Egyptian Bronze Figure of a Shrew

Comprising the terminal part of a clavus in white and purple linen and wool, S torsion, borders embroidered with pilasters, the central scene representing eagles alternating with geometric elements; a large fragment of another clavus, ornamented with geometric patterns in red, green and yellow wool. 49 grams total including package, 22 cm each



Acquired 1970s-1996. Property of a North American collector. London collection, 2016.

The clavi are realised in tapestry technique, and the one with prominent figures has a rounded end. They were part of the decoration of a tunic, and the presence of the Imperial eagle, not a common pattern, could refer to a military tunic.

Modelled in the half-round in Hellenistic style with a stephane and centre-parted hair, serene facial features including hooded eyes and pert lips; mounted on a custom-made wooden display stand. 313 grams total, 10 cm high (14.3 cm high including stand)



Ex Hanna Saba collection, Ambassador to Egypt-USA-France (1909-1992). Private European collection. Accompanied by an academic report by Dr Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12083-218194.

The head is similar to various portraits of Ptolemaic queens, some of them identified as belonging to the famous Berenice II (246-222 B.C.), some others to Cleopatra VII Philopator (69-30 BC), the lover of Julius Caesar, the spouse of Mark Anthony and the last Queen of Egypt. The analogies with Berenike II’s portrait are noteworthy, especially with the portrait in the Cairo Museum (inv.JE 39517): the diadem and its position on the top of the head, similar physical features, and similar roundness of the cheeks.

Modelled seated on a tongue-shaped base, with simple facial detailing and suspension loop to the back. 0.51 grams, 8 mm



Ex French collection, early 20th century. From the collection of a late Japanese gentleman, 1970s onwards.

The goddess Bastet was believed to be the daughter of the sun god and was shown with the features of a lion up until about 1000 B.C. when she was first portrayed as a cat or human with a cat head. As the daughter of Ra she was associated with the rage inherent in the sun god's eye which was considered to be his instrument of vengeance. Her development into a cat goddess occurred during the New Kingdom but did not fully develop until the Late Period. She was still associated with the destructive power of the sun and was shown on the prow of the solar boat, decapitating the evil serpent Apophis in the Book of the Dead. The maternal, protective and hunting characteristics of the cat are obvious in Bastet and she was seen as a protector of pregnant women and young children. In the Pyramid Texts she is invoked by the deceased king to act as his protector and to help him reach the sky to join the sun god; the king proclaims that Bastet is his mother and nurse. Like her counterpart, Sekhmet, Bastet has an aggressive side and, in a text from Karnak, Amenhotep II described his enemies being slaughtered like the victims of Bastet. The goddess had a shrine at Karnak, where she is known as the 'Lady of Asheru' which aligns her closely with the goddess Mut, the consort of Amun-Ra. Her most famous shrine was in the north-east Delta region, at Bubastis, and was known as Per-Bastet or 'the House of Bastet.' Herodotus describes the festival of Bastet as one of the most elaborate in all of Egypt and identifies her with the Greek Artemis. Cemeteries of cats have been excavated at Bubastis and at Saqqara and Memphis.