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LOT 0472
Phoenicio-Egyptian Dark Green Stone Scarab
CIRCA 9TH-8TH CENTURY B.C.
5/8 in. (3.94 grams, 15 mm).
With textured carapace, bull-horned column to the reverse, possibly a symbol of Tanit.
ProvenanceFrom the property of the late Mr SM, London, UK, 1969-1999.
This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.
Cf. Moscati, S., I Fenici (The Phoenicians), Milano, 1988, p.395, for examples of Phoenician scarabs; Boschloos, V., 'Tyre, Achziv and Kition. Evidence for a Phoenician Iron Age II Scarab Seal Workshop,' in Lohwasser, A. (ed.), Skarabäen des 1. Jahrtausends: Ein Workshop in Münster am 27. Oktober 2012, Orbis Biblicus et Orientalis 269, Ruprecht, 2014, p. 16, pl. 3.1, for a more stylised Tanit-like symbol.
FootnotesThe widespread adoption of the scarab, both as a symbol linked to the concept of rebirth, and in its function as a seal, exemplifies the extent of Egyptian influence on Phoenician culture, from its origins in the Levant to its spread across the Mediterranean.
CONDITIONTimeLine Auctions follows a vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: Our Vetting Process
AUCTIONS:
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Large Egyptian Bronze Wepwawet Amulet
Third Intermediate-Late Period, 1069-332 B.C.Estimate: £3,500 - 4,500 (‡+bp*)
Opening Bid: £1,750
Showing the jackal deity Wepwawet standing with ears pricked on a sledge, the slender body modelled with long legs and a tail, suspension loop on the back; two rearing cobras before the jackal; mounted on a custom-made display stand. 54 grams, 91 mm (162 grams total, 11.7 cm including stand )
Ex Dr R. and Mrs L.B., Zumikon, 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.12627-236406.
Wepwawet, meaning "Opener of the Ways," was an ancient Egyptian god associated primarily with warfare, protection, and funerary practices. Depicted as a jackal or a man with a jackal's head—often mistaken for Anubis—Wepwawet was believed to guide souls through the afterlife and open paths both in battle and in the spiritual realm. He originated in Asyut (ancient Lycopolis) in Upper Egypt and was one of the oldest deities in the Egyptian pantheon, with worship dating back to at least the First Dynasty (c. 3100–2900 BCE). Over time, Wepwawet became closely linked to Anubis, and the two were sometimes conflated, though Wepwawet retained his distinct identity as a god who preceded and cleared the way. In military contexts, Wepwawet was invoked to "open the way" for pharaohs and armies, ensuring victory and safe passage. In funerary texts, he was described as clearing the path to the afterlife, acting as a scout or guide for the deceased. -
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Egyptian Black Stone Amulet with Cartouche
Late Period, 664-332 B.C.Sold for (Inc. bp): £416
Carved in low relief with hieroglyphs to the sub-rectangular plaque, with two feathers above; integral pierced lug to reverse. 3.15 grams, 29.8 mm
with Archaeologia, Switzerland, before 1983. Ex private North American collection. London private collection, 2016. -
Egyptian Coptic Textile Fragment Group
Circa 4th-5th century A.D.Sold for (Inc. bp): £104
Comprising: a fragment of a clavus in coarse linen and dark brown wool, tapestry, with remains of a medallion embroidered with a lion running right; fragment of an orbiculus in linen and yellow and blue wool, S torsion, embroidered with vegetal and geometric patterns; two terminal fragments of a clavi, in red, green, dark blue and white wool. 58 grams total including package, 8.6-19.5 cm
Acquired 1970s-1996. Property of a North American collector. London collection, 2016.
These are decorative parts of tunics. The lion orbiculus in particular stands out for its delicate design and hunting theme. Dionysus and his entourage were often depicted on these tunics, despite the fact that these fabrics were produced in a by then heavily Christianised empire.
