Head of female sphinx

This exquisite head, carved from chlorite, once adorned the body of a female sphinx. Dating to the Middle Kingdom, 12th Dynasty, circa 1876–1842 B.C., it is believed to have originated in Heliopolis, Egypt, and was possibly discovered within the grounds of Hadrian’s Villa in Rome, Italy. Now residing in the Brooklyn Museum (accession number 56.85), it presents a hauntingly beautiful visage, its inlaid eyes long-lost to antiquity, with a delicate clip visible on its elegantly striated wig.

Small details often yield vital insights into the mysteries of ancient sculpture. Here, the unusual horizontal extension of the wig at the back, rather than the customary downward flow, reveals that this head was originally part of a sphinx—a mythical creature with a human head and a lion’s body. In Egyptian iconography, sphinxes symbolised the pharaoh’s power to vanquish Egypt’s enemies. While traditionally depicted as male, the heavy, striated wig seen here is uniquely associated with representations of royal women, suggesting that this sphinx portrayed a queen or princess of significant status.

The choice to depict a woman as a sphinx is not merely an artistic anomaly but a testament to her elevated position. Lions, revered for their strength, courage, and majesty, also embodied the lioness’s dual nature—both fierce protector and nurturing mother. This mystical balance of ferocity and care made the lioness a powerful symbol for a royal woman, embodying both the might and compassion required of a ruler.

The inlaid eyes of this statue, likely crafted from metal and vibrant gemstones, were pried out in antiquity, leaving behind significant damage. The hollowed sockets once held captivating eyes that would have imbued the face with lifelike intensity, further enhanced by the bold arch of the high-relief eyebrows. The shape of the eyes and the serene line of the mouth suggest that the piece was created during the reign of Amenemhat II or Senwosret II. The latter king notably elevated the status of royal women, as evidenced by the grandeur and number of female depictions surviving from his time.

When statues fell, the nose was often the first casualty. However, in this case, the damage to the nose, lips, and chin appears to be more deliberate, perhaps inflicted during a ritual act of “killing” the statue to sever its connection to the soul it once represented. During such rites, the head itself may have been deliberately severed from the body. Sphinxes, with their compact forms, were sometimes repurposed as building materials, which might explain the absence of the rest of the figure.

The head’s subsequent history is as captivating as its ancient past. In the eighteenth century, Pope Clement XI, a great patron of culture, arts, and antiquities, inspired his nephew, Cardinal Alessandro Albani, to acquire the sphinx head for his growing collection. Albani entrusted its care to Johann Joachim Winckelmann, who published the first scholarly analysis of Egyptian art in Geschichte der Kunst des Alterthums, featuring this piece.

During this period, when the restoration and ‘enhancement’ of antiquities were in vogue, repairs were made to the eyes, lips, and chin. It is believed that the uraeus—a sacred serpent symbolising royal protection, once coiled atop the head—had been damaged in antiquity. The restorers, possibly including the renowned Bartolomeo Cavaceppi (circa 1716–1799), who worked for Cardinal Albani, transformed the broken uraeus into a jewel-like ornament, resembling a hair clip. In doing so, they removed nearly all traces of the serpent’s body to create a more aesthetically pleasing silhouette. To unify the alterations, the head was meticulously polished and coated in a vibrant green patina.

Cardinal Albani, plagued by financial difficulties due to gambling debts, sold the sphinx head to the English art dealer Gavin Hamilton before 1772. It was subsequently purchased by the Marquis of Lansdowne and displayed in Lansdowne House, London, until 1945. The head finally found its home at the Brooklyn Museum in 1956, where it continues to intrigue and inspire visitors with its complex history and haunting beauty.

Summary:

Chlorite head of a female sphinx with missing inlaid eyes, wig clip visible

Middle Kingdom, 12th Dynasty, reign of Amenemhat II or Senwosret II, c. 1919–1878 B.C.

Believed to have been discovered in Rome, possibly from Hadrian’s Villa at Tivoli.

Provenance History:

• Formerly part of the collection of Cardinal Alessandro Albani, Rome (18th century)
• Acquired by William Petty, Marquis of Lansdowne, London (from 1772)
• Held by a private collector in London (from 1945)
• Purchased by the Brooklyn Museum in 1956 through the Charles Edwin Wilbour Fund (Accession number 56.85)