christies new york r 3403 sale catalogue

8/9/2019 Christies New York R 3403 Sale Catalogue

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N E W Y O R K

Antiquities

Thursday 11 December 2014


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View catalogues and leave bids onlineat christies.com

AUCTION

Thursday 11 December 2014at 10.30 am (Lots 1-192)

20 Rockefeller PlazaNew York, NY 10020

AUCTION CODE AND NUMBER

In sending absentee bids ormaking enquiries, this sale shouldbe referred to as BES-3403

AUCTIONEER

Molly Morse Limmer (# 1154723)

CONDITIONS OF SALE

This auction is subject toImportant Notices, Conditions of Saleand to Reserves

BUYING AT CHRISTIE’S

For an overview of the process, see theBuying at Christie’s section.[50]

PROPERTIES FROM

The Collection of Nahum Goldmann

The Harer Family Trust Collection

The Los Angeles County Museum ofArt, Sold to benet future acquisitions

Former Property of Pierpont Morgan

The Michael and Judy SteinhardtCollectionThe Collection of Margaret and RobertWillson

The Wunsch Foundation

and Various Properties

Front cover: Lot 140Back cover: Lot 133Inside front cover: Lot 69

These auctions feature

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VIEWING

Saturday 6 December 10.00 am - 5.00 pmSunday 7 December 10.00 am - 5.00 pmMonday 8 December 10.00 am - 5.00 pmTuesday 9 December 10.00 am - 5.00 pmWednesday 10 December 10.00 am - 2.00 pm

AntiquitiesThursday 11 December 2014


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World Art Group

International Departments & Sales Calendar

Email. First initial followed by last [email protected] (e.g. Sara Plumbly = splumbly@christ ies.com)

AFRICAN AND OCEANIC ARTParisCharles-Wesley HourdéPierre Amrouche (Consultant)Tel: +33 1 40 76 84 48

ANTIQUITIES

LondonGeorgiana AitkenLaetitia DelaloyeTel: +44 (0)207 389 3195New YorkHannah SolomonAlexandra OlsmanTel: +1 212 636 2245

ZurichLudovic Marock

Tel: +41 44 268 10 26

ISLAMIC ARTLondon - King StreetSara PlumblyAndrew Butler-WheelhouseTel: +44 (0)207 389 2372London - South KensingtonRomain PingannaudXavier Fournier Tel: +44 (0)207 389 3316

INDIAN AND SOUTH EASTASIAN ART

New YorkSandhya Jain-PatelLeiko CoyleTel: +1 212 636 2190

SOUTH ASIAN MODERN+ CONTEMPORARY ART

London - King StreetDamian VeseyAnastasia PhillipsTel: +44 (0)207 389 2700New YorkDeepanjana KleinRashmi ViswanathanTel: +1 212 636 2190MumbaiSonal SinghNishad AvariTel: +91 22 2280 7905

BUSINESS MANAGERSLondon

Julia GrantTel: +44 (0)207 752 3113

FranceEloïse PeyreTel: +33 (0)1 40 76 85 68

New YorkDrew WatsonTel: +1 212 636 2452

06/11/2014

William RobinsonInternational Head of GroupTel: +44 (0)207 389 2370

G. Max BernheimerInternational Head ofAntiquities DepartmentTel: +1 212 636 2247

Susan KlomanInternational Head of African& Oceanic Art DepartmentTel: +1 212 484 4898

Daniel GallenInternational Managing DirectorTel: +44 (0) 207 389 2590

Deepanjana KleinInternational Head of SouthAsian Art DepartmentTel: +1 212 636 2189

11 DECEMBERTHE INDIA SALEMUMBAI

11 DECEMBERART AFRICAIN ETOCÉANIENPARIS


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CONTACT

SPECIALISTS

G. Max Bernheimer International Specialist Head [email protected]

Hannah [email protected]

Alexandra [email protected]

Tel: +1 212 636 2245Fax: +1 212 636 4926

ADMINISTRATOR

Sarah [email protected]: +1 212 636 2245Fax: +1 212 636 4926

For general enquiries aboutthis auction, email shouldbe addressed to the auctionadministrator

INTERNATIONAL HEAD OFGROUP, WORLD ART

William [email protected]: +44 (0) 20 7389 2370

INTERNATIONAL BUSINESSDIRECTOR, WORLD ART

Daniel [email protected]: +44 (0) 20 7389 2590

BUSINESS MANAGER

Drew [email protected]: +1 212 636 2452

SERVICES

ABSENTEE ANDTELEPHONE BIDS

Tel: +1 212 636 2437Fax: +1 212 636 4938

INSURANCE

Tel: +1 212 484 4879Fax: +1 212 636 4957

PAYMENT

Buyers

Tel: +1 212 636 2495Fax: +1 212 636 4939ConsignorsTel: +1 212 636 2350Fax: +1 212 492 5477

ART TRANSPORT

Tel: +1 212 636 2480Fax: +1 212 636 4937

HANDLING AND COLLECTION

Tel: +1 212 636 2495Fax: +1 212 636 4939

CHRISTIE’S FINE ART

STORAGE SERVICESLondon+44 (0)20 7622 [email protected] York+1 212 974 [email protected]+852 2978 [email protected]

AUCTION SERVICES

CHRISTIE’S AUCTIONESTIMATES

Tel: +1 212 492 5485Fax: +1 212 636 4954www.christies.com

CORPORATE COLLECTIONS

Tel: +1 212 636 2901Fax: +1 212 636 [email protected]

ESTATES AND APPRAISALS


MUSEUM SERVICES


Specialists and Services for this Sale

Sarah FergusonAdministrator

New York

Hannah SolomonAssociate Specialist

New York

Alexandra Olsman Junior Specialist

New York

Antiquities Americas


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1AN EGYPTIAN LIMESTONE FIGURE OF A MAN

OLD KINGDOM, 6TH DYNASTY, 2323-2150 B.C.

Depicted standing on an integral rectangular plinth with his left legadvanced, his arms at his sides with his hands sted around a bolt ofcloth, his nger- and toenails well detailed, with a nipped-in waist,a recessed navel, and broad shoulders, wearing a belted kilt, theright side pleated, and a mid-length, striated, aring wig, his earsexposed, his large head with the brows in relief, tapering at theirouter ends, the convex slanted eyes with raised lids, the slender nosewith rounded nostrils, the full lips pressed together, the vermillionline and philtrum indicated, preserving traces of red pigment for eshtones and dark pigment for the broad collar, the slender back pillarterminating below the edge of the wig16æ in. (42.5 cm.) high

$70,000-90,000P R O V E N A N C E :

Charles Gillet (1879-1972), Lausanne; thence by descent.

The 6th Dynasty, the last of the Old Kingdom, was a period of decline inEgypt. The Dynasty is dened by a weakening of kingship and an ineffectivecentral administration, coupled with an increase in power of the regionalleaders, the nomarchs. According to Markowitz (p.99 in Y. Markowitz,J. Haynes and R. Freed, Egypt in the Age of the Pyramids) royal sculptureduring this period typically exhibit the following traits: large heads,exaggerated body proportions, narrow waists, undeveloped musculature,elongated limbs and asymmetry. As in all periods in Egypt, the standardset by the Royals was emulated by courtiers and ofcials, as evinced by theexample presented here. For other 6th Dynasty private s tatuary exhibitingone or more of these traits see the statue of Shepsesptah, no. 42 in M.M.

Grewenig and W. Seipel, Götter, Menschen, Pharaonen, and the doublestatue no. 33 in W. Seipel, Gott, Mensch, Pharao.

THE PROPERTY OF A SWISS PRIVATE COLLECTOR (LOTS 1-22)


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2AN EGYPTIAN PAINTED WOOD FIGURE OF A MAN

MIDDLE KINGDOM, 12TH DYNASTY, 1991-1783 B.C.

Standing with the left leg advanced, wearing acalf-length kilt with a long overfold descending infront to his right, his left arm at his side, the handsted around a bolt of cloth, his right arm lowered,projecting forward at the elbow, the hand likelyonce holding a scepter, his short echeloned wigcovering his ears, the eyes with thin brows andextending cosmetic lines, with a rounded noseand full lips, preserving extensive painted detailsthroughout, including red for esh tones, black forthe wig, black and white for the eyes and brows,white for the kilt and toenails, the nipples each ablack dot enclosed by a ring of dots, tenons on theunderside of the feet for insertion into the originalrectangular base13 in. (33 cm.) high

$80,000-120,000P R O V E N A N C E :

Charles Gillet (1879-1972), Lausanne; thence bydescent.

For the form of the kilt compare the wood gure ofa man, said to be from Assiut, now in the Louvre,pp. 206-207 in E. Delange, Catalogue des statueségyptiennes du Moyen Empire, 2060-1560 avant J.-C .


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3AN EGYPTIAN BRONZE MIRRORNEW KINGDOM, EARLY TO MID 18TH DYNASTY,CIRCA 1550-1425 B.C.

The handle in the form of a nude female,standing on a thin, integral, rectangularplinth with her left leg advanced, herright arm lowered, holding an attribute,perhaps a bolt of cloth, her left arm bentat the elbow, holding a globular offeringin the palm of her hand below her breasts,adorned with a thin waistband with incisedzigzag, a broad collar, disk earrings and anenormous enveloping wig with hatchedtresses, their ends twisted, a lotus owerabove her forehead, her moon face with

modeled brows, narrow eyes, a small broadnose and a smiling mouth, with a separately-cast cordiform disk held in place by anow-missing pin through the large lotiformelement surmounting her head98 in. (25.2 cm.) long

$30,000-50,000P R O V E N A N C E :

Charles Gillet (1879-1972), Lausanne;thence by descent to his son, Renaud Gillet(1913-2001), Paris.

For a related bronze mirror with the handlein the form of a nude girl see no. 218 in E.Brovarski, et al., Egypt’s Golden Age: The Art ofLiving in the New Kingdom, 1558-1085 B.C.



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5AN EGYPTIAN LIMESTONE RELIEFNEW KINGDOM, 18TH DYNASTY, REIGN OF AKHENATEN,CIRCA 1353-1335 B.C.

Sculpted in sunk relief, preserving the bust of a princess facing left,her skull shaved but for the multi-strand side-lock, her face with anarrow eye, a rounded nose, full lips and a drooping chin, her rightarm projecting forward, the hand of her sister preserved to the right,holding a sistrum9º in. (23.4 cm.) high

$15,000-20,000P R O V E N A N C E :

Charles Gillet (1879-1972), Lausanne; thence by descent to his son,Renaud Gillet (1913-2001), Paris.

The complete scene to which this relief belonged must have shown theRoyal family worshipping the Aten. For a fragment of a boundary stelapreserving two princesses, each with a sistrum, standing behind Nefertiti(only partially preserved) see no. 38 in R. Freed, et al., Pharaohs of the Sun,

Akhenaten, Nefertiti, Tutankhamen. For another fragment preserving thebust of a princess tentatively identied as Meretaten, see no. 27 in H.S.T.Reed et al., Ancient Art in the Virginia Museum.

4AN EGYPTIAN COPPER ALLOY FIGURE OF A MANNEW KINGDOM, EARLY 18TH DYNASTY, CIRCA 1550-1479 B.C.

Solid-cast, depicted striding forward with the left leg advanced,his right arm lowered, holding an attribute in his hand, perhaps an

implement, his left arm bent at the elbow, his hand holding a staff,wearing a shendyt kilt with a central tab, the striated pleats incised,his hair arranged in a thick bowl cut obscuring his ears, the strandsdelineated by incised cross-hatching, with modeled brows, the uppereyelids articulated, a rounded nose and a small mouth, tenons underthe feet for insertion5º in. (13.3 cm.) high, excluding tenons

$15,000-20,000P R O V E N A N C E :


For another copper alloy gure of similar style, proportions and scale,

see the gure of Hepu, which preserves its original inscribed metal-cladwood base, no. 7 in M. Hill, ed., Gifts for the Gods, Images from EgyptianTemples. The inscription on the base informs that Hepu’s statue wascommissioned by his brother, the goldsmith Tchenena. According to E.Tourna (p. 21 in Hill, op. cit), “The high quality of the craftsmanship mightsuggest the piece was executed through connections of the deceased’sbrother.” The statue presented here exhibits the same qualities, and maybe the product of the same workshop.

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6TWO MESOPOTAMIAN ARSENICAL COPPER BULLSEARLY DYNASTIC PERIOD, CIRCA EARLY TO MID 3RD MILLENNIUM B.C.

Each solid-cast, depicted standing four-square with the head facingforward, with a thick muscular body, a ridged dewlap, and leaf-shaped ears, the massive tapering horns projecting forward andcurving inward and up at their tips, the eyes recessed for now-missing

inlays, the short muzzle with articulated nostrils and mouth, the bodyperforated vertically through the back6 in. (15.2 cm.) long

$100,000-150,000

P R O V E N A N C E :


For a bull head in similar style compare the example in Berlin, no. 42 inJ. Aruz, ed., Art of the First Cities, The Third Millennium B.C. from theMediterranean to the Indus. For a related yoked bull being lead by a mansee no. 2 in D. Freeman, ed., Splendors of the Ancient East, Antiquitiesfrom The al-Sabah Collection.



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7A GREEK BRONZE WARRIORGEOMETRIC PERIOD, CIRCA 770-750 B.C.

Solid-cast, depicted nude, standing withhis legs together, his right arm bent at theelbow and raised, the ngers articulated,his left arm lowered, both hands perforatedfor now-missing attributes, perhaps a spearand a shield, his head with cap-like hair,protruding ears, a broad nose, recessed ovaleyes, a slit mouth and a pointed chin, hisupper torso of triangular attened form,tapering to a narrow waist, his buttockspronounced, the slender legs elongated, thecalves well dened, perhaps once attached tothe top of a tripod handle8¿ in. (20.6 cm.) high

$40,000-60,000P R O V E N A N C E :

Renaud Gillet (1913-2001), Paris, acquired

prior to 1999.This large and impressive gure nds its closestparallel in terms of style and scale with anotherbronze warrior from the Athenian Acropolis.Both share the same at torso, pronouncedbuttocks and elongated legs, and both havedrilled hands for the now-missing attributes.Early Greek bronze casters were experimentingwith how to depict the human body, andwhile not anatomically correct, the best fromthe period are imbued with incredible vitality.The form of these three-dimensional warriorsclosely recalls the silhouette gures painted oncontemporary vases. For the warrior from theAcropolis, see no. 6 in N. Kaltsas, et al., TheHuman Figure in Early Greek Art.


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9A BOEOTIAN TERRACOTTA FEMALE MOURNERCIRCA EARLY 6TH CENTURY B.C.

Hand-modeled, depicted standing, wearing a long garment aring tothe at base, her arms raised with the hands on her head, preservingfaint traces of red throughout

6¡

in. (16.1 cm.) high$2,000-3,000P R O V E N A N C E :


8A CYPRIOT TERRACOTTA FEMALE FIGURELATE BRONZE AGE, BASE RING WARE, CIRCA 1450-1200 B.C.

Hand-modeled with a attened headdress, a pointed nose, appliedcircular eyes, a slit mouth and a broad neck, the hands held beneaththe breasts, the pubic triangle incised, the feet pointing downwards,

preserving black on the head and pubic triangle, with black and redbands on the neck8º in. (20.9 cm.) high

$8,000-12,000P R O V E N A N C E :


For a related example see no. 15 in V. Karageorghis, et al., Ancient Artfrom Cyprus, The Cesnola Collection in The Metropolitan Museum of Art .

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10TWO BOEOTIAN TERRACOTTA FEMALE MOURNERSCIRCA 600 B.C.

Each with a wheel-thrown cylindrical body, a raised ridge at thewaist, with a hand-modeled upper torso, the arms raised with thehands on her head, with a long neck, the face with a pinched noseand a protruding chin, the dotted eyes black, the hair and long-sleeved garment also black9√ in. (25 cm.) high

$10,000-15,000



For a nearly identical example, perhaps by the same hand, see no. 26, gs.98-100 in G.M.A. Richter, Korai: Archaic Greek Maidens.


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11A BOEOTIAN BLACK-FIGURED KANTHAROSATTRIBUTED TO THE PAINTER OF BERLIN F1727, CIRCA 575-550 B.C.

One side with ve nude komasts moving to the right, the rst fourdancing with one leg raised, the lead komast playing the aulos, a sixthkomast to the left holding a kantharos in his right hand; the otherside with six nude komasts moving to the right, four dancing withone raised leg, one holding the handle of a rounded-bottom jar, akantharos on the ground before him, the second to last with his headturned back, details in added red, with rays on the foot7º in. (18.4 cm.) high

$60,000-90,000




For two related kantharoi by the Painter of Berlin F1727 see pl. 7, nos.3 and 4 in K. Kilinski, Boetian Black Figure Vase Painting of the ArchaicPeriod .


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12A GREEK BRONZE KOUROSARCHAIC PERIOD, CIRCA LATE 6TH CENTURY B.C.

Solid-cast, depicted nude, standing with the left leg slightly advanced,with broad shoulders, his arms lowered and pulled back, his muscularbody well dened, his hair in a smooth roll above the forehead,bound in a llet and falling onto his shoulders in six long tresses6Ω in. (16.5 cm.) high

$20,000-30,000P R O V E N A N C E :


For related examples see no. 27 in M. Comstock and C. Vermeule, Greek,Etruscan & Roman Bronzes in the Museum of Fine Arts, Boston, and gs.515-517 in G.M.A. Richter, Kouroi, Archaic Greek Youths.

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13A GREEK BRONZE PATERA HANDLEARCHAIC PERIOD, CIRCA EARLY 5TH CENTURY B.C.

Solid-cast, in the form of a kouros, standing with his legs together,the feet exed and resting on the head of a ram, his hair falling ina thick mass onto his shoulders, tapering to a point in the center,the details incised, his raised arms and head joined to the back oftwo reclining rams surmounting volutes, with volutes framing bothram heads, a palmette in between, a curved molding above with aprojecting palmette once joined to the bowl9Ω in. (24.1 cm.) long

$7,000-9,000P R O V E N A N C E :


P U B L I S H E D :

For the type, compare the example in the Royal Ontario Museum,Toronto, no. 76 in D.G. Mitten and S.F. Doeringer, Master Bronzes

from the Classical World .


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16A GREEK BRONZE PANCLASSICAL PERIOD, CIRCA 4TH CENTURY B.C.

Solid-cast, standing on his left leg on an integral plinth, his right legraised, his arms spread wide with his hands once holding attributes,

probably torches, his expressive face with a beard, almond-shapedeyes with articulated pupils, and splayed goat horns at the top of hisconical head, the eece of his thighs and chest delineated5¿ in. (13 cm.) high

$6,000-8,000P R O V E N A N C E :

Renaud Gillet (1913-2001), Paris, acquired prior to 1999.

For a closely-related example see no. 99 in D. von Bothmer, et al., Antiquities from the Collection of Christos G. Bastis.

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15A GREEK BRONZE IBEX PROTOMECLASSICAL PERIOD, CIRCA 5TH-4TH CENTURY B.C.

Naturalistically depicted with the forelegs extended, with inciseddetails including the eece at the shoulders and the ame-like tuftsframing the head, with tall, ridged, backward-curving horns andpointed ears, the lidded almond-shaped eyes with incised pupils, thebeard curving inward and descending on to the chest, a anged diskat the back with ve perforations for attachment, two preservingoriginal pins4Ω in. (11.4 cm.) long

$10,000-15,000P R O V E N A N C E :


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14AN ATTIC BLACK-FIGURED KYATHOS

CIRCA 515-505 B.C.

With two horsemen galloping to the right between eyes, eachcarrying two spears in his left hand, wearing a red chlamys, thesecond with a white chiton below, the horse with details in red andwhite; vines in the eld, the high handle with a knob at the apex andmolded with a ridge terminating in a palmette on the interior abovethe rim5¬ in. (14.2 cm.) high

$15,000-20,000P R O V E N A N C E :



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AN ATTIC RED-FIGURED MASTOIDATTRIBUTED TO THE CHELIS PAINTER, CIRCA 515-500 B.C.

One side centered by Dionysos walking to the right but lookingback, a forked grape vine laden with fruit held forth in his lefthand, grasping the handle of a kantharos in his right, clad in achiton and a chlamys, with a wreath of ivy in his hair, identiedby an inscription to the left, the other side centered by anithyphallic satyr walking to the left, a rhyton in his right hand,a wineskin in his left, a wreath of ivy in his hair, namedMethys[e]s(Drunkenness), Leagros kallosin the eld beforehim, between them two groups of an aroused satyr attackinga maenad, all wearing wreaths of ivy, each maenad clad ina chiton and an animal skin tied around her neck, one satyrpulling the hem of the maenad’s chiton with his right handand clutching her arm in his left, the maenad with her headturned back, her hair bound in a sakkos, a thyrsos in her raisedleft hand, the satyr named Besene, the maenad’s name nowincomplete, the other satyr grasping the maenad around thewaist, the maenad with a thyrsos in her right hand, a snake inher left, the satyr named Terpon (To delight) and the maenadnamed Kallisto (Prettiest); a band of egg pattern encirclingabove, details in added red6¿ in. (15.5 cm.) high

$150,000-250,000



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Charles Gillet (1879-1972), Lausanne; thence by descent tohis son, Renaud Gillet (1913-2001), Paris.

P U B L I S H E D :

J.D. Beazley, Attic Red-gure Vase-painters, Oxford, 1963,p. 1626.

J.D. Beazley, Paralipomena, Oxford, 1971, p. 332.Beazley Archive no. 275051.

The Chelis Painter takes his name from two cups signed byChelis as potter, one in Munich, from Vulci, and one in Naples,from Etruria (see Beazley, Attic Red-gure Vase-painters , p. 112,nos. 1 and 2). Chelis worked with several painters, including

Oltos, the Euergides Painter, the Thalia Painter and the ChelisPainter. Only eight cups have been attributed to the ChelisPainter, ve of which were known to Beazley; several are veryfragmentary. According to Beazley, part of the Chelis painter’scup in Naples was painted by Oltos, indicating the closerelationships within the workshop.


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18AN APULIAN BLACK-GLAZED FIGURAL ASKOSCIRCA 4TH CENTURY B.C.

Mold-made, in the form of a dolphin,naturalistically modeled, the tapering sinuousbody curving out to one side, the handle risingup from the tail and merging behind the dorsaln, the vessel spout at the top of the head,the recessed circular eyes and the scallop shellsupport in reserve5¡ in. (13.6 cm.) high

$6,000-8,000P R O V E N A N C E :

Charles Gillet (1879-1972), Lausanne; thence bydescent to his son, Renaud Gillet (1913-2001),Paris.

19A GREEK TERRACOTTA MALE TORSOHELLENISTIC PERIOD, CIRCA 4TH-2ND CENTURY B.C.

Mold-made, depicted nude, originally standing

with his weight on his right leg, his youthfulslender body nely modeled with pronouncedpectorals and iliac crests, his arms pulled back,his broad muscular back with a deeply indentedspine leading to his rotund buttocks9Ω in. (24.1 cm.) high

$8,000-12,000P R O V E N A N C E :

Charles Gillet (1879-1972), Lausanne; thence bydescent to his son, Renaud Gillet (1913-2001);thence by descent.

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20AN ETRUSCAN BRONZE KOREARCHAIC PERIOD, CIRCA 500-480 B.C.

Solid-cast, standing with her left leg advanced,wearing pointed shoes with upturned toes ( calceirepandi ) and Ionian dress, including a long chitonwith a folded collar and a heavy mantle drapeddiagonally between her breasts, with vertical pleats

descending in front, dividing in the center in stackedfolds, the zigzagging edges ending in swallowtails,with similar folds over each shoulder, her arms bentforward at the elbows, emerging from the garments,her right hand with the ngers extended, her lefthand pulling the skirt forward, the edges of themantle dened by incised lines and zigzag on theback, her oval face with lidded eyes and a roundedchin, her hair scalloped along her forehead, herhead veiled, with a crescentic stephane and circularearrings8º in. (20.9 cm.) high

$30,000-50,000P R O V E N A N C E :

Charles Gillet (1879-1972), Lausanne; thence bydescent to his son, Renaud Gillet (1913-2001) Paris.

The style of this bronze is typical for Etruscan art ofthe Archaic period, when Ionian dress and pose wereadopted for depictions of young females. For a bronzekore in related dress see the gure from the lid of abronze lebes, no. 63a in S. Haynes, Etruscan Bronzes.


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THE PROPERTY OF

A NEW ENGLAND PRIVATE COLLECTOR23AN EGYPTIAN BRECCIATED LIMESTONEMACE HEADPREDYNASTIC PERIOD, CIRCA 3200 B.C.

Mottled beige in color with white, black andred inclusions, spherical in form with a largecylindrical perforation tapering towards oneend21 in. (5.3 cm.) high

$3,000-5,000P R O V E N A N C E :

Joseph Handy, Massachusetts, 1967.

VARIOUS PROPERTIES24AN EGYPTIAN SERPENTINE BOWLEARLY DYNASTIC PERIOD, CIRCA 3000-2600 B.C.

Mottled green in color, with gently-aringsides, on a low disk foot6 in. (15.2 cm.) wide

$6,000-8,000P R O V E N A N C E :

with Joseph Khawam & Co., Cairo.

Alain Borch, Le Vestinet, France, 1966.Acquired by the current owner from theabove in 2005.


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26AN EGYPTIAN PAINTED WOOD SHABTI FOR ASETTHIRD INTERMEDIATE PERIOD, 21ST DYNASTY, 1085-945 B,C.

Depicted mummiform with the arms crossing her chest, enveloped within her vestment,wearing a plain black headcloth with banded lappets and an elaborate broad collar, inscribed

with ve rows of hieroglyphs, reading: “Instructions of the Osiris Aset (or Isis), Justied, He[sic] says;, and continuing with a form of the standard shabti text from Chapter 6 of The Bookof the Dead, preserving extensive polychrome throughout85 in. (21.8 cm) high

$6,000-8,000P R O V E N A N C E :

with Simon O. Simonian, Cairo.P.A. (a U.N. diplomat, 1908-2004), New York, 1970; thence by descent.with Royal-Athena Galleries, New York, 2008.

PROPERTY FROM A GERMAN PRIVATE COLLECTION25AN EGYPTIAN LIMESTONE RELIEFNEW KINGDOM, LATE18TH-EARLY 19TH DYNASTY, CIRCA 1333-1290 B.C.

Sculpted in sunk relief, preserving two heads from a procession of prisoners moving to the left,both wearing a smooth wig, the second with a strand of hair framing the cheek, a partially-preserved child standing on her shoulders, facing backwards, supporting himself with his righthand placed on top of his mother’s head; a register line above, with a foot preserved from astanding gure, facing left11 º in. (28.5 cm.) wide

$10,000-15,000P R O V E N A N C E :

with Serop Simonian, Galerie Antiker Kunst, Hamburg, 1977.

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VARIOUS PROPERTIES27AN EGYPTIAN WALL-PAINTING FRAGMENTNEW KINGDOM, 1550-1070 B.C.

On plaster with an ochre and blue ground, depicting an agriculturalscene, with a man in prole to the right, wearing a belted kilt anda short wig, supporting a basket on his left shoulder with bothhands, standing amidst tall stalks of grain, a pile of grain before him,preserving the arm of another gure holding a staff behind him andthe head of another man in the register below13 ¡ in. (34 cm.) high

$8,000-12,000P R O V E N A N C E :

Sir Daniel Donohue and Countess Bernadine Donohue (1904-1968),Los Angeles, acquired in Paris before her death.The Collection of Sir Daniel Donohue; Bonhams & Butterelds, LosAngeles, 4-5 April 2011, lot 304.

28AN EGYPTIAN WOOD SHABTI FOR TAY-SEN-NOFRETNEW KINGDOM, LATE 18TH-19TH DYNASTY, 1391-1196 B.C.

Depicted mummiform with the arms crossing her chest, thested hands holding agricultural implements and a horizontal rodsupporting two baskets, wearing a striated tripartite wig, her roundface well detailed, with seven rows of hieroglyphs on the body,reading: “Instructions of the Osiris, Justied, Tay-sen-nofret, He[sic] says;” and continuing with a form of the standard shabti textfrom Chapter 6 of The Book of the Dead ; preserving traces of pigmentwithin the wig striations and inscription8¿ in. (20.6 cm.) high

$20,000-30,000P R O V E N A N C E :

Robert Liecthi (1934-2010), Geneva, 1980.

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29AN EGYPTIAN BLACK GRANITE PORTRAIT HEAD OF A PHARAOHNEW KINGDOM, 18TH-19TH DYNASTY, 1550-1196 B.C.

Likely Seti I, depicted lifesized, wearing a striated nemes-headdress with a broad band lowon the forehead, the band extending into short tabs before the ears, adorned with a uraeus above, its body with a horizontal loop, the tail rising up behind, his round face with narroweyes, their inner canthi pointed, the extending cosmetic lines and brows dened by incision,with prominent cheekbones, the small mouth drilled at the corners, the chin beard partiallypreserved11 Ω in. (29.2 cm.) high

$200,000-300,000P R O V E N A N C E :

Marcel Gimond (1894-1961), France.Pierre Levy (1907-2002), Troyes, France.Succession Pierre Levy; Boisseau Pomez, Troyes, France, 2 February 2007, lot 359.

The head presented here is strikingly similar to the kneeling gure of Seti I (early 19th dynasty,circa 1306-1290 B.C.) from Abydos, now in the Metropolitan Museum of Art (see g. 210 in W.C.Hayes, The Scepter of Egypt, II , The Hyksos Period and The New Kingdom (1675-1080 B.C.)). Bothheads share the same form of the nemes-headcloth, in particular the treatment of the band acrossthe forehead and its descending tab before the ear, which is all of one piece rather than treatedseparately, as seen on portraits from the 18th Dynasty. The position of the uraeus, which dipsslightly into the nemes band before rising up, is also the same, as is the wide horizontal loop behindthe cobra’s hood. The shape of the eyes is identical, as is the way the brows and cosmetic lines are

delineated only by incision, without being modeled in relief. The mouths also share the same deepdrilling at their outer corners. The broad face and high cheekbones are similar, although it shouldbe noted that this is also a feature of portraits of early 18th Dynasty kings, such as Hatshepsut andTuthmosis III, and it may be that both the head presented here as well as the kneeling gure of Seti Iin the Metropolitan Museum of Art were usurped from one of these earlier kings.


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30AN EGYPTIAN BRONZE MAATTHIRD INTERMEDIATE PERIOD TO LATE PERIOD, 21ST-26TH DYNASTY, 1070-525 B.C.

Depicted seated atop an openwork plinth, with her heels drawn backagainst her buttocks and her feet together, her arms resting on herthighs beneath her vestment, wearing a multi-strand, beaded, broadcollar and a tripartite echeloned headcloth, secured with a diademand fastened at the back of her head, her ears prominent, her squareface with striking features including almond-shaped eyes with convexpupils and full pressed-together lips, an opening at the top of herhead and on her lap for now-missing separately-made attachments,the plinth decorated on two sides with a Hathor mask adorned witha naos headdress on a pedestal anked by winged solar uraei, the front

and back with royal cartouche anked by solar uraei 7¡ in. (18.7 cm.) high

$20,000-30,000P R O V E N A N C E :

Acquired by the current owner on the Geneva market, 1980.

Maat “was not so much a goddess but... the moderator of all things in theuniverse, the source of equilibrium in the natural realm. She representedthe deied concept of world order, balance and harmony” (see pp. 140-141 in A. Capel and G.E. Markoe, eds., Mistress of the House Mistress ofHeaven: Women in Ancient Egypt ). Due to such a status, Maat was used byPharaohs and their wives in the New Kingdom especially as votive offeringsin temples. For a similar example see no. 69 in Capel and Markoe, eds., op.cit.

31AN EGYPTIAN BRONZE BES SCEPTRE FINIALLATE PERIOD, 664-332 B.C.

The bandy-legged god depicted nude, standing atop a papyrus umbel,his hands resting on his thighs, with his characteristic leonine face, hismane divided by a thin chin beard, surmounted by a fanning feathercrown, the tips turned forward, the details incised, his long tailextending to the rim of the umbel7Ω in. (19 cm.) high

$8,000-12,000P R O V E N A N C E :

with Joseph Khawam & Co., Cairo.General Leon Cuffaut, Meudon, France, 1968.Acquired by the current owner from the above, 2011.

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PROPERTY FROM AN OHIO PRIVATE COLLECTION32AN EGYPTIAN FAIENCE SHABTI FOR NEFER-IB-RE-SA-NEITHLATE PERIOD, 26TH DYNASTY, 664-525 B.C.

Green in color, standing on an integral plinth against an uninscribed back pillar, depicted mummiformwith the arms crossing his chest, his sted hands emerging from within his vestment, holding a crook anda ail, a seed sack over his left shoulder, wearing a striated tripartite headcloth and a braided chin-beardcurving out at its tip, inscribed with nine rows of hieroglyphs, reading: “Recitation: Instructions of the

Osiris Nefer-ib-Re-sa-Neith, born of Shep-en-Bastet, Justied, He says,” and continuing with a form ofthe standard shabti text from Chapter 6 of The Book of the Dead 74 in. (18.9 cm.) high

$10,000-15,000P R O V E N A N C E :

Robert Cassell (1920-1998), Columbus, Ohio, acquired while serving in the U.S. Armed Services inCairo during World War II between 1943-1945; thence by descent to the present owner.

This shabti was made for a well-known 26th Dynasty ofcial whose tomb is located at Sakkara. His basilophorousname (a name containing the name of a king) includes the prenomen of Psamtik II, who ruled in 595-589 B.C.,which indicates that he was born during Psamtik II’s reign. For a similar example see accession no. 58.4.2 at theMetropolitan Museum of Art (on view in Gallery 127).

VARIOUS PROPERTIES33AN EGYPTIAN LIMESTONE RELIEF FRAGMENTLATE PERIOD, 26TH DYNASTY, 664-525 B.C.

With eight columns of hieroglyphs in sunk relief, the text naming Nes-Hor and a spell to ward off theNau serpent, reading: “This [Hereditary Noble and] Local Prince Nes-Hor, Justied...bitten, smitten(?)by the n[aw-snake(?)]...(or, bitten, smitten(?)), it is the n[aw-snake(?) who]...bite [this] Hereditary Nobleand Local Prince Nes-[Hor, Justied]...his [Hereditary Noble and] Local Prince Nes-Hor, Justied...this [Hereditary Noble and] Local Prince Nes-Hor, Justied...he/his [this] Hereditary Noble and LocalPrince Nes-Hor, [Justied]...every...[this] Hereditary Noble and Local Prince Nes-Hor, [Justied]...Turnback(?), naw-snake (or, May the naw-snake be turned away(?))”34 in. (86.4 cm.) long

$8,000-12,000


with Joseph Khawam & Co., Cairo.Acquired by the current owner, London, 1952; thence by descent.

Texts to ward off or to protect from snakes were common beginning in the 5th Dynasty and can be found withinthe Pyramid Texts. This relief, with its usage of this older protection spell is an example of the archaizing tendencyin Egyptian art popular during the Late Period. For the reuse of serpent protection texts during this time period, seeR.B. Hussein in “Recontextualized—The Pyramid Texts ‘Serpent Spells’ in the Saite Contexts,” in Études et Travaux,vol. 26.

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PROPERTY FROMA PRIVATE EUROPEAN COLLECTION34AN EGYPTIAN BRONZE FALCONLATE PERIOD TO PTOLEMAIC PERIOD, 664-30 B

Hollow-cast, standing with the talonsspread, the closed wings crossing over thetail, details of the feathers incised, the head

naturalistically modeled with ridged brows,the convex eyes framed by dened lids,the canthi pointed, the characteristic facialmarkings recessed, the beak sharply hooked,the underside with an opening for insertionof a now-missing mummy or votive,presumably once sealed in plaster 12 º in. (31.1 cm.) high

$100,000-150,000P R O V E N A N C E :

with Joseph Khawam & Co., Cairo, 1954.Private Collection, Paris; thence by descentto the current owner.

For a related example see g. 1 in P. Jett, S.Sturman and T.D. Weisser, “A Study of theEgyptian Bronze Falcon Figures in The WaltersArt Gallery,” in Studies in Conservation, vol. 30,no. 3, 1985.


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VARIOUS PROPERTIES35AN EGYPTIAN INDURATED LIMESTONEFIGURE OF A WOMANLATE PERIOD, 26TH DYNASTY, 664-525 B.C.

Depicted striding with the left leg advanced,

her arms at her sides, wearing a short smoothwig and a tightly-tted sheath dress thataccentuates her voluptuous body, her roundface with recessed eyes for now-missinginlays, her full lips pressed together into aslight smile, the back-pillar uninscribed10 in. (25.4 cm.) high

$40,000-60,000P R O V E N A N C E :

Private Collection, Forest Hills, New York,prior to 1950; thence by descent to a New

York Private Collector. Antiquities, Sotheby’s, New York, 6December 2006, lot 72.


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383736

36AN EGYPTIAN FAIENCE SHABTI FOR PA-DI-OSIRISLATE PERIOD, CIRCA 4TH CENTURY B.C.

Light blue-green in color, standing on an integral plinth against anuninscribed back pillar, depicted mummiform with the arms crossinghis chest, his sted hands emerging from within his vestment, holdinga crook and a ail, a seed sack over his left shoulder, wearing a striatedtripartite headcloth and a braided chin-beard curving out at its tip,inscribed with twelve rows of hieroglyphs, reading: “Instructions of

the Osiris, God’s Servant (Prophet) of the Two Supports of Heaven(i.e. Shu and Tefnut), Pa-di-Osiris, (called) Ptah-en-khenu–hery-ib-Henen-nesu (?) (or Ny-Ptah-khenu-hery-ib-Henen-nesu?), born ofSed-iret-binet, Justied, He says,” and continuing with a form of thestandard shabti text from Chapter 6 of The Book of the Dead7Ω in. (19 cm.) high

$8,000-12,000P R O V E N A N C E :



Similar to Lot 367æ in. (19.7 cm.) high

$8,000-12,000P R O V E N A N C E :



Similar to Lot 3676 in. (19.5 cm.) high

$8,000-12,000P R O V E N A N C E :



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40AN EGYPTIAN BLACK BRONZE AND SILVER BEARDTHIRD INTERMEDIATE PERIOD TO LATE PERIOD, 1070-332 B.C.

Hollow-cast, curving outward at the tip, with ne diagonal lines of

inlaid silver, patterned to indicate plaiting on both the front and theback5ƒ in. (13.5 cm.) high

$8,000-12,000P R O V E N A N C E :

with Joseph Khawam & Co., Cairo.Isabelle Phillipe, Sydney, Australia, 1968.Acquired by the current owner from the above, 2011.

According to M. Hill (p. 16 in Royal Bronze Statuary from Ancient Egypt )the Egyptians called this type of bronze hmtl km, meaning black copperor black bronze. This alloy, composed of gold with copper or bronze,produces a rich purple or bluish black hue, which Hill notes as being idealfor heightening contrast with precious metal inlays.

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39AN EGYPTIAN BRONZE AND LAPIS LAZULI BEARDLATE PERIOD TO PTOLEMAIC PERIOD, 664-30 B.C.

Solid-cast, curving outward at the tip, the inlaid diagonal cloisonspatterned to indicate plaiting, with traces of gilding throughout, atenon at the top for insertion3ƒ in. (8.5 cm.) high

$7,000-9,000P R O V E N A N C E :

with Joseph Khawam & Co., Cairo.Isabelle Phillipe, Sydney, Australia, 1968.Acquired by the current owner from the above, 2011.

For a similar see accession no. 16.241 at The Brooklyn Museum.

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41AN EGYPTIAN BRONZE ENTHRONED HARPOKRATESLATE PERIOD, 26TH DYNASTY, 664-525 B.C.

The child god depicted nude, his pudgy body with the navelindicated, his left arm lowered and bent forward, the palm facingdown, his right arm bent acutely with his forenger raised to his lips,adorned with a pendant necklace and a cap crown fronted by a uraeus,the tail undulating back, his eyes inlaid with silver, with his feetparallel on an integral plinth, seated on an elaborate lion throne onan integral plinth, the felines with incised manes and well-articulatedfaces

45 in. (11.6 cm.) high

$40,000-60,000P R O V E N A N C E :

with Joseph Khawam & Co., Cairo.Private Collection, Lausanne, 1969.Acquired by the current owner from the above, 2005.

For a similar example but for Harpokrates’ crown, see no. 118 inO. Perdu, Le crépuscule des Pharaons: chefs-d’oeuvre des derniéresdynasties égyptiennes.


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42AN EGYPTIAN BRONZE ISIS AND HORUSLATE PERIOD TO PTOLEMAIC PERIOD, 664-30 B.C.

The goddess seated with her feet resting on a low integral plinth, cladin a tightly-tted sheath, her striated tripartite headcloth and vultureheaddress crowned with a modius of uraei supporting cow hornsframing a solar disk, offering her left breast to her divine son Horusseated on her lap, his head cradled by her left hand, wearing a cap-crown fronted by a uraeus and the side lock of youth10Ω in. (26.7 cm.) high

$20,000-30,000P R O V E N A N C E :

with Joseph Khawam & Co., Cairo.Baron Louis de Benoist, Paris, 1960.Acquired by the current owner from the above, 2005.

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43AN EGYPTIAN BRONZE MINLATE PERIOD, 664-343 B.C.

The ithyphallic god standing on a rectangular plinth, his left handholding his phallus, his right arm raised, once holding a now-missingail in his hand, wearing a broad collar, a shroud, a false beard, and acrown surmounted by plumes fronted by a solar disk8Ω in. (22.1 cm.) high

$15,000-20,000P R O V E N A N C E :

with Joseph Khawam & Co., Cairo.Private Collection, Lausanne, 1969.Acquired by the current owner from the above, 2005.


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44AN EGYPTIAN BRONZE SOTHISLATE PERIOD TO EARLY PTOLEMAIC PERIOD, 664-30 B.C.

The goddess standing on an integral rectangular plinth, her arms ather sides, clad in a tightly-tted sheath and the White Crown ankedby cow-horns, fronted by a uraeus and surmounted by a ve-pointstar 8º in. (21 cm.) high

$10,000-15,000P R O V E N A N C E :

with Joseph Khawam & Co., Cairo.

Private Collection, Lausanne, 1969.Acquired by the current owner from the above, 2005.

For a similar example, now in the British Museum, see p. 160 in R.H.Wilkinson, The Complete Gods and Goddesses in Ancient Egypt.

45AN EGYPTIAN MARBLE HEAD OF HARPOKRATESROMAN PERIOD, CIRCA 2ND CENTURY A.D.

His youthful face with widely-set almond-shaped eyes, pudgy cheeks,a button-nose and full lips, his head bald but for his characteristic sidelock8Ω in. (22.6 cm.) high

$6,000-8,000


Colonel A.E.S. Irvine, R.A.M.C., D.S.O. (1880-1968), Scotland,personal physician to Princess Mary of Scotland, who accompaniedher to Egypt in 1928; thence by descent.Collection of Colonel A.E.S. Irvine; Bonhams, London, 28 April2010, lot 6 (part).

For a similar example but later in date as indicated by the drilled eyes, seeno. 220 in J. Yoyotte , et al., Égypte Romaine: l’autre Égypte.


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Dr. Benson Harer, the well-known collector of Egyptian art,made his rst purchase in 1955 - a scarab necklace – a giftfor his wife Pamela. That early acquisition would eventuallylead to a lifetime of collecting. In the process, Dr. Hareramassed a formidable library and extensive knowledge in theeld. He has written numerous Egyptological articles rangingfrom topics associated with his profession, obstetrics andgynecology, to the history of collecting. One such article,“The Drexel Collection: From Egypt to the Diaspora,” fromthe Festschrift in honor of Richard A. Fazzini, explored howhe tracked the provenances of numerous objects that wereoriginally acquired by Col. Anthony Drexel, and gifted byhim to the Drexel Institute Museum in Philadelphia in 1895.Drexel had had retained Emile Brugsch to build the collection,who was at one time the keeper of antiquities in the BulaqMuseum, the core of which became the Cairo Museum. TheDrexel Institute sold the collection to the Minneapolis Instituteof Art in 1916, which in turn deaccessioned the collection in1958. Many of the objects acquired by Harer with this many-

PROPERTY FROM THE HARER FAMILY TRUST COLLECTION (LOTS 46-77)

layered provenance are featured in the sale. Over the last30-plus years, objects from the Harer Family Trust have beenloaned to countless museums in Europe and North America. Alarge portion of the collection was published for an exhibitionat the University Art Gallery (now the Robert and FrancesFullerton Art Museum) at California State University, SanBernardino: Temple, Tomb and Dwelling: Egyptian Antiquitifrom the Harer Family Trust Collection. Over 40 lots weresold in a single-owner sale in these rooms in December 2005,including a fabulous granite standard-bearing statue of QueenNefertari. Harer set a world-record for an Egyptian statuewhen he purchased her at a Christie’s sale in 1979; 26 yearslater, Nefertari broke the record again, and she still retains thehonor of being the 3rd most expensive Egyptian statue eversold. Christie’s is pleased once again to be entrusted with PartII of the Harer Family Trust Collection, the highlights of whichinclude a splendid New Kingdom alabaster jar of a pregnantgure and a small steatite royal portrait thought to depictTutankhamen.


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47AN EGYPTIAN SCHIST COSMETIC PALETTEPREDYNASTIC PERIOD, NAQADA II, CIRCA 3000 B.C.

In the form of a turtle, the elongated body with four short legsprojecting outward, the triangular tapering head with concentriccircular eyes drilled at their centers, the nostrils articulated, perforatedat the opposing end7æ in. (19.7 cm.) long

$7,000-9,000P R O V E N A N C E :

Dr. Ulrich Muller, Zurich, 1968-1978.with Sands of Time, Washington, D.C., 2005.

E X H I B I T E D :

Zurich, Archäologischen Institute der Unversität Zürich, 21September-17 November 1974, Das Tier in der Antike .San Bernardino, Robert and Frances Fullerton Museum of Art, 2005-14.

P U B L I S H E D :

H. Bloesch, Das Tier in der Antike , Zurich, 1974, no. 8.

The freshwater turtle ( Trionyx triunguis) was among the favored subjectsfor cosmetic palettes in the Predynastic period. According to Patch (Dawnof Egyptian Art , p. 26), “the turtle had a dual representation: on theone hand, the animal was connected to chaos and disorder, a negativeassociation; it could be a potent amulet, however, because the turtle’snegative character could be construed as a protective force. The palettewas a personal item, so the choice of the turtle’s form may reect a desirefor protection from a worrisome environment.”

46AN EGYPTIAN NILE SILT FISH POTPREDYNASTIC PERIOD, NAQADA IIC-IID2, CIRCA 3650-3300 B.C.

In the form of a bulti-sh, the ovoid body with two vertical lugsanking the central everted rim, the face with two raised circulareyes, a vertical ridge in between and two raised gills below, thedownturned mouth parted, with dened ns on a at base10Ω in. (26.7 cm.) long

$15,000-20,000P R O V E N A N C E :

J. Jannette Walen (d.1952), Amsterdam, 1900-1940; thence bydescent to her two sons.with Archaea, Amsterdam, 24 August 1998.

E X H I B I T E D :

San Bernardino, Robert V. Fullerton Museum of Art, PredynasticEgyptian Pottery, 22 September 2005-18 February 2006.

P U B L I S H E D :

J.D. Kaplan, Predynastic Egyptian Pottery, San Bernardino, 2005, no.32, pp. 78-81.

Fish traditionally have been important to the ancient Egyptians as a sourceof nutrition and as a symbol encompassing a spiritual and religious nature.Fish were a popular subject in the art of Predynastic Egypt and wererealistically depicted so that individual species could be identied. As J.D.Kaplan explains ( Predynastic Egyptian Pottery , p. 78) Bulti-sh or Nile tilapiawere “shallow water sh, easily observed and caught, and still a majorfood source in Egypt today. They may have chosen this sh because theyknew it well and liked it.” However it was also popular for its connectionto resurrection due to its procreating process. This species lays its eggsand then scoops and holds them into its mouths where they hatch. Afterhatching, when there is a danger, the offspring retreat back into theirmothers’ mouths for protection (p. 432 in A.P. Kozloff and B. Bryan,Egypt’s Dazzling Sun). The Egyptians associate this with rebirth, and in laterperiods mouth-breading sh were linked with the creator god Atum, whotook his seed into his mouth and spit out the world (Kaplan, op. cit, p. 78).

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AN EGYPTIAN LIMESTONE RELIEFFIRST INTERMEDIATE PERIOD, 2134-2040 B.C.

Preserving two registers carved in sunk relief, the upper register witha hieroglyphic inscription and an invocation to the god Anubis, therst line, reading: “An offering which the King gives to Anubis on hismound, lord of WT (?), lord of the holy land, for funerary offeringof bread and beer for him;” the second line, reading: “In the Wag-Feast, the Thoth Feast, the opening of the year feast, the new year’sday feast, the Sokar feast, the monthly feast and the half monthlyfeast;” the lower register depicting a procession of seven gures, veidentied as lector priests, the second on the left labeled a scribe,carrying a goose as an offering, followed by a man wearing a pleated-kilt and holding a staff, entitled “Inspector of Prophet Yi (?),” hisson Sautet before him, depicted on a diminutive scale, followed byanother man holding a staff, labeled “the lector, Nefer-reupit,” and awoman entitled “the Royal Ornament, Sautet”24 x 13 in. (60.8 x 32.7 cm.)

$25,000-35,000


Antiquities, Sotheby’s, London, 12 July 1971, lot 37.Private Collection, Scotland.

Antiquities, Christie’s, London, 12 December 1990, lot 199.with Charles Ede, London, 1990s.

E X H I B I T E D :

San Bernardino, University Art Gallery, 1992; Arizona StateUniversity Museum, 1993; and San Antonio Museum of Art, 1993-1996; Temple, Tomb and Dwelling: Egyptian Antiquities from the HarerFamily Trust Collection.San Bernardino, Robert and Frances Fullerton Museum of Art, 1997-2010.

P U B L I S H E D :

G.D. Scott, III, Temple, Tomb and Dwelling: Egyptian Antiquities fromthe Harer Family Trust Collection, San Bernardino, 1992, no. 39.



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49AN EGYPTIAN PAINTED TERRACOTTA FEMALE FIGURESECOND INTERMEDIATE PERIOD, 1648-1550 B.C.

Hand-modeled, seated with her legs outstretched before her, holdinga child in each hand resting on her lap, wearing bracelets on eachwrist, her long hair falling in full tresses over her shoulders and ontoher chest38 in. (10 cm.) high

$15,000-20,000P R O V E N A N C E :

The Folio Society, London, 1971.Desmond Morris, Oxford.The Collection of Desmond Morris; Christie’s, London, 14 May2002, lot 118.

50AN EGYPTIAN WOOD MALE FIGURENEW KINGDOM, MID TO LATE 18TH DYNASTY, 1391-1307 B.C.

The youthful gure depicted nude, striding forward with his leftleg advanced, his arms straight at his sides with the palms against histhighs, his eshy torso with the navel articulated, his oval face with a

straight nose and full lips, his ears prominent, his head shaven but forthe side lock of youth4¿ in. (10.5 cm.) high

$6,000-8,000P R O V E N A N C E :

Science Museum of Connecticut, Hartford, 1954 (Accession no.54.857).Property of the Science Museum of Connecticut; Skinner’s, Bolton,17 October 1987, lot 187C.

E X H I B I T E D :

San Bernardino, University Art Gallery, 1992; Arizona StateUniversity Museum, 1993; and San Antonio Museum of Art, 1993-

1996; Temple, Tomb and Dwelling: Egyptian Antiquities from the HarerFamily Trust Collection.San Bernardino, Robert and Frances Fullerton Museum of Art, 1997-2010.

P U B L I S H E D :

G. Scott, Temple, Tomb and Dwelling: Egyptian Antiquities from theHarer Family Trust Collection, San Bernardino, 1992, no. 93.

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51AN EGYPTIAN ALABASTER FIGURAL JUGNEW KINGDOM, 18TH DYNASTY, 1550-1307 B.C.

In the form of a nude female gure, standing frontally on a circularintegral base, with thick bowing legs, her hands resting on herswollen abdomen, with pendulous breasts, her genitalia delineated,her head tilted back with the chin raised, her round face with large

almond-shaped eyes, a wide pug nose and full lips, her long striatedlocks pulled back and falling onto her back, the vessel spout with aneverted rim6¿ in. (15.5 cm.) high

$150,000-250,000P R O V E N A N C E :

with Nicholas Wright, London, prior to 1980.Private Collection, U.K., 1992.with Charles Ede, London.

Gravidenaschen or “pregnant jars,” alabaster vessels in the form ofnude female gures with hands resting atop their distended bellies arecustomarily dated to the 18th Dynasty, more specically from the endof the reign of Thutmose III to the early years of Amenhotep III. Onlyabout a dozen are known which have been studied by E. Brunner-Trautin “Gravidenasche: Das Salben des Mutterleibes,” in A. Kuschke and E.Kutsch, eds ., Archäologie und altes Testament: Festricht fur Kurt Galling ,”

who argues that their iconography is hybrid: while her head is that of ahuman female, her torso and swollen limbs recall the iconography of thegoddess Taweret, the protector of pregnant women and infants, who ischaracteristically depicted as a pregnant hippopotamus. As A. Capel andG. Markoe explain (in Mistress of the House: Mistress of Heaven: Womenin Ancient Egypt, eds., p. 63), these vessels are an evocative exampleof the Egyptian ability to merge form and function. It is thought that

gravidenaschen would have held “an unknown substance, that whenmixed with behen oil from the moringa tree produced a soothing ointmentused to relieve a pregnant woman’s discomfort as she approacheddelivery”.



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52AN EGYPTIAN STEATITE PORTRAIT HEAD OF A PHARAOHNEW KINGDOM, 18TH DYNASTY, 1391-1323 B.C.

Probably depicting Tutankhamen, likely originally from a standinggure, wearing the Khepresh or Blue Crown, adorned with disk-shaped ornament throughout, fronted by a uraeus above the browband, its body coiled, the tail extending up over the top, hisdistinctive round face with almond-shaped eyes, the thick upperlids tapering and extending at the outer ends, with modeled brows,a small round nose and full lips, his earlobes indented, indicatingpiercing, the neck with twin esh folds, the back pillar seeminglyonce inscribed1º in. (3.1 cm.) high

$40,000-60,000P R O V E N A N C E :

with Charles D. Kelekian, New York. Antiquities, Sotheby’s, New York, 11 December 1980, lot 247.Lester Wolfe, New York.The Collection of the Late Lester Wolfe, New York; Antiquities,Sotheby’s, New York, 1-2 March 1984, lot 152.

E X H I B I T E D :

Los Angeles County Museum of Art, 1986-1991.San Bernardino, University Art Gallery, 1992; Arizona StateUniversity Museum, 1993; and San Antonio Museum of Art, 1993-1996; Temple, Tomb and Dwelling: Egyptian Antiquities from the HarerFamily Trust Collection.San Bernardino, Robert and Frances Fullerton Museum of Art, 1997-2010.

P U B L I S H E D :

G.D. Scott, III, Temple, Tomb and Dwelling: Egyptian Antiquities fromthe Harer Family Trust Collection, San Bernardino, 1992, no. 95.G.D. Scott, III, Dynasties: The Egyptian Royal Image in the NewKingdom, San Antonio, 1995, no. 24.D. C. Forbes, “Harer Collection of Egyptian Antiquities,” in KMT ,

vol. 8, 1997, p. 21.

While the round face with large eyes and thick upper lids is characteristicto portraits of both Amenhotep III (1391-1353 B.C.) and Tutankhamen(1333-1323 B.C.), the pierced ears and the esh folds on the neck suggestthat Tutankhamen is intended. Amenhotep III was the rst king to favorthe Khepresh crown for portraiture, and its use continued during the reignsof Akhenaten and Tutankhamen. For an indurated limestone portrait ofTutankhamen wearing the Khepresh crown see no. 241 in R.E. Freed, et al.,Pharaohs of the Sun, Akhenaten, Nefertiti, Tutankhamen.


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53AN EGYPTIAN PAINTED WOOD SHABTI FOR LADY HUY WITH AUSURPED COFFINNEW KINGDOM, 18TH-19TH DYNASTY, 1550-1196 B.C.

The shabti depicted mummiform, her hands emerging from withinthe vestment, holding a crook and a ail, wearing a striated tripartiteheadcloth and a broad collar, the face well-modeled, with elongatedeyes, gently-sloping brows and full lips, the ears prominent, with sixrows of hieroglyphs, reading: “Lady of the House Huy, Justied,”and continuing with a form of the standard shabti text from Chapter6 of The Book of the Dead ; tted into a wood cofn, with fourhorizontal bands encircling the lid and the trough, with an offeringformula to Osiris written in hieroglyphs running down the frontof the lid, reading “Lord of Abydos,” preserving white and blackpigment8¡ in. (21.3 cm.) long

$60,000-80,000P R O V E N A N C E :

with Gustave Mustaki, Alexandria, imported into London after 1949,London; thence by descent to Elsa McLellan (née Mustaki).with Charles Ede, London, 2003.

E X H I B I T E D :

San Bernardino, Robert and Frances Fullerton Museum of Art, 2003-2011.

As S. D’Auria, P. Lacovara, and C.H. Roehrigexplain (Mummies & Magic: thFunerary Arts of Ancient Egypt , p. 136) , “The miniature cofn for a shawabticopies a type of real cofn common during the rst half of Dynasty 18 anddescended from the anthropoid cofns of Dynasty 12. The body of the cofnis painted white to simulate the mummy bandages with a mask and collarover the body.”

In the early and mid 18th Dynasty, wealthy private individuals usually ownedonly a few shabtis despite their non-royal status. Those who had the nancialmeans had miniature cofns made for their shabtis, emphasizing the closerelationship between the shabti and the mummy. In the present example,the shabti appears to be of a slightly later date— perhaps 19th Dynasty—but the cofn likely dates to mid 18th Dynasty. Therefore, a 19th Dynastyindividual who could only afford one or perhaps a few painted wood shabtistried to make this one a bit more special by appropriating the little cofnfrom an earlier burial. For similar examples see no. 73 in D’Auria, Lacovara,and Roehrig op. cit and no. 78, p. 82 in A.-C. Thiem, Am Hofe Des Pharaovon Amenophis I. bis Tutanchamun.



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54AN EGYPTIAN BLUE FAIENCE BESTHIRD INTERMEDIATE PERIOD, 20TH DYNASTY, 1196-1070 B.C.

Turquoise blue in color with black details, modeled in reliefon all sides, the dwarf god standing on a papyrus umbel,crowned in a tall ve-plumed headdress, holding an infantin his bent left arm, a simian below in between his legs, apair of simians anking his thighs and another pair ankinghis ears, the back of the headdress with a bound oryx, withfour perforations at the top and two below the crown forattachment84 in. (21.4 cm.) high

$50,000-70,000P R O V E N A N C E :

Omar Pacha Sultan, Cairo. Antiquities, Sotheby’s, London, 14 July 1981, lot 102.Art Market, Paris, 26 June 1996.with Galerie Orient-Occident, Paris, 21 September 1992.

E X H I B I T E D :

Cleveland Museum of Art, 1998; Providence, Museumof Art, Rhode Island School of Design, 1998-1999; FortWorth, The Kimbell Art Museum, 1999; Gifts of the Nile :

Ancient Egyptian Faience, 1998-1999.

P U B L I S H E D :

Collection de feu Omar Pacha Sultan Le Caire , Paris, 1929, no.219, pl. XXXIII.

J. Bulté, Talismans Egyptiens d’heureuse maternité , Paris, 1991,cover and document 11, pp. 19-20.F.D. Friedman, Gifts of the Nile: Ancient Egyptian Faience ,New York, 1998, no. 75, pp. 109, 210.R. H. Wilkinson, The Complete Gods and Goddesses of AncientEgypt , London, 2003, p. 103.

As R.S. Bianchi explains (p. 210 in Friedman, op. cit) this Besplaque would have been tted into a papyriform scepter, similarto the attachment of a mirror plate and its handle. Most likelyadditional attachments were secured to the feathers at theperforations. Bianchi calls this object a prophylactic charm anddiscusses Bes’ identity and function to combat the anxiety ofthe changing conditions from one state to another. He points to

changes from the Old to the New Year, the birth of a child, andthe annual ooding of the Nile. “In ancient Egyptian thinking,these transitions could be aborted by the presence of malevolentforces of chaos, but these forces in turn were thought to bechecked by the powers of Bes, each of which was positivelyreinforced by his various attributes.”


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55AN EGYPTIAN BRONZE SHABTI FORGENERAL WEN-DJEBAN-EN-DJEDTHIRD INTERMEDIATE PERIOD, 21ST DYNASTY, 1070-945 B.C.

Depicted mummiform with the hands folded over the chest, wearing

a tripartite headcloth, with a single column of hieroglyphs down thefront, reading: “The Osiris, the Great One/Magnate of Ten”3¡ in. (8.5 cm.) high

$4,000-6,000P R O V E N A N C E :

with Superior Gallery, Los Angeles, 1980.

E X H I B I T E D :

San Bernardino, University Art Gallery, 1992; Arizona StateUniversity Museum, 1993; and San Antonio Museum of Art, 1993-1996; Temple, Tomb and Dwelling: Egyptian Antiquities from the HarerFamily Trust Collection.San Bernardino, Robert and Frances Fullerton Museum of Art, 1997-

2010.P U B L I S H E D :

G.D. Scott, III, Temple, Tomb and Dwelling: Egyptian Antiquities fromthe Harer Family Trust Collection, San Bernardino, 1992, no. 59B, p.102.

Solid cast bronze shabtis were popular during the 21st dynasty. Arguablythe most important examples made for King Psuesennes I, who ruled theDelta. The king along with his general Wen-djeban-en-djed were bothburied at the royal necropolis at Tanis (p. 102 in Scott, op. cit.)

56AN EGYPTIAN PAINTED WOOD SHABTI FOR THE CHANTRESS OFAMUN HENUT-TAWYTHIRD INTERMEDIATE PERIOD, 21ST DYNASTY, 1070-945 B.C.

Depicted mummiform with the bent arms under the vestment,

wearing a tripartite wig, holding a hoe in each hand, a rectangularbag on his back, with a column of hieroglyphs down the front,reading: “Instructions of the Osiris Henut-tawy, Justied,” traces ofbitumen preserved throughout4√ in. (12.4 cm.) high

$6,000-8,000P R O V E N A N C E :

Purportedly from 2nd Deir el Bahari cache of 1891.Emile Brugsch (1842-1930), curator of the Bulaq Museum, Cairo.Col. Anthony J. Drexel, Jr. (1864-1934), Philadelphia.Drexel Institute Museum, Philadelphia, 1895 (Accession no. 897).Minneapolis Institute of Art, 1916 (Inventory no. 16.264).with Blumka Gallery, New York, circa 1956.with Superior Gallery, Los Angeles, 1978.

55 56



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58AN EGYPTIAN WOOD CAT COFFINLATE PERIOD, 664-343 B.C.

Depicting seated on its haunches, with its forepaws together, witha prominent chest and alert upright ears, the hollowed body cavityonce holding a now-missing mummied cat, the curving back witha wood panel secured with three wooden pegs, one preserved, thesurface preserving traces of gesso10¿ in. (25.8 cm.) high

$12,000-18,000P R O V E N A N C E :

Father Cleosus Steinhausen, Cairo, 1900-1908.Studium Biblicum Franciscanum Museum, Jerusalem.

Antiquities, Superior Gallery, Los Angeles, 8-9 June 1993, lot 388.

E X H I B I T E D :

San Bernardino, Robert and Frances Fullerton Museum of Art,periodically from 1999-2011.Natural History Museum of Los Angeles County and elsewhere,Cats! Wild to Mild , 1997-1998.

P U B L I S H E D :

Natural History Museum of Los Angeles County, Cats! Wild to Mild, CD-ROM, 1997.

For a similar example see no. 108, p. 132 in J. Malek, The Cat in AncientEgypt .

57AN EGYPTIAN BRONZE CATTHIRD INTERMEDIATE PERIOD TO LATE PERIOD, 1070-332 B.C.

Depicted recumbent on a sa-shaped integral plinth, its forelegsparallel and extending forward, its hind legs tucked underneath itsbody, its long tail running along the length of the body and curvingforward around the proper right paw, the head with erect earsstriated on the interior, the eyes with the scleraeinlaid with electrum,

the whiskers indicated, wearing an incised necklace with a centralpendant43 in. (11 cm.) long

$7,000-9,000P R O V E N A N C E :

Purportedly from Bubastis.Marquess of Bute; Sotheby & Co., London, 24 May 1951, lot 30.with Spink and Son, London, 1963.Greta S. Heckett (1899-1976), Pittsburgh.The Estate of Greta S. Heckett, Pittsburgh; Sotheby Parke Bernet,New York, 21 May 1977, lot 305.with Superior Galleries, Los Angeles, 1977.

E X H I B I T E D :

Pittsburgh, Carnegie Institute, Ancient Bronzes: a Selection from theHeckett Collection, 5 November 1964-10 January 1965.Los Angeles County Museum of Art, 1985-1990.San Bernardino, University Art Gallery, 1992; Arizona StateUniversity Museum, 1993; and San Antonio Museum of Art, 1993-1996; Temple, Tomb and Dwelling: Egyptian Antiquities from the HarerFamily Trust Collection.San Bernardino, Robert and Frances Fullerton Museum of Art, 1997-2011.

P U B L I S H E D :

Carnegie Institute Museum of Art, Ancient Bronzes: A Selection fromthe Heckett Collection, Pittsburgh, 1964, no. 37.

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59AN EGYPTIAN FAIENCE SHABTI FOR NES-TA-WEDJAT-AKHETTHIRD INTERMEDIATE PERIOD, 21ST DYNASTY, CIRCA 1070-945 B.C.

Depicted mummiform with the arms crossing at the chest, bright blue

in color, with details in black, including the eyes and brows, a lletin her tripartite wig and a hoe in each of her sted hands, a seed sackon her back, with a column of hieroglyphs inscription with the name,“The Osiris Nes-ta-Wedjat-akhet”38 in. (10 cm.) high

$6,000-8,000P R O V E N A N C E :

Emile Brugsch (1842-1930), curator of the Bulaq Museum, Cairo.Col. Anthony J. Drexel, Jr. (1864-1934), Philadelphia.Drexel Institute Museum, Philadelphia, 1895.Minneapolis Institute of Art, 1916 (Inventory no. 16.367). with Superior Gallery, Los Angeles.

E X H I B I T E D :

San Bernardino, University Art Gallery, 1992.San Bernardino, Robert and Frances Fullerton Museum of Art, 1997-2011.

60AN EGYPTIAN FAIENCE SHABTI FOR BEK-EN-MUTTHIRD INTERMEDIATE PERIOD, 21ST DYNASTY, 1070-945 B.C.

Depicted mummiform with the arms crossing at the chest, light

blue in color, with details in black, including the eyes, a llet in hertripartite wig and a hoe in each sted hand, a wide basket on theback, with a column of hieroglyphs reading, “The Osiris Bek-en-Mut, Justied”4 in. (10.2 cm.) high

$6,000-8,000P R O V E N A N C E :

Emile Brugsch (1842-1930), curator of the Bulaq Museum, Cairo.Col. Anthony J. Drexel, Jr. (1864-1934), Philadelphia.Drexel Institute Museum, Philadelphia, 1895.Minneapolis Institute of Art, 1916 (Inventory no. 16.384).with Blumka Gallery, New York, circa 1958.with Superior Gallery, Los Angeles.

E X H I B I T E D :


P U B L I S H E D :

G.D. Scott, III, Temple, Tomb and Dwelling: Egyptian Antiquities fromthe Harer Family Trust Collection, San Bernardino, 1992, no. 152c.

61AN EGYPTIAN FAIENCE SHABTI FOR MASAHARTETHIRD INTERMEDIATE PERIOD, 21ST DYNASTY, 1070-945 B.C.

Depicted mummiform with the arms crossing at the chest, deepblue in color, with details in black, including a llet in his tripartitewig and a hoe in each of his sted hands, a wide basket over bothshoulders, with a column of hieroglyphs, reading: “Instructions of theOsiris, First Prophet (First God’s Servant) of Amun, Justied”38 in. (10 cm.) high

$6,000-8,000P R O V E N A N C E :

Purportedly from the royal cache at Deir el-Bahari.Emile Brugsch (1842-1930), curator of the Bulaq Museum, Cairo.Col. Anthony J. Drexel, Jr. (1864-1934), Philadelphia.Drexel Institute Museum, Philadelphia, 1895.Minneapolis Institute of Art, 1916 (Inventory no. 16.370).with Superior Gallery, Los Angeles, 1976.

E X H I B I T E D :

Los Angeles County Museum of Art, 1985-1990.San Bernardino, University Art Gallery, 1992; Arizona StateUniversity Museum, 1993; and San Antonio Museum of Art, 1993-1996; Temple, Tomb and Dwelling: Egyptian Antiquities from the HarerFamily Trust Collection.San Bernardino, Robert and Frances Fullerton Museum of Art, 1997-2011.

For another shabti for Masaharte, see no. 153, pp. 319-320 in J.-L. Bovot ,Les serviteurs funéraires royaux et princiers de l’Ancienne Égypte.

62

AN EGYPTIAN BLUE FAIENCE SHABTI FOR BAK-KHONSUTHIRD INTERMEDIATE PERIOD, 21ST DYNASTY, 1070-945 B.C.

Depicted mummiform with arms crossing at the chest, bright blue incolor, with details in black, including the eyes, brows and tripartitewig, a hoe in each sted hand and a seed sack hanging from bothshoulders, with a column of hieroglyphs, reading: “Instructions of theOsiris Bak-Khonsu”4¿ in. (10.5 cm.) high

$5,000-7,000P R O V E N A N C E :

Emile Brugsch (1842-1930), curator of the Bulaq Museum, Cairo.Col. Anthony J. Drexel, Jr. (1864-1934), Philadelphia.Drexel Institute Museum, Philadelphia, 1895.Minneapolis Institute of Art, 1916 (Inventory no. 16.408).with Blumka Gallery, New York, circa 1958.with Superior Gallery, Los Angeles, 1975.

E X H I B I T E D :




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59 60 61 62

63 64 65 66


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64AN EGYPTIAN FAIENCE SHABTI FOR NESY-AMUNTHIRD INTERMEDIATE PERIOD, 21ST DYNASTY, 1070-945 B.C.

Depicted mummiform, light blue in color, with details in black,including the eyes, brows and the lappets of the tripartite wig,wearing a llet, a hoe in each sted hands and a seed sack on his back,with four rows of hieroglyphs, reading: “Nesy-Amun, Justied” andcontinuing with a form of the standard shabti text from Chapter 6 ofThe Book of the Dead 47 in. (12.2 cm.) high

$6,000-8,000P R O V E N A N C E :

Emile Brugsch (1842-1930), curator of the Bulaq Museum, Cairo.Col. Anthony J. Drexel (1897-1961), Philadelphia (Accession no.870).Drexel Institute Museum, Philadelphia, 1895.Minneapolis Institute of Art, sold by the above in 1916 (Inventoryno. 16.406).with Blumka Gallery, New York, 1958.with Superior Gallery, Los Angeles, 1975.

E X H I B I T E D :


63AN EGYPTIAN BLUE FAIENCE SHABTI FOR NAKHT-S(U)-PA-HEM-NETJER-TEPYTHIRD INTERMEDIATE PERIOD, 21ST DYNASTY, 1070-945 B.C.

Depicted mummiform with the arms crossing at the chest, bright bluein color, with details in black, including the eyes, brows, mouth and athree-strand broad collar, tripartite wig, and a round-bottomed basketdiagonally across the back, with a column of hieroglyphs, reading:“Instructions of the Osiris, Chantress of Mut (?), Nakht-s(u)-pa-hem-netjer-tepy (?), Justied”5Ω in. (14 cm.) high

$6,000-8,000P R O V E N A N C E :

Emile Brugsch (1842-1930), curator of the Bulaq Museum, Cairo.Col. Anthony J. Drexel, Jr. (1864-1934), Philadelphia.Drexel Institute Museum, Philadelphia, 1895.

Minneapolis Institute of Art, 1916 (Inventory no. 16.365).with Blumka Gallery, New York, circa 1958.with Superior Gallery, Los Angeles, 1975.

E X H I B I T E D :


66AN EGYPTIAN FAIENCE SHABTI FOR MERETAMUNTHIRD INTERMEDIATE PERIOD, 21ST DYNASTY, 1079-943 B.C.

Depicted mummiform with arms crossing the chest, bright blue incolor, with details in black, including the eyes and brows, a llet inher tripartite wig and a hoe in each sted hand, a trapezoidal bagon the back, inscribed with a single column of hieroglyphic text for“The Osiris Meretamun, Justied”48 in. (12.5 cm.) high

$6,000-8,000P R O V E N A N C E :

Emile Brugsch (1842-1930), curator of the Bulaq Museum, Cairo.Col. Anthony J. Drexel, Jr. (1864-1934), Philadelphia.Drexel Institute Museum, Philadelphia, 1895.Minneapolis Institute of Art, 1916 (Inventory no. 16.383).

with Blumka Gallery, New York, circa 1958.with Superior Gallery, Los Angeles, 1975.

E X H I B I T E D :

San Bernardino, University Art Gallery, 1992.Arizona State University Museum, 1993.San Bernardino, Robert and Frances Fullerton Museum of Art, 1997-2011.

65AN EGYPTIAN FAIENCE SHABTI FOR TENT-SHED-KHONSUTHIRD INTERMEDIATE PERIOD, 21ST DYNASTY, 1070-945 B.C.

Depicted mummiform with the arms crossing at the chest, blue incolor, with details in black, including the eyes and brows, a llet inher tripartite wig and a hoe in each of her sted hands, a small basketon her back, with a column of hieroglyphs reading: “Instructions ofthe Osiris Tent-shed-Khonsu, Justied”4æ in. (12 cm.) high

$6,000-8,000P R O V E N A N C E :

Emile Brugsch (1842-1930), curator of the Bulaq Museum, Cairo.Col. Anthony J. Drexel, Jr. (1864-1934), Philadelphia.Drexel Institute Museum, Philadelphia, 1895.Minneapolis Institute of Art, 1916 (Inventory no. 16.381).

with Blumka Gallery, New York, circa 1958.with Ronald and Noel Mele, New York, 1975.

E X H I B I T E D :




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67AN EGYPTIAN LIMESTONE ISIS AND HORUSLATE PERIOD, 664-332 B.C.

The goddess seated on a throne with her feet parallel on a low plinth,clad in a tightly-tted ankle-length sheath and a tripartite wig, herears drilled at their inner channels, crowned with a modius of uraei , anancient metal pin at the front for a now-missing attachment, her fullface with almond-shaped eyes, arching brows and a smiling mouth,offering her left breast to her divine son Horus seated on her lap, herleft hand supporting his neck, Horus wearing a cap-crown with theside lock of youth8√ in. (22.5 cm.) high

$12,000-18,000P R O V E N A N C E :

Father Cleosus Steinhausen, Cairo, 1900-1908.Studium Biblicum Franciscanum Museum, Jerusalem. Antiquities, Superior Gallery, Los Angeles, 8-9 June 1993, lot 707.

68AN EGYPTIAN GREEN FAIENCE SHABTILATE PERIOD, 664-332 B.C.

Standing on an integral rectangular plinth against an uninscribed

back pillar, depicted mummiform with his arms crossing his chest, hissted hands emerging from within his vestment, holding a crook anda ail, a seed sack over his left shoulder, wearing a tripartite wig and abraided chin-beard curved out at its tip6¡ in. (16.2 cm.) high

$3,000-5,000P R O V E N A N C E :

Purportedly from Thebes.Mr. F. Howlett, England, 1846. Antiquities, Christie’s, London, 17-18 November 1977, lot 454 (part).with Superior Gallery, Los Angeles, 1978.

E X H I B I T E D :

Los Angeles County Museum of Art, 1985-1990.San Bernardino, University Art Gallery, 1992; Arizona StateUniversity Museum, 1993; and San Antonio Museum of Art, 1993-1996; Temple, Tomb and Dwelling: Egyptian Antiquities from theHarer Family Trust Collection.San Bernardino, Robert and Frances Fullerton Museum of Art, 1997-2010.

P U B L I S H E D :

G.D. Scott, III, Temple, Tomb and Dwelling: Egyptian Antiquthe Harer Family Trust Collection, San Bernardino, 1992, no. 1S.

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69A SECTION OF AN EGYPTIAN PAPYRUS BOOK OF THE DEAD FORDJEDKHONSEFANKHLATE PERIOD, 26TH DYNASTY, REIGN OF AMASIS, 570-526 B.C.

Comprising of two fragments from the lower edge, not of contiguoustext, written in black and red ink, the smaller fragment reading, “theGreat God, that which I have done,” the larger fragment containingthe Book of the DeadChapters 72 and 73, with excerpts reading: “in]cense and oil and all good, pure things on which a god lives, thatI may be established as/in any form that I wish, that I might faredownstream in the Fields of Reeds and that I might sail upstreamin the Fields of Offerings” and “O Bas Great of Majesty! Behold, Iam come that I might see you, that I might open up the Duat, that Imight see his father Osiris...(That) I have come (is) that I might see

his father Osiris...I have opened every road which are [sic] in heavenand which are [sic] in the earth, I am a well-beloved son of myfather,” the left-hand partial column ends, “True of Voice/Justied...the Lady of the West”Larger fragment: 9 √ in. (25.1 cm.) wide

$12,000-18,000P R O V E N A N C E :

Gustave Jequier (1868-1946), Neuchâtel, Switzerland, given to hissibling and thence by descent to his niece.Acquired by the current owner in 2007.

This fragment is a small section from an over 10 meter long Book of theDead , whose fragments have been dispersed throughout many museums.The scholar Irmatraut Munro has worked to reconstruct it and haslocated fragments at the Völkerkundemuseum der von Portheim-Stiftung,Heidelberg, The National Library in Budapest, The Egyptian Museum inCairo, The Victoria Museum at Uppsala University, Sweden amongst others.See pp. 53-54, pls. 38-42 and illustrated pls. 35-40A in I. Munro, DieTotenbuch-Papyri des Ehepaars Ta-scheret-en-Aset und Djed-chi aus derBes-en-Mut-Familie: (26. Dynastie, Zeit des Ko¨nigs Amasis) .

Djedkhonsefankh was a popular name amongst high ranking ofcialsand there are several known throughout the Thrid Intermediate Periodonwards. J. Van Dyke suggests that this individual belongs to the well-known Besenmut family, who was born to Lady Tairyt and held a numberof priestly ofces in the temple of Amun. There is some suggestion thatDjedkhonsefankh’s family was related to the family of the great governorand priest Mentuemhat, the owner of the largest tomb in the Theban areaincluding the Valley of the Kings but it is impossible to know for sure.

70AN EGYPTIAN BRONZE SITULAPTOLEMAIC PERIOD, 304-30 B.C.

With two loop-handles at the top, cast with three distinct registers;the upper with a solar boat with a shrine and a jackal, pulled bytwo jackals and another solar boat with a sun disk led by two deitiesin adoration; the middle register with a priest making an offeringto a procession of deities including Min, Isis-Hathor, Nephthys,Khonsu, Thoth, Ptah, Sekhmet and two other gods; the lowerregister with Hathor cows anking a lotus, which are in turn ankedby Harpokrates, with the souls of Pe and Nekhen in adorationbetween panels on one side and four papyri columns on the other, themammiform base in the form of a lotus ower 7Ω in. (19 cm.) high

$10,000-15,000P R O V E N A N C E :

with Philip Mitry, acquired in Cairo and brought with him to theU.S. in the late 1950s-early 1960s.with Superior Gallery, Los Angeles, 1981.

E X H I B I T E D :

Los Angeles Country Museum of Art, 1985-1990.San Bernardino, University Art Gallery, 1992; Arizona StateUniversity Museum, 1993; and San Antonio Museum of Art, 1993-1996; Temple, Tomb and Dwelling: Egyptian Antiquities fromFamily Trust Collection.San Bernardino, Robert and Frances Fullerton Museum of Art, 1997-

2010.P U B L I S H E D :

G.D. Scott, III, Temple, Tomb and Dwelling: Egyptian Antiquthe Harer Family Trust Collection, San Bernardino, 1992, no. 29a.

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71AN EGYPTIAN LIMESTONE STELE FOR TUTULATE PTOLEMAIC PERIOD TO ROMAN PERIOD, CIRCA 100 B.C.-100 A.D.

Sculpted in raised relief, in the form of a naos with a cavetto cornicesurmounted by twenty-four uraei , supported by two oral columns at eitherend, all framing the god as a sphinx in prole to the right, its head turnedoutward, adorned with a tnicrown of ram horns and plumes above a long wigand a three-strand, beaded broad collar, the elongated gaunt torso with the ribs

articulated, the slender tail terminating in a cobra head, each paw with a knifealongside, a winged solar-disk with an appended cobra above left10¬ in. (27 cm.) wide

$50,000-70,000P R O V E N A N C E :

Gustave Jequier (1868-1946), Neuchâtel, Switzerland, given to his sibling andthence by descent to his niece.Acquired by the current owner in 2007.

P U B L I S H E D :

O. Kaper, “The Egyptian God Tutu: Additions to the Catalogue ofMonuments” in Chronique d’Égypte, Fasc. 173, Brussels, 2012, no. S-73, g. 10.

Tutu is described as “a somewhat obscure apotropaic god venerated mainly in theGraeco-Roman Period, Tutu was called ‘he who keeps enemies at a distance’ and wasbelieved to provide protection from hostile manifestations of deities and demons”.(see p. 183 in R. Wilkinson, The Complete Gods and Goddesses of Ancient Egypt ). Fora similar example see no. 39 in H.D. Schneider, Life and Death Under the Pharaohs:Egyptian Art form the National Museum of Antiquities in Leiden, The Netherlands.

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72AN EGYPTIAN TERRACOTTA BESROMAN PERIOD, CIRCA 2ND-3RD CENTURY A.D.

Mold-made, the dwarf god standing on an integralbase, his corpulent thighs tapering to slender anklesand feet, the toes delineated, with two serpents restingon either side of his protruding belly, his genitaliaarticulated, holding a circular shield with a raisedcentral boss, his face with large eyes, broad curvingbrows, protruding ears, a wide pug nose with thenostrils indicated, a straight mouth crowned in hischaracteristic headdress, the plumes now missing16¿ in. (39.9 cm.) high

$8,000-12,000P R O V E N A N C E :

Dr. Antonio Martin Araujo, Venezuelan Ambassadorto Egypt, 1959.with Petit Musee, Montreal, early 1970s.with John Rilling, California, 18 November 1990.

E X H I B I T E D :

San Bernardino, University Art Gallery, 1992; ArizonaState University Museum, 1993; and San AntonioMuseum of Art, 1993-1996; Temple, Tomb andDwelling: Egyptian Antiquities from the Harer FCollection.San Bernardino, Robert and Frances Fullerton Museumof Art, 1997-2013.

P U B L I S H E D :

G.D. Scott, III, Temple, Tomb and Dwelling: Egyp Antiquities from the Harer Family Trust Collecti, SanBernardino, 1992, no. 120.

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73AN EGYPTIAN TERRACOTTA BESROMAN PERIOD, CIRCA 1ST CENTURY A.D.

Mold-made, depicted as a warrior, the bandy-leggedgod nude, standing with a convex circular shield in hisleft hand, his right arm bent and raised with the swordpositioned towards his high-plumed crow

christies new york r 3403 sale catalogue

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