Egyptian Mummy Bead Necklace

Rectangular frieze fragment with advancing figure in profile wearing a shendyt kilt holding up two poles in his raised hands; to his rear, part of a second figure with an openwork wooden frame (footstool) and other items; mounted in sturdy wooden frame with suspension rings to the reverse; surface has been extensively cleaned, restored, and repainted. 6.8 kg, 40.5 x 32.2 cm



Mounted in an early 20th-century wooden frame bearing a stamped inscription reading “Exposition Paris …” From the collection of L.V. (1950-1960), Paris, France. Collection of Monsieur X. (1931-2017), dispersed for the benefit of the Monaco Red Cross. Private collection, Europe. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.13224-249307.

The servant is carrying geese, like in many other representations of the New Kingdom. Many portrayals of ducks and geese in ancient Egyptian art show the importance of the birds as food. Servants plucking geese are visible in the tomb of Nakht, in Luxor (1567-1320 B.C.), and in the famous tomb of Nebamun, at the British Museum, a fresco fragment shows workers standing in front of a gaggle of geese.

Modelled in the round kneeling on an integral base and wearing a broad rounded wig, holding a fragmentary offering basin before him; dorsal pillar engraved with a single vertical column of hieroglyphs, translating: 'The Count, Overseer of the Entrance to the Hill Countries, Chief Supervisor of the Shrines [of Neith], Wahibre, son of Paeftchawy'; upper rim of the basin further inscribed with a ritual formula intended to be recited during the presentation of its contents. 107.7 kg total, figure: 40 cm high, fragments: 47-58 cm wide including stand



For the two basalt sections: UK private collection, formed 1970s-1990s. Princely collection, until 2014; thence to a private foundation. Acquired by the current owner from Rupert Wace, London, UK. For the kneeling basalt figure: European private collection, since the mid-19th century. Sold at Christie’s, New York, 8 June 2001, no.114. Sold at Drouot-Richelieu, Paris (Boisgirard), 14 February 2005, no.313. European private collection, acquired at the above sale; thence by descent to the previous owners. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13193-250115.

The figure on this vessel represents the customs official Wahibre, son of Paeftchawy, a well-attested individual known from at least fourteen other sculptures. Additional evidence for Wahibre’s identity is provided by a fragment of his mummiform sarcophagus, found at el-Hagar, within the territory of his native city of Sais. The titles inscribed on his surviving monuments reflect a career that combined priestly responsibilities with significant administrative and military authority. In southern Egypt, Wahibre served as chief customs officer and commanded a contingent of foreign troops tasked with protecting the frontier, probably Greek mercenaries from Caria.

With a round face, large eyes, a narrow nose that broadens at the end, and full lips downturned at the corners; the forehead with a distinctive deep furrow above the brow; a narrow, twisted diadem encircling his wavy hair; mounted on a custom-made display stand. 84 grams total, 10 cm including stand



Private collection, Bern, Switzerland. with Galerie Rhéa, Zurich, Switzerland. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12631-236408.

The Greek hairstyle is a characteristic feature of Ptolemaic royal portraiture, as is the twisted diadem - a Greek interpretation of the Egyptian headband (the sšd) - which appears on several portrait heads of Ptolemaic boy-kings and princes. The distinctive furrow is intriguing, as it contrasts with the typically blemish-free physiognomy of most Ptolemaic royal sculpture. However, a similar furrow can be seen on the portrait head of a provincial governor from Dendera, dated to the 2nd century B.C. (Bothmer, B.V., Egyptian Sculpture of the Late Period 700 B.C. to A.D. 100, New York, 1960, pp. 144-143, pl. 112, nos. 301-302), which may indicate an artistic trend employed in high-status sculpture at that time. It has been suggested that small royal portrait heads, such as this example, may have served as votives. The lack of an Egyptian-style back pillar on this and similar pieces supports the possibility that they were inserted into statues made of different materials (Ashton, S.-A., Ptolemaic Royal Sculpture from Egypt, BAR International Series 923, Oxford, 2001, p.12).