Egyptian Bronze Ring with Hieroglyphic Motto

Carved in the round with hatched hair and low-relief facial features; mounted on a custom-made stand. 857 grams total, 17 cm high including stand



From a collection acquired on the UK art market from various auction houses and collections mostly before 2000. From an important Cambridgeshire estate; thence by descent.

A group of thirteen scarabs with anatomical detailing to the carapace, comprising: 1) two kneeling hawk-headed figures with arms raised praise flank a central Hathoric fetish; 2) two facing falcons adorned with Red Crowns flanked by hieroglyphs, including netjer,hes-jars, and maat feathers; 3) standing human figure holding a staff atop a neb hieroglyph facing a highly stylised crocodile; 4) falcon atop a neb hieroglyph facing a striking cobra with another above; 5) the Re-Horakhty falcon standing before a hes-jar, with cartouche behind containing hieroglyphs and a verticalneb hieroglyph on the left; 6) central motif of a bird atop a neb hieroglyph with a rectangular sign above, a was- sceptre behind, flanked by stylised cobras; 7) falcon wearing the Red Crown atop a shrine with a winged sun disc above, flanked by cobras and Red Crowns; 8) central design consisting of hes-jars, a sun disc, a nub symbol (for gold), nefer signs, a kheper scarab beetle, and lotus flowers, all flanked by a border of en and ro signs; 9) central column of hes-jars, a sun disc, a kha rising sun hieroglyph, and scarab beetle, flanked by lions’ foreparts, Red Crowns, neb and hes-jar signs; 10) standing figure atop a neb hieroglyph holding a flower/branch; 11) hieroglyphs writing ‘Amun beloved of the living Ramesses’; 12) stylised bird with men hieroglyph behind; 13) scarab beetle with sun disc above. 27.1 grams total, 11-20 mm



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

The popularity of the scarab was so great that many of these scarab designs can be found outside Egypt at sites in the ancient Levant.

Of mummiform type, wearing a tripartite wig and long plaited divine beard, with arms crossed and the left hand holding a pick, the right hand holding a hoe and the cord of a seed bag hanging over his left shoulder; with carefully rendered cosmetic lines around the eyes, narrow eyebrows, and slightly smiling lips giving it a serene expression characteristic of the finest ushabtis of the period; standing on an integral plinth from which a plain back pillar terminating at the base of the wig extends; nine horizontal rows of hieroglyphic inscription, the Sixth Chapter of the Book of the Dead; water worn. 246 grams, 19 cm



Acquired on the German art market, 1989-1995. with The Museum Gallery, 19 Bury Place, London, WC1, UK, 1998-2003. Property of a London based academic, 2003-present.

Shabti figures could serve as a representation of the deceased and paradoxically also as their servant to carry out arduous manual tasks in the afterlife on behalf of their master. Late Period shabtis were most frequently made of faience, such as this example. The body of a shabti was usually in the form of a mummy from the neck down, depicted with agricultural tools in their hands, such as picks, hoes, and baskets. Chapter 6 from the Book of the Dead, lists the tasks expected of the magical figure. By the Late Period, hundreds of shabtis were often provided for the burial.