Large Phoenician Alabaster Alabastron with Hieroglyphic Inscription

Square in plan with transverse piercing, obverse with three panels: the left bearing a cartouche surmounted by two plumes containing the pharaoh’s birth name, i͗Ꜥms sꜢ nt (Ahmose, son (of) Neith); the right, a similar cartouche containing his throne name, ẖnm-i͗b-RꜤ (He who embraces the heart of Re); the centre inscription reads, ḥpw Ꜥnḫ sꜢ ḥpt(?) (the living Apis, son [of] Hepet?) two with a cartouche for Amasis, text to the centre. 4.96 grams, 26 mm



Ex private collection, Germany. with Galerie Günter Puhze, Freiburg, Germany, prior to 2003. Private collection, acquired on the German art market, 2004. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13186-249203.

The three-column text arrangement closely resembles that of another rectangular spacer bead, engraved with Ahmose II’s cartouches flanking a central inscription, now held at The Walters Art Museum, Baltimore (accession number 42.377). Although the central inscription differs in content, the bead’s connection to the Apis bull is shown on the opposite side, where the sacred animal is depicted. Amasis II (Egyptian: Ahmose II), fifth king of the 26th Dynasty (Saite Period), reigned c. 570–526 BC. Rising to power after overthrowing Apries, Amasis presided over a period of renewed stability and prosperity in Late Period Egypt. His reign is characterised by administrative reform, economic growth, and an active foreign policy, including close diplomatic and commercial relations with the Greek world, evidenced by Greek mercenaries in Egyptian service and the granting of Naukratis as a trading enclave. Amasis undertook extensive temple building and restoration programmes throughout Egypt, particularly at Sais, Memphis, and in Upper Egypt, consciously aligning himself with earlier pharaonic traditions. His royal titulary appears widely on monuments, scarabs, amulets, and architectural elements, often reflecting an emphasis on divine legitimacy and Maʿat. Amasis died shortly before the Persian conquest of Egypt under Cambyses II; his reign represents the final florescence of independent Egyptian kingship before Achaemenid rule.

With a scene to underside of a winged figure advancing. 6.52 grams, 17 mm



Acquired in the mid 1980s-1990s. Private collection, Switzerland, thence by descent. Private collection, since the late 1990s.

With a round face, large eyes, a narrow nose that broadens at the end, and full lips downturned at the corners; the forehead with a distinctive deep furrow above the brow; a narrow, twisted diadem encircling his wavy hair; mounted on a custom-made display stand. 84 grams total, 10 cm including stand



Private collection, Bern, Switzerland. with Galerie Rhéa, Zurich, Switzerland. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12631-236408.

The Greek hairstyle is a characteristic feature of Ptolemaic royal portraiture, as is the twisted diadem - a Greek interpretation of the Egyptian headband (the sšd) - which appears on several portrait heads of Ptolemaic boy-kings and princes. The distinctive furrow is intriguing, as it contrasts with the typically blemish-free physiognomy of most Ptolemaic royal sculpture. However, a similar furrow can be seen on the portrait head of a provincial governor from Dendera, dated to the 2nd century B.C. (Bothmer, B.V., Egyptian Sculpture of the Late Period 700 B.C. to A.D. 100, New York, 1960, pp. 144-143, pl. 112, nos. 301-302), which may indicate an artistic trend employed in high-status sculpture at that time. It has been suggested that small royal portrait heads, such as this example, may have served as votives. The lack of an Egyptian-style back pillar on this and similar pieces supports the possibility that they were inserted into statues made of different materials (Ashton, S.-A., Ptolemaic Royal Sculpture from Egypt, BAR International Series 923, Oxford, 2001, p.12).