Egyptian Blue Faience Clothing Mounts

A fragment featuring a low-relief depiction of a male head in profile with a shoulder-length duplex wig, the upper part intricately detailed with herringbone stripes and a fringed edge, transitioning into heavy curls at the lower part, sporting a short beard and a boldly carved ear with an indented lobe, drilled for a mounting peg. 1.95 kg, 26.5 cm



Acquired in the mid 1980s-1990s. Private collection, Switzerland, thence by descent. Private collection, since the late 1990s. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12626-234637. 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.

With an ovoid body and two small lug handles to the upper body. 121 grams, 72 mm



Acquired in the mid 1980s-1990s. Private collection, Switzerland, thence by descent. Private collection, since the late 1990s. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

The name by which we know the vessel in question comes directly from its name in Greek— alábastron —which itself was derived from Egyptian, although It is difficult to say whether the name in Egyptian first applied to the type of vessel or to the stone used to make it. Pliny (NH 36.12, 37.54) includes an alabastrites or alabastritis from Alabastrum near Thebes in Egypt among his description of stones, and Theophrastus (On Stones, 1.6) an alabastrítes, also from near Thebes. Ptolemy (Geography, 4.5) even mentions an alabastrites mons, a mountain of alabaster, in the same vicinity. The prototype of the alabastron shape with two lug handles first appeared in Egypt at the end of the Middle Kingdom and continued in use with slight variations through New Kingdom times. After an apparent hiatus in the use of the shape at the end of the Late Bronze Age, it appeared again in the second half of the eighth century in a form more similar to our specimen and became common by the 26th Dynasty.

With gusset to the sidewall and incuse design to the underside of opposed winged lions each with one forepaw raised. 14.5 grams, 28 mm



Ex collection of the late Mr S. M., London, UK, 1970-1990s. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

Phoenician scarabs with winged lions were often used as guardian figures, much like Mesopotamian lamassu or Egyptian sphinxes. On amulets and seals, they likely served as apotropaic (evil-averting) symbols. In Phoenician and Persian art, hybrid creatures like winged lions reflect a cosmopolitan visual language, blending Egyptian, Assyrian, and Achaemenid motifs. They could symbolise imperial power or transcultural authority. In some cases, winged lions are linked to deities or divine guardianship, especially when shown flanking sacred symbols like trees, thrones, or sun discs.