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.

PROVENANCE:
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.

LITERATURE:
Cf. Janes, G., The Shabti Collections 6: A Selection from the World Museum, Liverpool, Lymm, 2016, pp.494-495, no. 258, for a similar example.

FOOTNOTES:
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.