Egyptian Deep Blue Glazed Shabti of Pa-di-Khonsu-iy

A figurine in blue-green faience depicting a human female displaying traits of achondroplasia, with a disproportionate body, protruding abdomen, prominent buttocks, and shortened limbs; the large and exaggeratedly flattened head sports a distinctive hairstyle consisting of three ‘bunches’ on the front and three long braids at the back; the shaven top of the head is indicated by stippling; the figure wearing a long, single-strand shell necklace, armlets, and a girdle, all indicated in black pigment, as are the facial details, hair colour, pubic triangle, fingernails, and toenails. 50 grams, 66 mm high



Acquired from Dr Jan Beekmans, circa 1985. UK private collection. Accompanied by an academic report by Egyptologist Paul Whelan. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11594-198343.

This figurine belongs to a rare sub-type in a category of anthropomorphic figures produced during the late 12th-13th Dynasty. The category comprises around 200 figurines which include truncated-leg females, ‘grotesque’ human forms, and those displaying more distinct traits of achondroplasia, such as can be observed in this figurine. Very few examples of this particular sub-type are known, of which only one in the Metropolitan Museum of Art, New York provides a close parallel in terms of overall styling and form with this figurine. The purpose of this figurine is not fully understood, but other types of female representations in the large corpus of Middle Kingdom faience figurines are now considered to have embodied generative and regenerative power for their owners. This figurine shares the same distinctive three-braid hairstyle and the necklace, armlets, and girdle body adornments found on some. Body adornments of this kind also occur on wooden ‘paddle doll’ female figurines which are considered to have some connection with khener-dancers, who performed in royal, temple and funerary spheres. Since, in funeral contexts, ritual dances were often performed by dwarfs, a further connection can possibly be made between the role of khener-dancers and this figurine. The performance of such dancers in royal or funerary contexts was considered to bring the power of regeneration and potency to the recipient.

A group of five ceramic and composition statuette fragments including glazed examples: a terracotta royal head with Nemes headdress and uraeus; the green glazed foot of a shabti with hieroglyphs; the head of a figure in raised relief, painted geometric column to the rear; copper-alloy strap junction displaying a human face, four-way attachment reverse; glass ram head with applied eyes and horns. 105 grams total, 21-54 mm



Acquired early 1990s. Ex private American collection; thence by descent. Private collection since 1998.

A large finely-made wooden amuletic djed pillar; old collector's accession number 'E.436' to underside; mounted on a custom-made display stand. 106 grams, 17 cm high



with ink inscribed 'E.436' to base. Acquired in 1970. Ex private European collection. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11602-199041.

The djed pillar symbolises stability and is usually understood to be the spine of the god Ptah although its origins are more probably in cult practices involving sheaves of reeds which were revered due to the general absence of trees from the Egyptian landscape. The djed later came to be symbolise Seker, the falcon god of Memphis and Ptah, the Memphite god of craftsmen, who carried a sceptre formed as a combination of the djed and the ankh. The cult of Ptah waned and gave way to that of Osiris so that by the New Kingdom (16th century B.C.), the djed had become associated with Osiris, part of whose cult included a ceremony for raising the djed representing Osiris's triumph over Seth.