Egyptian Pre-Dynastic Stone Frog

The mummiform figure in brownish-black and white faience with black detailing, wearing a round wig featuring a side-lock and a broad collar, the white face displaying eyes, eyebrows, nostrils, and a short beard in black; the arms crossed, and the white-glazed hands holding hoes; a slightly raised white-glazed frontal panel containing a column of hieroglyphic text reads: 'The Osiris, the Sem-Priest, the King's Son, Khaemwaset, True of Voice'. 82.4 grams, 11.8 cm



From the private collection of George Ortiz, Geneva, Switzerland, since before 1981. Received by gift from George Ortiz to the current owner at Mr Ortiz's Geneva home in the summer of 1981. From the private collection of a UK gentleman since the early 1980s. Identified by Professor A.M. Dodson BA, MPhil, PhD, FSA, Department of Anthropology & Archaeology, University of Bristol. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

Khaemwaset was the fourth son of Ramesses II, born to Queen Iset-Nofret. In addition to serving as the Sem-priest of Ptah at Memphis from an early age, he held various titles related to the Memphite cult, including High Priest of Ptah. The side-lock featured on all of Khaemwaset's shabtis is associated with his priestly role. Many shabtis of the prince are known, with the largest single group coming from the Serapeum at Saqqara; however, others have been found in numerous other locations. Since Khaemwaset's tomb has yet to be discovered, it appears that most of the known shabtis may have served as votive offerings in the sacred areas of the Memphite necropolis. His faience shabtis come in various colours, including green, blue, white, and black, and range in size from just under 10 cm to 15 cm in height. The distinctive glaze combination of this example, featuring a raised white-glazed panel contrasting with the darker body colour, is also found on some other 19th Dynasty shabtis (Cf. Janes, G., The Shabti Collections 3: Rochdale Arts & Heritage Service, Cheshire, 2011, pp.1-5 for those of Userhat from Sedment).

Comprising five mummiform figures in different colours, each with a false beard and wearing a lappet wig. 54 grams total, 46-91 mm



Acquired on the UK art market before 2000. Property of an Essex, UK, gentleman. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

Shabti figures were created to perform heavy manual tasks on behalf of a person in the afterlife. The body of a shabti typically resembled a mummy from the neck down and was often depicted holding tools such as baskets, mattocks, and hoes. Over time, the number of shabtis in a standard elite burial increased, so that from the Third Intermediate Period onward, it became common to have at least 401 figurines, comprising 365 workers, one for each day of the year, plus 36 overseers, one for every ten workers.

Modelled in the round standing nude on a D-shaped base with atef crown, dorsal pillar with loop. 13.68 grams, 73 mm



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 to present. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

Herodotus mentions Pataikos as a dwarf-like representation of Ptah, although the ancient Egyptian name of the god remains unclear. These diminutive amulets symbolise Ptah’s immense magical power, which serves to protect the wearer from dangerous creatures such as snakes and crocodiles. The role of the deity in the funerary sphere is explained in Spell 164 of the Book of the Dead, where Pataikos is used to protect the deceased’s heart from enemy attacks and the putrefaction of the body. The atef crown worn by this example, clearly links the figure to the underworld god, Osiris.