Egyptian Globular Alabaster Jar

Comprising: a winged scarab with detailed carapace and wings; and the mummiform figures of the four Sons of Horus, Imsety, Hapy, Duamutef, and Qebehsenuef; mounted on custom-made display stands. 635 grams total, 16.5-20 cm wide including stand



From a 1920s French collection. Ex German gallery, 1970-1980s. Spanish collection, 1980s-1990s. London, UK, collection, 2000s. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.12126-214208.

The Four Sons of Horus were deities responsible for protecting the internal organs of the deceased. The human-headed Imsety protected the liver, the baboon-headed Hapy protected the lungs, the jackal-headed Duamutef protected the stomach, and the falcon-headed Qebehsenuef protected the intestines.

Modelled in the round, Pataikos depicted nude with his arms resting on his rounded belly, large genitals and a suspension loop on his head; the nude Ra-Horakhty depicted falcon-headed, wearing a sun disc and a tripartite wig, his hand resting on his waist; each standing on stylised crocodiles(?) on a rounded base. 13.4 grams, 60.5 mm



Ex AH collection, London, UK, 1980s. Accompanied by a previous catalogue information slip.

Pataikos amulets were used for protection against negative forces and dangerous animals such as snakes, crocodiles, and scorpions. These amulets also symbolised rejuvenation and were often embellished with solar imagery, as seen in this example which features the sun disc headgear and Ra-Horakhty.

With a tall, flaring cup rounded at the base, attached to a short stem supported on a flared foot; the outside of the cup decorated with petals modelled in relief and a ribbed rim; the stem and foot plain; some restoration. 126 grams, 16 cm



Acquired 1970s-1996. Property of a North American collector. London collection, 2016. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.12099-214088.

Faience chalices shaped like the flowers of the blue lotus (Nymphaea caerulea) first appeared in the 18th Dynasty. The blue lotus chalices were believed to have been used for cultic or votive purposes in temples or in rituals offered to the dead. Known as 'Seshen' by the ancient Egyptians, the blue lotus was a symbol of solar concepts associated with rebirth, probably because its flowers opened in the morning and closed at night. Hence, it is not surprising to find that the lotus was prominently featured in ancient Egyptian funerary art, particularly in banqueting scenes honouring the deceased, and in bouquets that adorned the coffin and bier of the deceased. It is also believed that the flower petals were used to make perfume, and that the ancient Egyptians took advantage of the lotus's narcotic properties. The extracted essence was added to wine to enhance its pleasurable effects, as depicted in banqueting scenes with intoxicated guests.