Egyptian Green-Blue Glass Inlay of the Horus Falcon

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.

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.

Carved rectangular plaque with central recess, carved image of a nude female modelled in the half-round with a deeply striated bag wig, arms by her side; traces of red and black pigment on the body; mounted on a custom-made stand. 502 grams total, 17.1 cm including stand



From a central London collection, formed 1980-2000. From the private collection of Mr David Barker, London, UK; thence by descent. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

The rectangular limestone plaque almost certainly represents a shrine. Such plaques first appeared in Lower Egypt and became widespread in the Late Period and Ptolemaic era. They may have developed from earlier female figurines depicted on beds and are usually associated with the female goddesses Isis and Hathor, both powerful protectors of women and childbirth and associated with fertility.