Egyptian Pre-Dynastic Greywacke Palette

Group of restrung annular turquoise beads with gilt-metal interstitial collars and carnelian fly amulets; S-hook and eye closure; with custom display box. 10.45 grams, 48.5 cm long



Ex Swiss collection, kept in London since the 1980s. Accompanied by a copy of a previous illustrated catalogue page.

Since Egyptian artists often depicted fly whisks in the hands of pharaohs and high officials, one might assume that flies were simply a nuisance. However, the Egyptians held flies in high regard due to their quick speed, reactions, and persistence. Small fly amulets first appeared in burials during the Naqada II Period, c. 3200 B.C. These amulets grew in popularity, and the materials used to make them expanded during the New Kingdom, including gold, silver, lapis lazuli, carnelian, amethyst, faience, and bone. Fly amulets were believed to protect against insect bites and to ward off troublesome airborne creatures through apotropaic magic. Some believe they may have even been intended to symbolise the fly’s fecundity. Additionally, pharaohs would bestow gold fly-shaped pendants as military awards to honour the bravery and fly-like persistence of soldiers in battle.

Carved in the round figure of Bes sitting on an ellipsoid base; the god in crouching pose wearing a lionskin girdle, his forearms on his thighs and hands holding the pierced lug handles of a storage jar; the jar and Bes's head topped by a low square modius with a round opening to the top. 188 grams, 66 mm



Early 20th century South East England, UK, collection. Formerly in North American collection, 1990s. From the collection of a London, UK, gentleman. Accompanied by an academic report by Egyptologist Paul Whelan. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12376-225408.

This vessel's style continues that of New Kingdom and Third Intermediate Period kohl (eye paint) or unguent Bes-shaped containers, suggesting that it served as a household object rather than an item of funerary equipment.

The large liturgical rattle with a columnar handle composed of a bifacial figure of Bes standing on a lotus capital, flanked by seated sphinxes, his feathered crown supporting the bust of goddess Hathor wearing a broad collar and a curling wig, two rearing uraei emerging from the sides to support the base of the rattle, both wearing the pschent crown, above the cobras a standing figure of the goddess Hathor in cow form, wearing a tripartite wig and a sun disc between the horns; the rattle with a looped body with flared outer rims and set with three metal rods to accept metal discs, a pair of reclining lions to the base and the top with three felines surrounding a cockerel, and resting one of their front paws on the bird. 1.52 kg, 39.5 cm



German art market. European private collection, 1970s-early 2000s. Acquired from the above; thence by descent. Private collection, London, UK. 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 search certificate number no.12348-225588.

The sistrum (seshesh in ancient Egyptian) was a rattle-like musical instrument, played exclusively by women in religious ceremonies. It was often decorated with the bust of the goddess Hathor to whom the sistrum was sacred. Their use continued into the Roman period in ceremonies associated with the cult of Isis.