Egyptian Faience Frog Scaraboid with Hieroglyphs

Two rectangular plaques, each depicting one of the 'Four Sons of Horus' - Qebehsenuef and Hapi - shown mummiform, wearing a tripartite wig and broad collar, both pierced at the upper and lower edges. 26.8 grams total, 79-80 mm



Professor Haeberlin collection, acquired in Egypt in the late 19th century. Acquired by E.S., Germany, in 1962. Private collection of Mr K.A., acquired in the 1990s-early 2000s. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

The Four Sons of Horus were deities tasked with protecting the internal organs of the deceased. The human-headed Imsety safeguarded the liver, the baboon-headed Hapy looked after the lungs, the jackal-headed Duamutef defended the stomach, and the falcon-headed Qebehsenuef protected the intestines. Amulets featuring these deities were included within the mummy wrappings.

Housed in five linen-covered boxes, covering regalia, jewellery, chariots, daggers, bows, sticks, Old Kingdom sculpture, Saite sculpture, canopic, sarcophagi, Middle Kingdom and general objects etc. 4.43 kg total, 26.5 x 16.5 x 6.5 cm each box



Property of archaeologist Stephanie Gee, N.W. London, UK, 1960s-1980s. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

Stephanie Gee was a prominent archaeologist who took part in several expeditions in Egypt. She was a trusted assistant to the British-Australian archaeologist Veronica Seton-Williams, who excavated in Egypt, Britain, and the Near East. Stephanie also took part in the Tell El-Farâ'în expeditions of 1965-1968, and assisted Seton-Williams with preparing the 1966 expedition report. Their collaboration continued and Stephanie helped with the manuscript of Seton-Williams’ book ‘The Road to El-Aguzein’, a narrative account of her life that was first published in 1988.

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.