Egyptian Faience Fragment Group

Plano-convex in section with plain back, mummiform type with agricultural tools. 9.43 grams, 70 mm



Acquired on the UK art market before 2000. Property of an Essex, UK, gentleman.

Barrel-shaped in profile with a rounded base, broad shoulder and flared mouth, two lateral integral loop handles; incised hieroglyphic legend to the shoulder. 420 grams, 37 cm



Formerly in a private collection, Beirut, Lebanon, 1990s. Swiss private collection, acquired from Mr H., Geneva, 2010. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13221-249178. Accompanied by a copy of an Art Loss Register certificate, no.S00059830

In the Phoenician necropolises of Andalusia, the ashes of the deceased were enclosed in luxurious alabaster urns of Egyptian manufacture. In the Phoenician necropolis of Almuñécar, for example, some urns preserved inscriptions and emblems of various Egyptian pharaohs, who ruled the Nile region between the 16th and 8th centuries B.C. Alabaster vessels of this type, originally containing fine wines, have been discovered, albeit in smaller numbers, in the royal palaces of Assur and Samaria in the East, as part of war booty or gifts exchanged between royal houses.

Gold chain of double-looped links terminating in corrugated end elements, with hook-and-eye clasp; suspension ring embellished with applied granulation and a ribbed loop; hollow-formed sheet-gold pendant in the round depicting Harpocrates seated, his right forefinger raised to his mouth, wearing a finely detailed nemes headdress surmounted by a complex hemhem, crown incorporating multiple hedjet elements, flanking uraei, and ram's horns. 49.80 grams, 40.5 cm



Ex Elie Boustros collection, Lebanon. Private collection, acquired in the late 1980s-early 1990s; thence by descent. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13203-249297.

The fully three-dimensional modelling of the pendant aligns it with a group of high-quality Roman-period Egyptian goldwork characterised by pronounced plasticity and sculptural ambition. A pertinent comparison may be drawn with the gold diadem depicting Serapis from the Dush Treasure, discovered concealed within the wall of a Roman fort in the Baris Oasis (Reddé, M., Douch IV. Le trésor de Douch, DFIFAO 28, Cairo, 1992). That assemblage, plausibly associated with a nearby temple of Serapis and Isis, demonstrates a similarly bold treatment of divine imagery in precious metal. Comparable small-scale representations of Harpocrates in gold - often amuletic in function - are known from Roman Egypt, though examples combining such intricate crown iconography with fully rounded modelling remain relatively rare. The present piece therefore occupies an interesting position between personal adornment and cultic or apotropaic object, reflecting both Alexandrian iconographic synthesis and provincial workshop virtuosity. Harpocrates is the Greek version of the Egyptian Hor-pa-khered, which means ‘Horus the Child’. This name refers to Horus as the divine infant of Isis and Osiris. Wearing an amulet of Harpocrates was believed to provide the same protection that Isis offered to her beloved son.