Egyptian Quartzite Fragment with Hieroglyphs

Trapezoidal fragment bearing a low-relief depiction of a Ptolemaic king shown in profile, with characteristic plump cheeks, slightly upturned mouth, and internally detailed ear, wearing a long false beard, the Red or Dual Crown of Egypt with uraeus to the front, and a broad collar; the lower part of a cartouche to the right. 405 grams, 11 cm



Léon Rodrigues-Ely (1924–1973), Marseille, France. with Christie's, Paris, 6 May 2015, no.93. Private collection, Europe. Accompanied by a copy of an Art Loss Register certificate no.S00104585. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12369-226941.

Léon Rodrigues-Ely (1924–1973) was a prominent French collector based in Marseille, known for his keen interest in fine art and antiquities. Throughout his life, Rodrigues-Ely assembled an eclectic and esteemed collection, particularly focusing on European and Mediterranean artifacts. His passion for collecting was fuelled by a deep appreciation for history and culture, and he was well-regarded among art dealers and scholars alike. Many of the pieces in his collection were acquired from significant galleries and private collections across Europe, reflecting his dedication to preserving cultural heritage. Rodrigues-Ely’s collection continued to be highly sought after following his death, with several pieces passing through prestigious auction houses, cementing his legacy in the art world.

Rectangular panel from a false door stela carved in sunk relief with raised vertical borders framing a scene with a male figure wearing a knee-length kilt, collar and short wig, seated on a stool with lion-claw feet, holding a bolt of cloth in his left hand; before him, a pedestal table with splayed feet, the top laden with vertical loaves; traces of pigment to the collar, kilt and table; rear face dressed but plain. 4.12 kg, 28.7 cm



Acquired in the mid 1980s-1990s. Private collection, Switzerland, thence by descent. Private collection, since the late 1990s.

The ancient Egyptians believed the soul of the departed could move in and out of the tomb using a ‘false door.’ This door was identified by a recessed surface with a symbolic entrance at its centre. In the Middle Kingdom, the false door design was combined with other elements or represented by a raised border and cornice above on rectangular stelae.

A netted beadwork panel of annular and tubular glazed composition beads in blues, greens, black, cream and red-brown colours, depicting a mummy face mask with a false beard, a scarab with extended wings below, and beneath the 'Four Sons of Horus’, Duamutef, Qebehsenuef, Imsety, and Hapy joined together with areas of open netting of tubular examples; restrung with some later beads. 115 grams, 28.5 cm



Mariaud de Serres, Paris, 1990s.

Winged scarabs were often used as funerary amulets, and were believed to symbolise the rebirth and regeneration of the deceased. The Four Sons of Horus were deities responsible for protecting the deceased's internal organs. The jackal-headed Duamutef protected the stomach, the falcon-headed Qebehsenuef protected the intestines, the human-headed Imsety protected the liver, and the baboon-headed Hapy protected the lungs. These internal organs were often placed in canopic jars, each with the head of the respective Son of Horus. Amulets depicting these deities were placed within the mummy wrappings.