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Click here to subscribeCa. AD 1 - 300. A bronze gladius-shaped amulet featuring a blade that gradually tapers to a sharp point. A circular opening is located slightly below the centre. The hilt includes a cylindrical grip, a crossguard with parallel ridges, and a rounded pommel.Size: 44.5mm x 7.7mm; Weight: 6.55gProvenance: Private UK collection; previously acquired on the Holland art market in the 1990s.
Late Period Ca. 664-332 BC. A stone amulet with fossil inclusions depicting a carved frog, representing the goddess Heqet, deity of fertility. Reviewed by Simone Musso, consultant curator for Egyptian antiquities at the Stibbert Museum, Florence, Italy, member of the Nuri Archaeological Expedition.Size: 25mm x 24mm; Weight: 11.26gProvenance: Private Collection; Ex. Curt Burgauer collection, Switzerland, 1970s-1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. 3000 BC.An amulet of translucent stone with some fawn. A standing human figure in the round, with shaven head hands held over the breasts, and pubic triangle.Size: 40mm x 10mm; Weight: 6.35gProvenance: Private UK collection; From an old British collection formed in the 1980s.This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. 300 BC. A turquoise glazed faience amulet depicting goddess Sekhmet standing on an integral base. She is portrayed with a lioness head and a slender body. The amulet has a flat back with a vertical column of incised hieroglyphs and it is perforated at the upper section for suspension. Reviewed by Simone Musso, consultant curator for Egyptian antiquities at the Stibbert Museum, Florence, Italy, member of the Nuri Archaeological Expedition.For similar see: The British Museum, Museum number 1980,1214.15557.Size: 70mm x 25mm; Weight: 18.38gProvenance: Private UK collection; From an old British collection formed in the 1990s.
Middle Kingdom, Ca. 2055 - 1550 BC.An amulet in the form of a frog sitting atop a circular integral base, carved from amethyst. The body is compact, with a back that slopes gently towards the rear. The head is slightly raised, with prominent circular eyes outlined in low relief. A shallow groove defines the mouth, extending towards the sides. The front legs are positioned close to the body, with subtle curves indicating the joints. The underside is flat, with a central perforation. Reviewed by Simone Musso, consultant curator for Egyptian antiquities at the Stibbert Museum, Florence, Italy, member of the Nuri Archaeological Expedition.For similar see: Christie's, Live Auction 21909, Antiquities, Lot 82.Size: 18.9mm x 24.5mm; Weight: 14.20gProvenance: Private collection, London. UK; Ex. Schmidli collection, Switzerland, 1970s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. 664 - 332 BC.An oval-shaped amulet in spotted stone, depicting seven small frogs, symbolizing the goddess Heqet, deity of fertility. Reviewed by Simone Musso, consultant curator for Egyptian antiquities at the Stibbert Museum, Florence, Italy, member of the Nuri Archaeological Expedition.Size: 65mm x 23mm; Weight: 29.11gProvenance: Private collection London, UK; Ex. Dr. R. Hartmann collection, Switzerland, 1980s-2000s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. 3100 - 2900 BC. A marble amulet of a bull depicted in a recumbent position with its legs tucked beneath the body. The head is sculpted with a rounded snout, small circular eyes, and a pair of curved horns. A perforation runs through the back, possibly for suspension or attachment.For similar see: The British Museum, Museum number 134748 (shape), Christie's, Live Auction 2450, Antiquities, Lot 4.Size: 40mm x 25mm; Weight: 16gProvenance: Private UK collection; formerly with R. A.; since the 1990s.
Third Intermediate Period, Ca. 1070 BC - 656 BC.A blue faience wedjat amulet with a flat, circular form and a recessed square panel at the centre. The panel is divided into four quadrants by intersecting vertical and horizontal bars, each containing a raised wedjat eye. Each is framed by curving extensions forming stylised brows and cosmetic lines. Mounted on a custom-made display stand.For similar see: The Art Institute of Chicago, Reference Number 1892.184.Size: 160mm x 90mm; Weight: 180gProvenance: Private UK collection; Ex. European collection, 1980s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.This piece is accompanied by an authentication statement from Simone Musso, consultant curator for Egyptian antiquities at the Stibbert Museum, Florence, Italy, member of the Nuri Archaeological Expedition.
Carved white jade with greyish veins. It consists of three pieces: ‘??’ in the shape of an old man, with a rectangular body, triangular head and flared foot; ‘??’ a ‘cong’ amulet of rectangular shape and perforated interior, decorated with incised characters; and ‘???’ in the shape of a square base that rises towards a smaller square surface. The three pieces are hung on a knotted decorative cord. Han Dynasty (206 BC–AD 220) or later.Size: 3.4 x 1.9 x 1 cm; 2.6 x 1.1 x 1.1 cm; 2.2 x 2.3 x 0.8 cmTotal weight: 26 g
A collection of Ancient Egyptian hardstone and turquoise glazed faience amulets, the first display block comprising a carnelian heart, faience - eye of Horus, papyrus sceptre, heart, leg, lion couchant, Bes and Netes, the label inscribed to purchase Liverpool University Egyptology department 1922, the items collected at Beni Hassan, dating to the XII and XVIII dynasties, a second display block of seven amulets, including a lapis lazuli frog, carnelian Bess and Horus the child and faience- heart, Tet, vase and hawk/Falcon, the label inscribed ’found tombs at Gurob XXII dynasty, BC 900 Flinders Petrie excavation 294’ The amulet of the leg appears to have a chip loss at the top and there may be tiny losses to some of the other amulets but generally in reasonable condition consistent with agePLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A collection of Ancient Egyptian turquoise glazed faience amulets, 22nd dynasty, (c.900 BC), and 18th dynasty (1700-1900 BC), eight amulets from a small necklace in the form of a fly, Taurt, Bes, fish, scarab and a metal seal ring, mounted on a block, the label inscribed ‘from small necklace Abydos XVIII Dynasty BC 1700-1900’, Ten amulets in the form of lions couchant, papyrus sceptres, an ankh, Bes, and Shu, mounted on three blocks, the labels inscribed ‘found tombs at Gurab by Flinders Petrie XXII dynasty, BC 900’ Generally reasonable condition some grubbiness to the wood blocks and labels and some of the amulets, the papyrus sceptre large amulet has some chip losses around the top but the majority of the amulets are generally in good condition with only occasional tiny losses. The seal ring is heavily corroded and split.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A pair of Egyptian-style scarab stone carvings featuring intricate hieroglyphic and symbolic engravings. One carving is crafted in green stone, while the other is in a lighter-toned stone. The largest measures 3.75"L. These carvings draw inspiration from ancient Egyptian scarabs, which were often used as seals or stamps, with their carved bottoms designed to leave an imprint in clay or other materials, serving as signatures or symbols of authority. While these pieces appear decorative, their detailed craftsmanship pays homage to the scarab's historical role as an amulet of protection and a symbol of rebirth.Dimensions: See DescriptionCondition: Age related wear.
TAINO AMULET HISPANIOLA, C. C. 13TH –15TH CENTURY A.D. carved stone, in the form of a crouching figure shaped into a loop, raised on a bespoke mount 8.5cm long Alexandre Bernand, Paris, acquired from Throckmorton Galleries, circa 2008-2009Previously in the Valdez Collection, Miami, acquired 1980s Please note that the present piece is accompanied by a CIRAM report.
Anne (1702-14), gold Touchpiece by J Croker, officially pierced, toothed outer borders both sides, three-masted ship in sail left, legend surrounds ANNA. D:G: M: BR: F: ET. H: REG :, rev, St Michael standing spearing dragon, reads SOLI. DEO. GLORIA., 3.00g (MI.242-28; Woolf obv. 13 punctuation/ Rev 3). Pierced as usual with some wear and once cleaned, a bold fine and rare.The legends translate as "Anne by the grace of God, Queen of Great Britain, France and Ireland" on obverse and on the reverse "Glory to God alone."The so called "Kings Evil" or Morbus Regius also known as the disease scrofula was what the Royal touch from the monarch was purported to be able to cure. Since the time of King Edward the Confessor (later canonised) a belief in prayer coupled with the Royal touch could incur a miraculous recovery and it became usual to give money as alms to the afflicted, in the Middle Ages a Penny as a day's wages for a labourer. Later in the medieval period the gold Angel coin became prominent as the "doctors" coin as the 6s and 8d face value was the standard fee of a medical doctor at the time. The reverse legend of Angel coins was revered as a healing inscription coupled with St. Michael slaying the devil as a dragon. As the monarch was seen to have a divine right to Kingship and was related to the now Sainted King, the coin became effectively a healing amulet especially if the monarch had once touched it. The passing of a Touch-Piece therefore became more commonplace under the Stuart reigns of James I and Charles I, and at these times of plague and other disease it was sensible for the King to pass such Angel coins, rather than to touch those physically ailed, a social distance being maintained by the gift of coin. The recipient who may have cured from their ill would covet such a coin and wear it against their skin probably for the rest of their life, and this is why such coins are often holed. By the time of the later Stuart reigns of Charles II and James II the Angel coin was no longer in production as machinery had become the new norm at the Mint. A need to still touch for the Kings evil meant production of these special pieces as we have for sale herewith prevailed and there was even a gap left in the legend where the piercing would occur. The reverse depicts the warship "The Sovereign of the Seas" launched in October 1637 and in service until it was burned by fire in Chatham docks in 1697.Noel Woolf reproduced the known mintages of the Queen Anne touch pieces which cover the time from February 1702 to May 1707 and from March 1711 to April 1714 which amounted to 12,347 pieces or an average of about 1,760 pieces a year. If the same average is applied to the missing accounts, then the mintage in total must have been under 20,000 pieces for the entire reign at some 19,400 pieces and they remain incredibly rare.Interestingly among those Queen Anne touched was Dr Samuel Johnson when aged 2 years probably on the 30th March 1712, who later went on the write the first English Dictionary and his own touch piece is in the British Museum. Queen Anne also was the last reigning monarch to touch on British soil on 27th April 1714 three months before she passed away.
Charles II (1660-85), gold Touchpiece, officially pierced, toothed outer border both sides, three masted ship in full sail left, smaller hatched rigging, legend surrounds CAR.II.D.G.M.B.FR. ET.HI.REX., rev. struck en médaille, St. Michael slaying dragon, dragon with a short barb to tail SOLI. DEO GLORIA no stops at GLORIA (MIi 477/86; Woolf 4/4). Pierced as usual, once polished, now lightly toned, some wear to high points, short scratch on St Michael, otherwise almost very fine.The legends translate as "Charles the second by the grace of God, King of Great Britain, France and Ireland" on obverse and on the reverse "Glory to God alone." The so called "Kings Evil" or Morbus Regius also known as the disease scrofula was what the Royal touch from the monarch was purported to be able to cure. Since the time of King Edward the Confessor (later canonised) a belief in prayer coupled with the Royal touch could incur a miraculous recovery and it became usual to give money as alms to the afflicted, in the Middle Ages a Penny as a day's wages for a labourer. Later in the medieval period the gold Angel coin became prominent as the "doctors" coin as the 6s and 8d face value was the standard fee of a medical doctor at the time. The reverse legend of Angel coins was revered as a healing inscription coupled with St. Michael slaying the devil as a dragon. As the monarch was seen to have a divine right to Kingship and was related to the now Sainted King, the coin became effectively a healing amulet especially if the monarch had once touched it. The passing of a Touch-Piece therefore became more commonplace under the Stuart reigns of James I and Charles I, and at these times of plague and other disease it was sensible for the King to pass such Angel coins, rather than to touch those physically ailed, a social distance being maintained by the gift of coin. The recipient who may have cured from their ill would covet such a coin and wear it against their skin probably for the rest of their life, and this is why such coins are often holed. By the time of the later Stuart reigns of Charles II and James II the Angel coin was no longer in production as machinery had become the new norm at the Mint. A need to still touch for the Kings evil meant production of these special pieces as we have for sale herewith prevailed and there was even a gap left in the legend where the piercing would occur. The reverse depicts the warship "The Sovereign of the Seas" launched in October 1637 and in service until it was burned by fire in Chatham docks in 1697.
A Collection of Assorted Silver and Silver Plate, the silver including a mustard-pot, marks worn, circa 1820; a sugar-bowl, with gadrooned rim. 11cm diameter; a part-fluted cream-jug; another cream-jug, on ball feet; a pair of silver-mounted glass casters; a Chinese amulet; a caddy-spoon and a further spoon, weighable silver 20oz 8dwt, 635gr; the silver plate including a mug; a spirit-flask; two differing toast-racks and other items (one tray)
1st century A.D. Carved in the half-round, tongue-shaped with drilled eyes, convex lips and gatched beard; transverse hole at the brow for suspension; with old dealer's ticket; possibly an amulet to avert bad luck. 2.72 grams, 28 mm (1 1/8 in.). Acquired 1979-1999. London collection of the late Mr S.M., thence by descent.
8th-7th century B.C. Modelled in the round with grotesque features and fierce teeth exposed; drilled through the head for suspension. See British Museum, Splendours of Mesopotamia, London, 2011, p.203, cat.180, for type. 16.2 grams, 24 mm (1 in.). UK private collection before 2000. Acquired on the UK art market. Property of a London gentleman.In Babylonian mythology the demon Pazuzu was the son of the god Hanpa. His consort, the demon Lamaštu, carried fever and preyed upon children and pregnant women. She could be neutralised with appropriate spells and amulets, which also protected against other demons. For this reason, women wore an amulet with the effigy of Pazuzu around their necks during pregnancy.
6th-7th century A.D. Ellipsoid in plan with chamfered edge; standing nimbate figure in ankle-length robe extending one hand in blessing above a crawling supplicant; extensive Greek text transcribed as: ''ΚΕ Η ΓVNΙ / ΙΛ ΡVCΕΙ Ε / ΛTΟΣ ΕΤΙ / ΚΕ ΠΟΛΑ / ΝΙCΛ ΜΙ / Ν ωFΕΛΕ / ΛΑΑΜ / ΕΡ / ΗΛ / Λ / ΜΟVCΑ ' and 'A / ΛF / O / ΛΛ'.…'[καὶ γυνὴ οὗσα ἐν ῥύσει αἵματος δώδεκα ἔτη καὶ πολλὰ παθοῦσα ὑπὸ πολλῶν ἰατρῶν καὶ δαπανήσασα τὰ παρ᾽ αὐτῆς πάντα καὶ μηδὲν ὠφεληθεῖσα ἀλλὰ μᾶλλον εἰς τὸ χεῖρον ἐλθοῦσα…' Cf. similar amulet in the Metropolitan Museum, New York, item 17.190.491. 10.2 grams, 27 mm (1 in.). UK private collection before 2000. Acquired on the UK art market. Property of a London gentleman.The scene and surrounding text refers to the miracle concerning the woman with the issue of blood; the Greek text is abbreviated from Mark 5, 25-34: 'And there was a woman who had had a discharge of blood for twelve years, and who had suffered much under many physicians, and had spent all that she had, and was no better but rather grew worse. She had heard the reports about Jesus and came up behind him in the crowd and touched his garment. For she said, 'If I touch even his garments, I will be made well.' And immediately the flow of blood dried up, and she felt in her body that she was healed of her disease. And Jesus, perceiving in himself that power had gone out from him, immediately turned about in the crowd and said, 'Who touched my garments?' And his disciples said to him, 'You see the crowd pressing around you, and yet you say, ‘Who touched me?' And he looked around to see who had done it. But the woman, knowing what had happened to her, came in fear and trembling and fell down before him and told him the whole truth. And he said to her, 'Daughter, your faith has made you well; go in peace, and be healed of your disease.'
17th-20th century A.D. Including issues by Charles II, Victoria, George II, George V and William IV; one pierced for mounting as an amulet and another bent as a love token; mounted in a glazed wooden frame. 1.5 kg, 34.5 x 44.5 cm (13 3/8 x 17 1/2 in.). [No Reserve] From the private collection of a Manchester, UK, detectorist, 1990s.
20th century A.D. or earlier. Carved hardstone amulet comprising a phallus developing to a male head with flange ears, incised scaphoid eyes, broad slit mouth; after the antique. 103 grams total, 75 mm (3 in.). [No Reserve] Acquired on the UK art market from various auction houses and collections mostly before 2000. From an important Cambridgeshire estate; thence by descent.
19th-20th century A.D. Comprising forty bound leaves written in Amharic, featuring 'spectacle scripts', small drawings of the Christ's passion, Salomon's seal, Moses snakes and Patriarchal staff, and other drawings of a double-headed serpent; preserved in the original pouch with bindings. Cf. Smidt, W., Dege, S., 'Tälsäm' in Encyclopedia Ethiopica, IV, Hamburg, 2011, pp.850-852, figs.1-2, for similar. 168 grams, 16.3 x 10.5 cm (6 3/8 x 4 1/8 in.). [No Reserve] From a Brighton bookseller, circa 2000.This particular object is sometimes referred to as a talisman or amulet, and also known as a ketãb (document) or metshaf (book). It was used in Ethiopia by priests and common people, not only intended for reading but also for providing protection. It was worn with a rope around the neck or shoulders of the owner.
Late-Ptolemaic Period, 664-30 B.C. Turquoise-blue faience amulet of a vervet monkey standing with its long arms extended to the hips, supported on an integral base by its tail; suspension loop at the back. Cf. Andrews, C., Amulets of Ancient Egypt, London, 1994, fig. 71c, for similar. 1.52 grams, 27 mm (1 in.). [No Reserve] From a private collection acquired by the previous owner's father in the 1950s. Ex TimesAncient, Bristol, UK. Accompanied by a copy of a previous catalogue entry.Amulets featuring the vervet monkey were believed to serve as magical sexual aids for the living and the dead, ensuring these benefits in life and the afterlife.
Late-Ptolemaic Period, 664-30 B.C. or earlier. A silver openwork amulet featuring an ankh with outstretched arms holding tall was-sceptres. Cf. several comparable faience openwork amulets were discovered in the tomb of Amenhotep III (e.g. Metropolitan Museum of Art 26.7.1083), these are discussed in Hayes, W.C., The Scepter of Egypt. A Background for the Study of the Egyptian Antiquities in The Metropolitan Museum of Art, Vol. 2, New York, 1990 (reprint), p.243. 0.31 grams, 13 mm (1/2 in.). [No Reserve] From an early 20th century collection.
Late Period, 664-332 B.C. Large wedjat-eye amulet with incised human and falcon elements. Cf. Tinius, I., Altägypten in Braunschweig. Die Sammlungen des Herzog Anton Ulrich-Museums und des Städtischen Museums, Wiesbaden, 2011, p. 161, no. 304, for a similar example. 11.7 grams, 38 mm (1 1/2 in.). From the private collection of the late Mrs Belinda Ellison, a long time member of the Egyptian Exploration Society, c.1940-2020.The wedjat-eye amulet is a representation of the healed eye of the god Horus, featuring both human and falcon elements. The name wedjat in ancient Egyptian means ‘the one that is sound.’ According to Egyptian mythology, Horus' eye was wounded or taken by the god Seth and restored by Thoth. The wedjat-eye amulet was thought to protect its wearer and bestow the power of recovery and regeneration onto them. It was very popular and used by both the living and the dead.
Third Intermediate Period, 1070-713 B.C. Amulet of a triple Eye of Horus, originally inlaid, pierced longitudinally for suspension. Cf. Flinders Petrie, W.M., Amulets illustrated by the Egyptian Collection in University College, London, reprinted London, 1994, plate I. 4.27 grams, 28 mm (1 1/8 in.). [No Reserve] From an English deceased estate. Previously with Den of Antiquity, Cambridgeshire, UK, with stock code L838-3. Property of a Bristol, UK, gentleman. Ex TimesAncient, Bristol, UK. Accompanied by a copy of a previous catalogue entry, and a previous dealer's sales ticket.The Eye of Horus was a powerful symbol of protection in Ancient Egypt, also known as the Wedjet (or Ujat, meaning 'Whole One') and the 'all seeing eye'. It was believed to have healing and protective power and was used as an amulet.
Ptolemaic Period, 332-30 B.C. Wedjat bead or amulet with applied black detailing to the pupil and brow. Cf. Andrews, C., Amulets of Ancient Egypt, London, 1994, pl.46. 1.18 grams, 17 mm (5/8 in.). Mr F.D. collection, acquired on the European art market, 1975 to present.The wedjat-eye amulet is a representation of the healed eye of the god Horus, featuring both human and falcon elements. The name wedjat in ancient Egyptian means ‘the one that is sound.’ According to Egyptian mythology, Horus' eye was wounded or taken by the god Seth and restored by Thoth. The wedjat-eye amulet was thought to protect its wearer and bestow the power of recovery and regeneration onto them. It was very popular and used by both the living and the dead.
Late Period, 664-332 B.C. An elaborate amulet in bright blue faience, modelled on four sides: Side 1: a diminutive figure of Harpokrates holding a snake in each hand and standing on the back of a lion, below which is a stylised mummiform (?) figure with a nemes headdress and a broad ornamental collar; Side 2: a baboon seated upon a nebyt collar, below which is a standing naked female figure wearing a Hathoric wig; Side 3: a standing naked female figure with right arm hanging by her side and left arm bent at the elbow and forearm positioned beneath her breasts, wearing a composite wig with striated lappets and uraeus to the front, surmounted by two tall ostrich feathers fronted by a sun disc; Side 4: a standing naked female figure with right arm hanging by her side and left arm bent at the elbow and forearm positioned beneath her breasts, wearing a lappet wig and uraeus to the front, surmounted by a tall two-plumed headdress fronted by a sun disc; the figure of a falcon tops the composition, which stands on an integral plinth. 21 grams, 60 mm (2 3/8 in.). Mr F.D. collection, acquired on the European art market, 1975 to present.This highly unusual amulet contains elements associated with Horus cippi. On such objects, Horus is depicted as a naked child, usually holding snakes and standing on crocodiles, though other dangerous animals, such as lions, are also represented with him. The goddesses Isis and Nephthys are typically found on cippi, and two of the three female figures on this amulet may represent these goddesses. However, their headdresses are untypical of either deity, while the third female figure sports the Hathor wig.
2nd-4th century A.D. Ellipsoid in plan with chamfered rim to obverse with womb with key and roots; above womb the figures of Isis, Anubis, Chnoubis, and Nephthys (from left to right); reverse with facing Medusa mask with wings to the brow below a coiled snake, spiders and other items. Cf. similar item in Gordon, R., 'Archaeologies of Magical Gems' in Entwistle, C., Adams, N., Gems of Heaven, recent research on engraved Gemstones in Late Antiquity, c. AD 200-600, London, 2011, pp.39-49, pl.5; see also BM inv.no.EA56076, for similar gemstone. 2.84 grams, 24 mm (1 in.). From the collection of magical objects of the late Mr A. Cotton, Brockenhurst, Hampshire, UK. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12354-225280.During the Graeco-Roman period, the traditional genres of Egyptian or Near Eastern temple magic gems, particularly protective magic against demons, snakes and scorpions, seemed largely to have disappeared, and new genres became dominant, for different types of divination (direct visions of god, bowl divination, dream sending, Homer oracles), malign magic, aggressive (mainly erotic) magic, magic for personal success and attractiveness. This type of amulet was intended to aid childbirth and avoid illness and dangers for its attendant.
A Qajar Iran 19th century Silver / white metal Amulet prayer case with talismanic prayer scroll. The Arabic manuscript on parchment paper also known as snake skin - in black, blue and red Naskh script with gold highlights The case cylindrical in form with faceted sides. Five sides chased and incised with script. Removable terminals (one missing) and three suspension loops. One end missing to the case and minor dents. 7cm length.
Late Period, Ca. 664 - 30 BC.A carnelian amulet depicting the goddess Bastet in feline form. The figure is seated on its haunches atop an integral flat base, with the front limbs defined by a shallow groove. The small head features pointed ears, deeply recessed eyes, and a horizontal incision marking the mouth. A loop at the back of the neck, fitted with a gold ring, allows for suspension as an amulet.For similar see: The Metropolitan Museum of Art, Object Number: 08.202.41g.Size: 20mm x 10mm; Weight: 1.7gProvenance: From the collection of a London gentleman; formerly acquired in early 2000s; previously in 1970s UK collection.
Ca. AD 1000 - 1200. A protection amulet pendant adorned with Kufic inscriptions and a loop for suspension at the top, the verso set with an inscription in the centre and framed within a geometrical scheme. Size: 43mm x 26mm; Weight: 11.3g Provenance: Private collection of an Oxford professional, formed in the 1970s-1990s on the UK art market.
Ca. AD 800- 1000.A gold amulet shaped like an axe head with a flared blade. The opposite end features a shallow round socket designed for suspension. The blade is adorned at its widest point with an engraved solar symbol, featuring a central circular recess surrounded by 10 almond-shaped rays. The reverse side of the blade remains undecorated, providing a contrast to the detailed front. The pendant is threaded with a round-section gold rod, forming a ring with its finials coiling around each other with tapering ends.Size: 30mm x 15mm; Weight: 2.8gProvenance: Private UK collection; From an old British collection formed in the 1990s.
New Kingdom, Ca. 1550 - 1069 BC.An exemplary mold-formed pendant in the form of a papyrus column. The column is characterised by a sizable structure with a gently pointed base, a tiered upper section and a suspension hole drilled through the top of the column. The top and bottom of the column is decorated with leaves of papyrus. The papyrus amulet was a highly favoured item to be placed on mummies and was also seen as a the symbol of fertility. For similar see: MET Museum Accession Number: 04.2.66.Size: L:74mm / W:20mm ; 12gProvenance: From the collection of a London gentleman; formerly acquired in the early 2000s; previously in 1970s UK collection. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy.
Ca. 664 - 332 BC. A mould-formed pale green faience amulet of a hare with long ears depicted horizontally, likely a representation of the god Twtw. The hare is made in a stylised manner and the features are symmetrical and well-executed. There is a drilled hole on the back under the ears. For similar see: The Metropolitan Museum of Art, Accession Number: 74.51.4505. Size: 21mm x 15mm; Weight: 2g Provenance: From the collection of a London gentleman; formerly acquired in the early 2000s; previously in 1970s UK collection.
Ca. AD 800- 1000.A silver amulet shaped like an axe head, with a vertical blade. On the opposite end, there is a shallow round socket for suspension, allowing the amulet to be worn or displayed.Size: 25mm x 10mm; Weight: 2.6gProvenance: Property of a London gallery; previously acquired at the art market in Vienna; formerly in an Austrian collection formed prior to 2000.
Ca. 3000 - 2500 BC.A collection of 12 Mesopotamian red stone amulets, all depicting animals in the round and pierced. One amulet of red stone with three foxes' heads joined.Size: 6.1-12.9mm x 3.8-13.8mm; Weight: 5.95gProvenance: Property of a London gallery; formerly with a Mayfair Art dealer S.A.; Ex. 1990s London collections, studied and catalogued by professor Lambert in the early 90s (with original note, signed by him). Previously in an old British collection formed since the 1960s.
Ca. 300 - 100 BC. A bronze miniature amulet of an ithyphallic figure. The seated figure is depicted with his large phallus extended in front with elongated arms holding either side, with drooping eyes, a small mouth, and long curly hair and beard. This little statuette was probably used in a temple or for private rituals to increase the virility of the living or as protection for the dead. Size: 35mm x 12mm; Weight: 15g Provenance: From the collection of a European gentleman based in the UK, formed in the 2000s; acquired on the German art market.
Late Period, Ca. 664 - 332 BC.A red jasper amulet of the goddess Isis in an upright posture. The figure is depicted wearing a tripartite wig with defined lappets resting on her shoulders. The facial features are clearly outlined, including large eyes, a broad nose, and a small mouth. The body is slender, with the arms held close to the sides and the hands clenched into fists. The torso displays a subtle indication of the figure’s anatomy, including the waistline and hips. The lower half features a straight, columnar skirt extending to the base. The feet are distinctly defined, positioned side-by-side on an integrated rectangular plinth. The reverse shows a vertical back pillar inscribed with hieroglyphs, extending from the back of the head to the base.For similar see: The British Museum, Museum number EA60921.Size: 45mm x 15mm; Weight: 9.5gProvenance: From the collection of a London gentleman; formerly acquired in early 2000s; previously in 1970s UK collection.
Ca. AD 800- 1000.A gold amulet shaped like an axe head with a flared blade. The opposite end features a shallow round socket designed for suspension. The blade is decorated on one side with stamped triangles, each containing a raised dot, with three located at the upper edge and one at each corner of the expanding blade. Between the triangles are registers of punched dots. The opposite side of the blade is undecorated. The pendant is threaded with a round-section gold rod, forming a ring with its finials coiling around each other with tapering ends.Size: 30mm x 13mm; Weight: 2.7gProvenance: Private UK collection; From an old British collection formed in the 1990s.
Ptolemaic or Roman Period, Ca. 100 BC - AD 300.A faience amulet of Omphale in bright blue glaze faience. The figure is depicted as a naked woman in a squatting position with legs spread. Her headdress, breasts, abdomen, and feet are accentuated with bright yellow colouration. For similar see: The Metropolitan Museum of Art, Object Number: 15.43.329. Size: 28mm x 20mm; weight 3gProvenance: Private UK collection; acquired on the UK art market, pre-2000.
Late Period, Ca. 664 - 332 BC.A finely detailed steatite scarab amulet exhibiting the characteristic features of a dung beetle, including a rounded body, folded wings, and an engraved underside. The amulet is pierced horizontally for suspension.Size: 15mm x 12mm; weight 2gProvenance: Private UK collection; acquired on the UK art market, pre-2000.
Circa 664-30 BC - Late to Ptolemaic Period.A faience amulet showcases a stylized depiction of the Eye of Horus. In ancient Egyptian symbolism, the Eye of Horus, also known as the "wedjat" eye, represented the eye of the falcon-headed god Horus. It symbolized protection, royal power, and good health. The eye's association with Horus, the god of the sky and divine protector, conveyed a sense of watchfulness and safeguarding against malevolent forces. Additionally, the Eye of Horus was believed to possess healing properties and was often worn as an amulet to invoke the deity's protective influence.For similar see: National Museums Liverpool, Accession number M11893a.Size: 24mm x 15mm; weight 2gProvenance: Private UK collection; acquired on the UK art market, pre-2000.
Third Intermediate Period, Ca. 1069 - 664 BC.An Egyptian faience amulet depicting a wadjet, "Eye of Horus," an ancient ocular symbol of protection. Enveloped in a brilliant, azure and green-hued glaze intended to represent the waters of the Nile. The amulet features thick black pigment delineating the pupil, as well as a lateral drill hole for suspension. Symbolic of health and healing, the Wadjet is one of the oldest Egyptian symbols. For similar see: Christie's Live Auction 3498, Ancient jewellery, Lot. 247.Size: 14mm x 11mm; Weight: 0.8gProvenance: From the collection of a London gentleman; formerly acquired in early 2000s; previously in 1970s UK collection.
New Kingdom, Ca. 1550 - 1070 BC.A blue faience amulet featuring a columnar body with a pointed tip and a domed top with longitudinal perforation.For similar see: The Museum of Fine Arts, Boston, Accession Number 47.3063.Size: 32mm x 9mm; weight 2gProvenance: Private UK collection; acquired on the UK art market, pre-2000.
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