Egyptian Faience Bull-Headed Shabti from the Serapeum at Saqqara

Carved in the round figure of Bes sitting on an ellipsoid base; the god in crouching pose wearing a lionskin girdle, his forearms on his thighs and hands holding the pierced lug handles of a storage jar; the jar and Bes's head topped by a low square modius with a round opening to the top. 188 grams, 66 mm



Early 20th century South East England, UK, collection. Formerly in North American collection, 1990s. From the collection of a London, UK, gentleman. 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 a search certificate number no.12376-225408.

This vessel's style continues that of New Kingdom and Third Intermediate Period kohl (eye paint) or unguent Bes-shaped containers, suggesting that it served as a household object rather than an item of funerary equipment.

Of mummiform type, wearing a tripartite wig, stylised facial features with large ears, hands crossed at the chest; a contrasting green-glazed frontal column of hieroglyphic text with a cartouche which reads wsỉr nswt wrt Ꜣst-nfr.t, ‘The Osiris, the great king's wife Iset-nofret’. 88 grams, 10.8 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. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12373-226026.

Several late New Kingdom queens were named Iset-nofret, but this particular example is likely associated with one of the two wives of Ramesses II who had the same name. One of these queens gave birth to Prince Khaemwaset and is mentioned on monuments erected by him. While it is possible that the queen's shabtis were used for funerary purposes, Khaemwaset is known to have placed his own shabtis as votives in non-sepulchral locations in the Memphite necropolises, and it is possible that he also did the same with shabtis naming his mother. For a discussion of the Ramesside queens with this name, see Tyldesley, J., Chronicle of the Queens of Egypt, London, 2006, p.154ff.

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.