Phoenician Bronze Figure

Formed as a fly with long triangular wings and domed eyes. 0.84 grams, 16 mm



From an early 20th century collection.

Considering 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. They are crafted from various materials such as gold, silver, lapis lazuli, carnelian, amethyst, faience, and bone. These amulets were thought to protect against insect bites and to ward off troublesome flying 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 soldiers' bravery and fly-like persistence in battle.

Depicted nude in a dynamic pose with his legs apart and the weight of the body upon his right leg, standing in front of a two storey structure, probably an oven; his left arm raised and right arm extended in front of his torso and resting on the edge of the structure; the oven painted pink at the top and white at the bottom with an offering receptacle at floor level. 232 grams, 15 cm



Ex Dr Daniel Marie Fouquet (1859-1914), Cairo. with Pierre Berge & Associes, Auction, Archaeology 29 November 2014, no.193. Accompanied by a French cultural export permit, no.161028. Accompanied by an academic report by Dr Raffaele D'Amato. Accompanied by a copy of the relevant pages in: Perdrizet, P., Les Terres Cuites Grecques d'Egypt de la Collection Fouquet, Nancy, 1921, where it is published. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.12000-211884.

The image of the ‘Eros Baker’ is part of a wide production of Roman terracotta imitating Greek models, although in somewhat crude way. In the Roman age, designs tended to be commonplace and were often indifferent copies of Greek originals. However, the production of terracotta in Hellenistic Egypt continued without interruption and the most subjects of these votive statuettes (in this case probably a baker invoking the blessing of the god upon his activity) were religious, Eros being one of the favourites.

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 the 'Four Sons of Horus’ figures beneath the scarab, joined together with areas of open netting of tubular examples; restrung with some later beads. 113 grams, 30 cm



Ex Mariaud des Serres, Paris, France, 1990s.

Winged scarabs were often used as funerary amulets and believed to symbolise the deceased's rebirth and regeneration. The Four Sons of Horus were deities responsible for protecting the deceased's internal organs. Here, on the left, is the erect-eared jackal-headed Duamutef who protects the stomach, followed by the falcon-headed Qebehsenuef, who protects the intestines, then the human-headed Imsety, protector of the liver and, finally, the baboon-headed Hapy on the right, protector of the lungs. The internal organs were often placed in canopic jars with the head of the respective Son of Horus. Amulets depicting these deities were placed within the mummy wrappings.