Very Large Egyptian Expedition Lithograph of the Isle of Philae

Depicted nude in an advancing pose; silver inlaid eyes, braided sidelock of youth; left hand by his side, drilled to accept a separate element, the other outstretched at a right angle to his body, holding a tapering cylindrical staff, not belonging; he may originally have held a sistrum, an ancient Egyptian percussion instrument, or a menat, both closely associated with the goddess Hathor; here, Ihy wears the Pschent crown with remains of uraeus, and an inlaid gold necklace suspended with an ib pendant around his neck; finely detailed facial features, with engraved Nekhbet vulture with outspread wings at the back of the crown; integral lugs on soles of feet; mounted on a custom-made stand. 899 grams total, 25 cm including stand



From the Singer family collection, Germany, acquired circa 1962. with A.A.L., Geneva, 1980. with Christie's, London, 25 April 2015, no.163 [£50,000-£70,000]. Private collection, London, UK. Accompanied by copies of the relevant Christie's catalogue pages. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13309-258229.

Ihy was an Egyptian god associated with music, joy, and ritual celebrations, particularly as the divine child of Hathor and of Horus or Ra. He is typically depicted as a youthful figure, often naked or lightly clothed, wearing a sidelock of youth and carrying a sistrum or menat, both percussion instruments closely connected with ritual performances in Hathor's cult, especially at the temples of Dendera and Edfu. His name is generally understood to mean 'the musician' or 'the one who plays music,' although it may also mean 'calf', a reference to his relationship with the cow-goddess Hathor. Bronze statuettes of Ihy, such as this example, were probably produced as votive offerings dedicated in temples, especially those devoted to Hathor. Worshippers may have commissioned such figures in the hope of obtaining divine favour, protection, fertility, healing, or participation in the blessings linked with music and festivity. Some examples may also have served as cult images used in temple ceremonies or as protective objects placed in domestic or funerary settings.

Piriform jar with wide, flat rim and short neck, narrow neck and flat base. 1.2 kg, 15.5 cm



Ex Becker collection, 1920s. Private collection, Los Angeles, USA, 1990s. Private European collection. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12576-232111.

Three forms of serpentine were mainly used by the ancient Egyptians for stone vessels: a) green or grey serpentine with black veins; b) translucent green serpentine with black patches; c) granular black serpentine with intermixed grey or brown granules. Type a) serpentine, i.e. the green or grey one with black veins, has the longer time range, and was used for vessels from the Predynastic Period (Naqada II) through the New Kingdom. It was used for stone vessels, but also became common for statuettes and small toilet vessels. The class of green glazed kohl pots, many with carved or openwork decoration which are usually called ‘glazed steatite’ were more likely to be made of serpentine. The type here represented is a form known in the New Kingdom: a bag-shaped jar with neck, flat base, and wide thin rim. Similar vessels have been found in Thebes, Amarna, Kahun, among other localities.

Anatomical detailing on the carapace and articulated legs, underside with hieroglyphic inscription including a cartouche. 2.08 grams, 16 mm



Ex Roseberys Auctions, 2025. Private collection, London, UK.