Egyptian Turquoise Faience Shabti of Prince Khaemwaset

A blue glazed composition pendant in the form of a lotus, with some repair to the suspension loop. 0.26 grams, 14 mm

Repaired.

Ex early 20th century London collection.

Standing mummiform figure of Osiris wrapped in a body-hugging shroud; the figure wearing a tall Hedjet crown – representing the central element of Osiris’s lateral plume-flanked Atef crown; three vertical slots visible on either side of the preserved crown represent the mortices for the attachment of the separately cast plumes; a raised uraeus at the front of the crown, with a body coil on each side and a slightly undulating tail extending vertically up the crown; the broad face rendered with deeply recessed eyebrows, one still retaining a portion of lapis-lazuli inlay, almond-shaped eyes deeply recessed for inlay, a straight nose, and a small, closed mouth; once inlayed chin straps run from the temples to the chin, where a separately cast divine beard is attached, with deep chevron-like recesses, some retaining traces of blue inlay; arms crossed over the chest, with the hands emerging from the wrappings to hold the god’s traditional attributes – the crook (heka) and flail (nekhakha) – of which only the lowest portions are visible; holes for insertion of the separately fashioned upper parts present at the top of the fists; mounted on wooden base and supplied with custom fitted case. 19 kg total, the case: 89.5 x 36 x 41 cm (10.65 kg total, 69.5 cm high including stand)



with Seiyou Kobijyutsu, Osaka, Japan, 20th century. The acquisition was facilitated by Ichikawa Kiyoshi (September 1897–1976), a prominent consultant to the firm at the time. Private Japanese collection, Kumamoto, Kyushu, Japan, acquired in the 1960s by a medical doctor residing in Kumamoto, reportedly on the recommendation of Ichikawa Kiyoshi; thence by descent within the family until 2023. Accompanied by an academic report by Egyptologist Paul Whelan. The sculpture is accompanied by a Japanese wooden fitted box bearing the signature and seal (hanko) of Ichikawa Kiyoshi, supporting the attribution and authenticity. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13192-250114.

As the principal god of the underworld, Osiris was worshipped continuously for more than 2,500 years, from the late Old Kingdom to the Roman period. The deity played a central role in Egyptian funerary belief, and his consistently mummiform imagery became widely incorporated into both royal and non-royal iconography. A major phase in the development of his cult occurred during the Middle Kingdom, when Abydos in Upper Egypt emerged as the principal cult centre and an important pilgrimage site for both royal and non-elite individuals. By the Late Period, the influence of the Osirian cult is clearly reflected in the material record, most notably in the widespread distribution of bronze statuettes across temple sites in Egypt. While such objects are often interpreted as expressions of personal devotion, their standardised forms and large-scale production may equally point to more formalised, institutionally mediated ritual practices.

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).