Egyptian Faience and Hardstone Amulet Group

Comprising a bronze D-shaped finger ring, the bezel formed by a faience scarab with hieroglyphs and running scrolls to the underside. 5.15 grams, 38.41 mm overall, 26.58 mm internal diameter



Ex London, UK, art market, 1990s. From a private UK collection. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

In a striding pose with arms at the sides, sporting a black coloured tripartite wig surmounted by the god's distinctive headdress consisting of a lotus flower with two plumes on top; a suspension loop at the back; repaired. 71 grams total, 13 cm including stand



Property from an American deceased estate, acquired between 1970 and 1989. with Bonham's, London, 28 October 2009, no.81 [Part]. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

Nefertum was closely associated with the creator god Ptah and the goddesses Sekhmet and Bastet. He represented the first sunlight and the sweet scent of the Egyptian blue lotus flower (nymphaea caerulea). According to beliefs, the sun rose from the bloom of a blue lotus, embodying notions of rebirth and rejuvenation. Additionally, as the lotus was seen as a symbol of fertility, it is possible that this amulet was also worn for that purpose.

This expertly carved high-relief scene depicts three male figures with short hairstyles, each wearing a short kilt tied at the waist; the left and central figures carry a small furnace by curved handles, preparing to smelt copper; the central figure also holds a metal poker in his free hand; the figure on the left supports a large container at chest level with one hand; finely rendered hieroglyphic inscriptions in front of each figure record a dialogue among the three metalworkers; the leftmost figure, facing the others, declares “Ptah could not have done better”; the central figure responds with three lines of text “Ptah loves him to pour (into) the brazier of the flame”; the inscription before the rightmost figure reads “copper of the baskets”; together, the second and third texts may be interpreted as “Ptah would love him to pour copper from the baskets into the furnace”; the composition likely formed part of a larger scene illustrating metalworking activities; supplied with a custom-made stand. 21.35 kg total, 53.5 cm wide including stand



with Toufic Arakji, Hamburg, by circa 1980. Private collection, acquired from the above, circa 1980-1994. with Sotheby’s, New York, Antiquities and Islamic Art, 8 June 1994, no.23. Private collection, 1994-2010, acquired at the above sale. with David Aaron, London, UK, 2010-2011. with Daniel Katz Gallery, London, UK. UK private collection. Accompanied by an academic report by Egyptologist Sylvie Caroff. Accompanied by a copy of an Art Loss Register certificate no.S00142449. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

The mention of Ptah – patron god of craftsmen – links this piece to Memphis, suggesting it came from the tomb of a high-ranking official or priest.