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To be honest, I think I've spent enough time on this thing already. On-and-off, I think it took me about a month or so to do. I'm ready to move on.
I will say that, since I've joined, I've started to consider restricting my palette a bit more. I've tried to practice that in my Skyrim piece.
I don't mind if you upload it, but I think you would learn more by doing your own edit, using mine as study material. As the artist, you know your intent with all the different objects, so you could probably consolidate more, or leave unconsolidated some things that lose their identity in my edit.
Wow. I was going to get around to it consolidating the colors myself, but... 48? Jesus. Well done.
Do you mind if I upload your edit? I'd give you credit, of course.
I'm with heyy13: Don't worry about having a fixed palette, but when picking colours, always think "can I use one of my existing colours?" before you add a new colour. With things like AA and other colours that are needed for a few pixels (in a piece where most colours are used in large areas, like this one), you can almost always use an existing colour, because the exact colour doesn't matter as much when the colour is serving only as a way to break up areas of larger colours.
You already to this to an extent - the lobser and red fish share most of their colours and work well, but it seems you're not always mindful of it - the meats and pink fish have a lot of similar but differing colours with little reuse.
Here is a version with 48 colours, less than half of the original 111. I think I've managed to keep the distinctions between different cheeses and meats that you created with your colours. Perhaps studying this will be of some use to you. Mostly I just replaced seldom-used colours with a more widely-used alternative, but there are a few instances where I took two distinct colours and replaced both with a colour that's halfway between them.
One change in this edit I particularly like is that recolouring the wine glass with colours from the surrounding objects makes it look more reflective and like it's in the same world as the other objects, whereas the unique neutral greys from before made it look like it wasn't part of the scene. Keeping things feeling grounded within a scene is a helpful side effect of reusing colours.
I think you should use as many as you need for a given piece. The whole point of doing stuff with restrictions is to build your skills in colour choice and utilisation. But it's not necessary, if that makes sense? It's good to build skills or challenge yourself and can be a way of achieving certain styles. However it is good general practice to eliminate unecessary colours in pixeling.
The roots of pixeling being what they are the whole idea of limiting your pallet is fundamental to the genre in some ways. Or atleast cognant choice of pallet. The whole idea of pixeling (for me atleast) is mindfulness.
You will be supprised at how much tighter your works become when you do start to work more with limited pallets. Your a great pixelartist, i think it's just an area you havn't worked with much and still have left to develop. Whether you choose to actually use those skills once you have them is up to you. But no point not exploring it. :)
As a french girl, this is making me so happy :D
WTF? why did you make this? it's great but definitely makes me wonder.
I can almost smell the salt cured meat 
Thank you.
How many colors should I use? I've been doing pixel stuff for a while but, admittedly, I haven't really considered a fixed palette until I joined this site.
This is great pixeling but as you've allready identified the pallet is just massive and you have a lot of nearly indistinguishable colours. I don't know if you've mapped the whole lot of them but i just copied it into promotion and this was what it came up with. I think looking at all the colours organised like this might really help you consolodate.
http://imgur.com/qjiLdDe.png
nice
I'm hungry now D=