Egyptian Faience Group of Amulets

Carved in the round depiction of Bastet or Sekhmet in a lion-headed form with a tripartite headdress, with front lappets overlain by the leonine mane; between the ears, a hole possibly for the insertion of a separate sun disc element; red pigment lines and fringe to the shoulders; a black diamond pattern with central red dots decorating the back, and a winged scarab in black on the abdomen; marked on the underside with the collector's reference 'BAOP SAKKARA'; mounted on a custom-made display stand. 29 grams total, 77 mm including stand



Private collection of George Anastase Michaelides (1900-1973) and legally exported from Egypt in the 1940s. Black ink inscription on base "BAOP SAKKARA". Christie's, London, 29 October 2003, no.167. Accompanied by a copy of the relevant Christie's catalogue pages. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13101-248076.

Considering the specified Saqqara provenance, it is probable that the statuette originated from the Bubastaeion, dedicated to Bastet. The goddess was more commonly depicted as a cat or a human with a cat's head, although she also sometimes displayed a leonine aspect. It is also possible that the statuette represents her son, Mahes, who was depicted as a man with a lion's head.

Seated figure of the goddess, wearing a vulture headdress from which the bird’s head projects, topped by a crown consisting of a low modius of rearing cobras, surmounted by cow horns and a central sun disk; a tight-fitting three-quarter-length dress; shown suckling the naked infant Horus, with a uraeus at his brow; the goddess’s feet rest on a plinth, of which two sides are inscribed with a dedication, only partially preserved: (May) Isis give life (to) Wennenefer [......] Ankh-hor-(en)-sa (Ꜣst rdı͗ Ꜥnḫ wn n nfr [……] ꜥnḫ ḥr (n) sꜢ (?)). 875 grams, 22.1 cm including stand



From the estate of Alexander Dobkin (1908-1975), New York, USA, acquired prior to 1975. Thence by descent to his daughter, Katherine Dobkin, New York, USA.

Isis, one of the principal goddesses of the Egyptian pantheon, was revered as divine mother, protector of kingship, and mistress of magic. As the wife of Osiris and mother of Horus, she embodied maternal care, resurrection, and cosmic order, playing a central role in myths of death and renewal. Isis lactans statuettes emphasise this intimate maternal relationship and its protective and regenerative power; such bronzes were widely dedicated in temples and domestic shrines as votive objects invoking divine protection, healing, and royal legitimacy. The lacuna in the inscription on this example most likely supplied the filiation between the two named individuals.

With detailing to wings and eyes, loop for suspension above the head. 2.15 grams, 24 mm



From the collection of a London, UK, gentleman, 1990s.

Considering that Egyptian artists often depicted fly whisks in the hands of pharaohs and high officials, one might assume that flies were merely a nuisance. However, the Egyptians held flies in high regard for their speed, quick reactions, and persistence. Small fly amulets first appeared in burials during the Naqada II Period, around 3200 B.C. These amulets gained popularity and were crafted from various materials such as gold, silver, lapis lazuli, carnelian, amethyst, faience, and bone. These amulets were believed to protect against insect bites and to ward off troublesome flying creatures through apotropaic magic. Some believe they may have even symbolised the fly’s fecundity. Additionally, pharaohs would bestow gold fly-shaped pendants as military awards to honour the bravery and persistence of soldiers in battle.