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LOT 0436
Egyptian Faience Mummy Bead Face Mask with Sons of Horus
PTOLEMAIC PERIOD, 332-30 B.C.
12 5/8 in. (145 grams, 32 cm high).
Restrung; a netted beadwork panel of annular and tubular glazed composition beads in blues, greens, black, cream and red-brown colours, depicting a mummy face mask with false beard, a scarab with extended wings below, the 'Four Sons of Horus’ beneath the scarab, joined together with areas of open netting of tubular beads.
ProvenanceAcquired 1990s.
Ex Mariaud des Serres, Paris, France.
This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.
See Manley, B. and Dodson, A., Life Everlasting. National Museums Scotland Collection of Ancient Egyptian Coffins, Edinburgh, 2010, p.114, no. 43, for an example with similar elements.
FootnotesThe 'Four Sons of Horus' protected the internal organs of the deceased. Depicted from left to right: the falcon-headed Qebhesenuef protected the intestines; human-headed Imsety, the liver; baboon-headed Hapi, the lungs; jackal-headed Duamutef, the stomach.
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AUCTIONS:
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LOT 0436
Egyptian Faience Mummy Bead Face Mask with Sons of Horus
Sold for (Inc. bp): £312
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Phoenician Glass Bead Collection
6th-3rd century B.C. or laterEstimate: £1,200 - 1,700 (+bp*)
Opening Bid: £650
Comprising a group of crumb-decorated polychrome oblate beads and a centrepiece pendant formed as a stylised bearded head. 179 grams total, 12-42 mm
From the collection of a gentleman, acquired on the London art market in the 1990s. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.
The Phoenicians, renowned seafarers and traders, were also skilled glassworkers. They produced a wide variety of glass beads using core-forming and winding techniques, with vivid colours and elaborate designs that reflect both technical mastery and cross-cultural influence. Among the most iconic Phoenician beads are glass 'head' beads, crafted in the form of stylised human or mythological faces. Typically, they feature exaggerated facial details like bulging eyes, large noses, beards, and headdresses, often with expressive or comic features. They were possibly worn as amulets to ward off evil or attract protection, though they may also represent deities, ancestors, or foreigners. These beads often incorporate Egyptian, Greek, and Near Eastern stylistic elements, reflecting the Phoenicians’ extensive trade networks. -
Egyptian Wooden Funerary Shabti Figurine
New Kingdom, circa 1570-1070 B.C.Estimate: £1,200 - 1,700 (‡+bp*)
Opening Bid: £600
Carved in the round as a mummiform figure, with a carefully modelled tripartite wig, a rounded face, large eyes, and a subtly simpering expression. 39 grams, 14.5 cm
Ex R. Liechti (1934-2010) Geneva, Switzerland, formed between 1950-1990s. with Liechti stock number 'E.825' to base. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12079-218221. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.
A shabti (also known as ushabti or shawabti) is a small funerary figurine found in ancient Egyptian tombs, from around 2000 BCE to 30 BCE. Its main purpose was to act as a servant for the deceased in the afterlife, carrying out manual tasks like farming or irrigation as directed by the gods. Shabtis were frequently inscribed with a magical formula from the Book of the Dead to ensure they would animate when summoned. -
Egyptian Alabaster Kohl Pot with Later Hieroglyphs
Second Intermediate Period, 1650-1550 B.C.Sold for (Inc. bp): £195
Comprising a squat piriform body with a wide everted rim, a band of later hieroglyphs beneath the shoulder: ḳmꜢ.t n bꜢw ı͗wnw nfrw.s (You have gathered the souls (i.e. divine powers) of Heliopolis—her beauties). 208 grams, 55 mm high
Ex late London, UK, gentleman, 1970s. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.
The inscription on what is a cosmetic vessel could be interpreted as “You acquire the powers of Heliopolis, source of her beauty”; “her beauties” likely references either the woman using the vessel or perhaps the divine beauty imparted by the contents.
