Egyptian Silver Fly Amulet

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.

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.

With detailing to the carapace, the underside divided into four registers, the top and bottom with a winged Horus plaque, one register with a winged scarab flanked by two falcons, the register below with lying sphinxes flanking an ankh; pierced longitudinally. 9.7 grams, 27 mm



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