensington, London, UK; thence by descent 2014. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato.

For thousands of years, artisans in Egypt created vibrant ceramics to echo the beauty of rare jewels. These ornaments were created with almost every material, colour, and texture imaginable and they come from across Egypt and beyond: vibrant blue lapis lazuli from Afghanistan, glossy black obsidian from Turkey, and aqua-green turquoise from the Sinai. They were worn in life and, after death, they served as precious ornamentation for mummies.

A relief depicting the upper half of the Nile divinity facing right, sporting a slender beard with curved end, wearing a tripartite wig surmounted by a floral crown in the form of a clump of papyrus with bent buds, and an elaborate multi-strand beaded broad collar; the pendulous breast characteristic of this type of figure; with both upper arms angled right towards traces of a libation vase and possible stem of a lotus flower; traces of a vertical register line behind the figure’s head; mounted on a custom-made display stand. 10.85 kg total, 38.5 cm high including stand



From the estate of the late designer Anthony Powell (1935-2021). This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.12497-230640. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato.

Representations of fecundity figures can be traced from the Old Kingdom through to the Roman Period. These figures serve as divine embodiments of Egypt’s fertile productivity and are commonly depicted in series on the lower registers of temple walls, symbolising the fertility of each province. Historically, they have often been mistakenly referred to as the ‘Nile God’; however, the term Hapi, which sometimes identifies these figures, actually refers to the inundation rather than the River Nile itself, highlighting the source of Egypt’s fertility.