Egyptian Steatite Scarab Group

This expertly carved high-relief scene depicts three male figures with short hairstyles, each wearing a short kilt tied at the waist; the left and central figures carry a small furnace by curved handles, preparing to smelt copper; the central figure also holds a metal poker in his free hand; the figure on the left supports a large container at chest level with one hand; finely rendered hieroglyphic inscriptions in front of each figure record a dialogue among the three metalworkers; the leftmost figure, facing the others, declares “Ptah could not have done better”; the central figure responds with three lines of text “Ptah loves him to pour (into) the brazier of the flame”; the inscription before the rightmost figure reads “copper of the baskets”; together, the second and third texts may be interpreted as “Ptah would love him to pour copper from the baskets into the furnace”; the composition likely formed part of a larger scene illustrating metalworking activities; supplied with a custom-made stand. 21.35 kg total, 53.5 cm wide including stand



with Toufic Arakji, Hamburg, by circa 1980. Private collection, acquired from the above, circa 1980-1994. with Sotheby’s, New York, Antiquities and Islamic Art, 8 June 1994, no.23. Private collection, 1994-2010, acquired at the above sale. with David Aaron, London, UK, 2010-2011. with Daniel Katz Gallery, London, UK. UK private collection. Accompanied by an academic report by Egyptologist Sylvie Caroff. Accompanied by a copy of an Art Loss Register certificate no.S00142449. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

The mention of Ptah – patron god of craftsmen – links this piece to Memphis, suggesting it came from the tomb of a high-ranking official or priest.

Openwork wedjat eye amulet with black and white inlay to the eye, with a rearing cobra wearing a sun disc crown at the front. 2.28 grams, 23 mm



From an early 20th century collection. Ex London, UK, gallery. From a private UK collection This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

The wedjat-eye amulet (also called the Eye of Horus) became one of the most recognisable symbols in ancient Egyptian culture. It represents the idea of protection, healing, and restoration. In myth, Horus lost his eye during his battle with Seth, and it was later magically restored, symbolising healing and the restoration of wholeness. The Eye of Horus came to represent divine power and protection and was often used in amulets for safeguarding and well-being.

Designs include: a tripartite design with ankh, water, nwb, and men signs, with indistinct cartouches possibly of Thutmose III, and signs spelling the phrase 'powerful is the justice of Re' (user-Maat-Re); a line border enclosing the stylised depiction of a striding figure grasping a crocodile, with a neb sign below; a line border enclosing a multitude of signs, including Thutmose III’s throne name (men-kheper-Re), and that of Amun; A line border enclosing central Hathoric sistrum; a line border enclosing a symmetrical motif in contrasting black glaze. 10.6 grams total, 13-19 mm



Acquired on the European art market in the early 2000s. with Galerie Rhéa, Zurich, Switzerland. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.