Statue of Queen Ankhnes-meryre II and Her Son, Pepy II

Statue of Queen Ankhnes-meryre II and Her Son, Pepy II

Pepy II became king as a small child, so his mother acted as regent. This statue conveys her role, evoking the typical Egyptian pose of a mother nursing a child. Pepy is shown as a miniature king rather than a child and, instead of nursing him, the queen holds him protectively as he clasps her hand. Each figure looks straight ahead and has its own inscription, as if it were a separate statue.

MEDIUM Egyptian alabaster

DATES ca. 2288-2224 or 2194 B.C.E.

DYNASTY VI Dynasty

PERIOD Old Kingdom

DIMENSIONS 15 7/16 x 9 13/16 in. (39.2 x 24.9 cm)

https://www.brooklynmuseum.org/opencollection/objects/3446

Seated alabaster statue of Queen Cnh-n.s’-Mry-rc holding in her lap a small figure of King Nfr-k3-rc (Pepy II) on simple block throne; inscription in one column and one row at Queen’s feet, one column at King’s feet. Condition: Practically perfect. Very slight chips, apparently recent, along right edge of inscription at Queen’s feet; left arm of Queen apparently broken off in antiquity and reassembled, considerably weathered, large fragment missing from arm to wrist. Opening in the forehead of Queen presumably for head of the Vulture headdress which is missing. Various brown deposits on back of throne and organic deposits in the hieroglyphs and in details of bodies. Crack runs almost midway through the headdress and face of Queen probably a natural cleavage in the stone. Two drill marks behind Queen’s feet.

Nebsen y Nebet-ta

Nebsen y Nebet-ta

Dahampha

dynasty XVIII

Brooklyn museum

brooklynmuseum.org

shawabty of a woman

shawabty of a woman

Egyptian

New Kingdom, Dynasty 20

1186–1070 B.C.

Findspot: Egypt, Abydos, Cemetery G

Dimensions

Hieght: 15 cm (5 7/8 in.)

This shawabty of reddish clay is shaped as a mummiform figure. The front of the body and the face have remnants of yellow paint, while the sides and back are white and a tripartite wig black. Somewhat awkwardly rendered arms are crossed over the chest, right over left. Surfaces are somewhat worn. A rim of clay at the outer edges reflects manufacture by mold.

An ancient Egyptian shawabty is a funerary figurine that was intended to magically animate in the Afterlife in order to act as a proxy for the deceased when called upon to tend to field labor or other tasks. This expressed purpose was sometimes written on the shawabty itself in the form of a “Shawabty Spell,” of which versions of various length are known. Shorter shawabty inscriptions could also just identify the deceased by name and, when applicable, title(s). However, many shawabtys carry no text at all. The ideal number of such figurines to include in a tomb or burial seems to have varied during different time periods.

http://www.mfa.org/collections/object/shawabty-of-a-woman-133627

Provenance

From Abydos, cemetery G. 1900: excavated by William Matthew Flinders Petrie and Arthur Cruttenden Mace for the Egypt Exploration Fund, assigned to the Egypt Exploration Fund in the division of finds by the government of Egypt, received by the MFA through subscription to the Egypt Exploration Fund. (Accession Date: November 1, 1900)

Credit Line

Egypt Exploration Fund by subscription

Statue of Lady Sennuwy

Statue of Lady Sennuwy

Egyptian

Middle Kingdom, Dynasty 12, reign of Senwosret I

1971–1926 B.C.

Findspot: Nubia (Sudan), Kerma, Tumulus K III, hall A

Dimensions

Framed (The object sits on epoxy bed /structural steel pallet tubing): 21.6 x 62.2 x 116.2 cm (8 1/2 x 24 1/2 x 45 3/4 in.) Mount (Steel channel base with cross bracing 3" x 3/16"): 30.5 x 62.2 x 116.2 cm (12 x 24 1/2 x 45 3/4 in.) Overall (steel pallet and object, weighed): 170.2 x 116.2 x 47 cm, 1224.71 kg (67 x 45 3/4 x 18 1/2 in., 2700 lb.) Weight (Object and steel pallet with attaching steel base, estimate): 1319.97 kg (2910 lb.) Weight (Object (calculated by subtracting estimate of pallet weight)): 1079.56 kg (2380 lb.)

http://www.mfa.org/collections/object/statue-of-lady-sennuwy-141967

Egyptian officials of the Middle Kingdom continued the practice of equipping their tombs with statues to house the ka of the tomb owner and to provide a focal point for the offering cult. Highly ranked officials also dedicated statues of themselves at sanctuaries of gods and deified ancestors. Following the experimental and idiosyncratic interlude of the First Intermediate Period, sculptors once again produced large-scale stone statues, returning to the basic forms and poses established in the Old Kingdom.

This elegant seated statue of Lady Sennuwy of Asyut is one of the most superbly carved and beautifully proportioned sculptures from the Middle Kingdom. The unknown artist shaped and polished the hard, gray granodiorite with extraordinary skill, suggesting that he was trained in a royal workshop. He has portrayed Sennuwy as a slender, graceful young woman, dressed in the tightly fitting sheath dress that was fashionable at the time. The carefully modeled planes of the face, framed by a long, thick, striated wig, convey a serene confidence and timeless beauty. Such idealized, youthful, and placid images characterize the first half of Dynasty 12 and hark back to the art of the Old Kingdom. Sennuwy sits poised and attentive on a solid, blocklike chair, with her left hand resting flat on her lap and her right hand holding a lotus blossom, a symbol of rebirth. Inscribed on the sides and base of the chair are hieroglyphic texts declaring that she is venerated in the presence of Osiris and other deities associated with the afterlife.

Sennuwy was the wife of a powerful provincial governor, Djefaihapi of Asyut, whose rock-cut tomb is the largest nonroyal tomb of the Middle Kingdom. Clearly, the couple had access to the finest artists and materials available. It is likely that this statue, along with a similar sculpture of Djefaihapi, was originally set up in the tomb chapel, although they may also have stood in a sanctuary. Both statues were discovered, however, far to the south at Kerma in Nubia, where they had been buried in the royal tumulus of a Nubian king who lived generations after Sennuwy’s death. They must have been removed from their original location and exported to Nubia some three hundred years after they were made. Exactly how, why, and when these pieces of sculpture, along with numerous other Egyptian statues, found their way to Kerma, however, is still unknown.

Provenance

From Nubia (Sudan), Kerma, K III hall A. 1913: Excavated by the Harvard University-Boston Museum of Fine Arts Expedition; assigned to the MFA by the government of the Sudan. (Accession Date: July 2, 1914)

OINTMENT TABLET

OINTMENT TABLET

GIZA NECROPOLIS

CALCITE/ALABASTER

PELIZAEUS-MUSEUM

OLD KINGDOM: 6TH DYNASTY

http://www.globalegyptianmuseum.org/record.aspx?id=11128

Junker, H., Gîza XI : Der Friedhof südlich der Cheopspyramide; Ostteil (Österreichische Akademie der Wissenschaften: Philosophisch-historische Klasse, Denkschriften 74.2), Wien 1953, S. 124, Abb. 58.

Kayser, H., Die ägyptischen Altertümer im Roemer-Pelizaeus-Museum in Hildesheim, Hildesheim 1973, S. 44.

Porter, B. & Moss, R.L.B., Topographical Bibliography of Ancient Egyptian Hieroglyphic Texts, Reliefs, and Paintings, vol. III².1 : Memphis, Oxford 1974, S. 228.

Martin, K., Reliefs des Alten Reiches und verwandte Denkmäler : Teil 3 (Corpus Antiquitatum Aegyptiacarum: Pelizaeus-Museum Hildesheim, Lieferung 8), Mainz 1980, S. 111-113.

Rochholz, M., Zu den Paletten für die 7 Salböle, in: Schade-Busch, M. (Hrsg.), Wege öffnen : Festschrift für Rolf Gundlach (Ägypten und Altes Testament 35), Wiesbaden 1996, S. 223-231 (S. 227).

Terracotta figurine of Horus

Terracotta figurine of Horus

Terracotta figurine of Harpocrates represented with the lock of youth falling onto his right shoulder. The lock is now damaged, as are the hands and the feet.

Present location MUSEU NACIONAL DE ARQUEOLOGIA [46/003] LISBON

Inventory number E 208 (n. cat. 273)

Dating GRAECO-ROMAN PERIOD

Archaeological Site UNKNOWN

Category HUMAN FIGURINE

Material POTTERY

Technique BURNED

Height 16.5 cm

Width 17.5 cm

Bibliography•Antiguidades Egípcias I, Lisboa, 1993

http://www.globalegyptianmuseum.org/detail.aspx?id=11733

Relief fragment with Isis Lactans

Relief fragment with Isis Lactans
The fragment is roughly rectangular. Isis is seated, suckling the infant Horus (Harpocrates). She wears a collar and a long wig, with the vulture head dress. A row of uraei supports the cow's horns with sun disk. She is dressed in a long garment and wears a necklace. Harpocrates with the juvenile sidelock is naked except for a necklace. Isis faces right, supporting Harpocrates with her left hand and holding her breast towards him with her ri...ght hand.
The remaining hand of a missing person on the right hand side offers a Double Crown. Behind Isis, a papyrus column with a Hathor-capital, supporting an architrave on which is a winged sun disk with two uraei, is visible. One vertical line of text is incised above Harpocrates's head, partially on a column in raised relief, partially on the deeper background.

Present location ALLARD PIERSON MUSEUM [06/002] AMSTERDAM
Inventory number APM 7766
Dating ROMAN PERIOD
Archaeological Site ALEXANDRIA ?
Category RELIEF
Material MARBLE
Technique HIGH RELIEF
Height 31.5 cm
Width 21.5 cm
Depth 2.8 cm
Translation
Words, to be spoken by Isis the Great, the godsmother; Isis, the two lips, the cow, lady of abundance.
Bibliography•G.A.S. Snijder (ed.), Algemeene gids Allard Pierson Museum Amsterdam, 1956 (tweede druk), 10 (nr. 53)
•F.W. von Bissing, Ägyptische Kultbilder der Ptolemäer- und Römerzeit, Acta Orientalia 34 (1936), 8-9/fig. 9
•V. Tran Tam Tinh, Isis Lactans, EPRO 37 (1973), 16-17/pl. 9, fig. 14
•R.A. Lunsingh Scheurleer, Egypte, geschenk van de Nijl, 1992, 70/fig. 66
•W.M. van Haarlem (ed.), CAA Allard Pierson Museum Amsterdam, Fasc. III, 1995, 82-84
•R.A. Lunsingh Scheurleer, Isis, Harpocrates. Serapis, MVAPM 44 (september 1988), 16-23: 18, 19/fig. 39
http://www.globalegyptianmuseum.org/

Faceless statue

Faceless statue

Figure of a nude woman with her hands on her belly, missing her feet and her face. The latter was a serpent's head emerging from the wig. There are several oblique incisions where the face would have been. On top of the head are the remains of a sun disk.

Present location MUSEU NACIONAL DE ARQUEOLOGIA [46/003] LISBON

Inventory number E 197 (n. cat. 80)

Dating GRAECO-ROMAN PERIOD

Archaeological Site UNKNOWN

Category HUMAN FIGURINE

Material MARBLE

Technique HEWN

Height 17.7 cm

Width 6.8 cm

http://www.globalegyptianmuseum.org

Mastaba Tomb of Perneb

Mastaba Tomb of Perneb
Period:Old KingdomDynasty:Dynasty 5Reign:reigns of Isesi to UnisDate:ca. 2381–2323 B.C.Geography:From Egypt, Memphite Region, Saqqara, Tomb of Perneb, Egyptian Antiquities Service/Quibell excavationsMedium:Limestone, paintDimensions:H. 482.2 cm (15 ft. 9 13/16 in.)
The Location of Perneb’s Tomb
For millennia, the vast cemetery of Saqqara (about twenty-five miles south of Cairo) was the burial ground for Memphis, ancient Egypt’s capital. In an especially crowded section, just north of the enclosure around King Djoser’s Step Pyramid at Saqqara (built during Dynasty 3, ca. 2650 B.C.), a number of courtiers and royal family members of Dynasty 5 (ca. 2465–2323 B.C.) were buried. Among them were Perneb and the vizier Shepsesre, who may have been Perneb’s father.
Perneb’s Tomb: A Mastaba
In many societies graves are covered with mounds of earth and stone. By the beginning of Dynasty 1 (ca. 3100 B.C.) the ancient Egyptians had transformed that simple scheme into a formalized building type that Egyptologists call a mastaba (from the Arabic word for "bench"). The typical mastaba of Perneb’s time was built of stone or brick. Its shape was rectangular, and its height roughly that of a one-story modern house. The roof was flat; the sides were inclined and most often unadorned except for some architectural articulation around the doorway and an occasional inscription along the top and corners. To serve the needs of larger communities, great numbers of mastabas were arranged in rows, forming veritable "cities of the dead."
Perneb’s Tomb Built Against the Tomb of Shepsesre
The builders of Perneb’s mastaba took advantage of the earlier large tomb of the vizier Shepsesre. By leaning the two projecting wings of Perneb’s tomb superstructure against the strong west wall of Shepsesre’s tomb, they gained not only structural stability but also space for an interior courtyard. In order to present the architecture of Perneb’s tomb in a manner as close as possible to that of the original, the present installation includes a partial reconstruction of the west wall of the Shepsesre tomb. The limestone blocks used in this reconstruction come from Helwan, south of Cairo, a quarry near the ancient source of Perneb’s building material. The stepped face of the reconstructed wall inside the courtyard reproduces the appearance of the original. Its center is shown, however, in ruined condition, so that visitors entering from the Museum’s Great Hall can glimpse the courtyard and interior façade of Perneb’s monument.
The Interior Rooms of Perneb’s Mastaba and the Burial
Up to and through Dynasty 4, most of the interior space of a mastaba was packed with rubble, and only a few rooms, if any, were built within the compact mass. The number of rooms increased during Dynasties 5 and 6, especially for persons of high status, but the basic concept of a compact rectangle of stone or brick was never quite abandoned. Within Perneb’s mastaba four rooms were prepared: an entrance passage in the center (originally the west wall), a vestibule, an inner passage connecting the vestibule with the offering chamber, and the main offering chamber. In addition, there are an entrance chamber in the right (originally north) wing and an offering chamber in the left (originally south) wing. The latter is connected to the statue chamber (or serdab) by a small slot in the wall.
Also in each mastaba at least one shaft was sunk vertically through the rubble fill to reach the burial chamber in the bedrock below. After deposition of the mummy and its accompanying burial equipment, the shaft was filled in. (Perneb’s shaft and burial are not preserved here.) But the rooms in the superstructure remained accessible to relatives and friends of the deceased who visited the tomb to make offerings and perform rituals.
The Tomb as a House
With the addition of the reconstructed wall, Museum visitors can experience the tomb much as ancient Egyptians did. As originally, one passes through a small entrance chamber into an interior courtyard, which was open to the sky but closed on all four sides.
Ancient visitors would have felt very much at home in this intimate space; many of its architectural elements were familiar from the homes they lived in. Entry into their houses was through just such a small doorway, and in the privacy of the courtyard women would attend to the laundry or cook a meal. The recessed central doorway overlooking the courtyard indicated the entry into the interior of the house, where the master awaited his guests.
The Tomb as a Sacred Place
A tomb, however, is not just a house for the dead. It is a sacred place dedicated to the belief in life after death. This aspect was emphasized in Perneb’s tomb by two small obelisks (now missing) at the western corners of the courtyard. They evoked the presence of the sun god Re who, especially in Perneb’s time, was venerated as the ultimate source of life in grandiose solar temples built around huge obelisks. Most importantly, the interior rooms of the mastaba were places for the performance of life-renewing rituals. Eternalized in the wall decorations, these rituals and the offerings that accompanied them provided the deceased with everlasting sustenance. The statues in the serdab represented the tomb owner as a living person who could receive the potent life forces activated through the chants and incense burning that took place in the south offering chamber.
http://www.metmuseum.org/art/collection/search/543937

Contacts with the dead in Pharaonic Egypt Ritual relationships and dead classification

Contacts with the dead in Pharaonic Egypt
Ritual relationships and dead classification
Sylvie Donnat
Marc Bloch University, Strasbourg


http://rennesegypto.free.fr/IMG/pdf/Sylvie_Donnat.pdf

'Letter to the Dead'

Diospolis Parva (Hu), 'Letter to the Dead'

A widow appeals for help for her daughter

(click on the image to see a larger picture)

there are audio renderings by Merlyn Gaye and Natalie Wright for the English translation, from a meeting at the Petrie Museum arranged by Kenneth John:

snt Ddt n sn.s smr waty nfr-sfxi

ianw aA Ax ianw n-m

diw n.k Hr nn n irw r sAt.i nf nf

n irt.n(.i) r.f n wnm(.i) iSt.f n rdi.f xt n sAt.i

irr.t(w) prt-xrw n Ax Hr sbt Hr-tp tA

ir n.k wpt.k Hna irr mrt n(.i)

Dr-ntt mAa xrw(.i) r mwt mwtt nb irr nn r sAt(.i)

(1) A sister speaks to her brother. The sole friend Nefersefkhi. (2) A great cry of grief! To whom is a cry of grief useful? You are given it for the crimes committed against my daughter evilly, evilly, (3) though I have done nothing against him, nor have I consumed his property. He has not given anything to my daughter. Voice offerings are made (4) to the spirit in return for watching over the earthly survivor. Make you your reckoning (5) with who(ever) is doing what is painful to me, because my voice is true against any dead man or any dead woman (6) who is doing these things against my daughter.

Note: the phrase 'sole friend' is a title used in the Old Kingdom (about 2686-2181 BC) for senior courtiers at the royal palace, and refers in the First Intermediate Period to a much wider circle of officials or important men throughout the country.

•Gardiner/Sethe 1928: 5, 20-21, pls. IV-IVa.

•Wente 1990: 215, no.348

http://www.ucl.ac.uk/museums-static/digitalegypt/hu/letterdead.html

The Letters to the Dead - An Ancient Egyptian custom of the First Intermediate Period

The Letters to the Dead - An Ancient Egyptian custom of the First Intermediate Period

http://citation.allacademic.com/meta/p_mla_apa_research_citation/2/3/7/3/2/pages237327/p237327-1.php

The Letter to the Dead of Shepsi

2)Shaft tomb with a chamber on the south and the body of a man. In front of the head were found three pots while behind the head was placed the vessel with a letter to the dead

1) Qau tomb 7695

The Letter to the Dead of Shepsi

Inside and outside of a pottery bowl for offerings

Shepsi writes to his dead parents for help in a dispute over property. He writes on the inside of the bowl to his father, with a shorter message on the outside to his mother.

Inside:

(1) Shepsi speaks to his father Iinekhenmut.

(2) This is a reminder of your journey to the dungeon (?), to the place where Sen's son Hetepu was, when you brought (3) the foreleg of an ox, and when this your son came with Newaef, and when you said, Welcome, both of you. Sit and eat (4) meat! Am I to be injured in your presence, without this your son having done or said anything, by my brother ? (And yet) I was the one who buried him, I brought him from the dungeon (?), (5) I placed him among his desert tomb-dwellers, even though thirty measures of refined barley were due from him by a loan, and one bundle of garments, six measures of fine barley, (6) one ball (?) of flax, and a cup- even though I did for him what did not (need) to be done. He has done this against this your son evilly, evilly (7) - but you had said to this your son, 'All my property is vested in my son Shepsi along with my fields'. Now (8)Sher's son Henu has been taken. See, he is with you in the same city. (9) You have to go to judgement with him now, since your scribes are with (you) in the same city. (10) Can a man be joyful, when his spears are used [against his own son (??)] ?

Outside:

(1) Shepsi speaks to his mother Iy.

(2) This is a reminder of the time that you said to this your son 'Bring me quails for me to eat', and when this your son brought to you (3) seven quails for you to eat. Am I to be injured in your presence, so that the children are badly discontent with this your son? (4) Who then will pour out water for you? If only you would judge between me and Sobekhotep! I brought him from another town, and placed him in his town (5) among his male and female dead, and gave him burial cloth. Why then is he acting against this your son, when I have said and done nothing, evilly, evilly? (6). Evil-doing is painful for the gods!

Gardiner/Sethe 1928: 3-5, 17-19

source: http://www.ucl.ac.uk/museums-static/digitalegypt/qau/tombs/7695.html

Statue of Menkaure with Hathor and Cynopolis

Statue of Menkaure with Hathor and Cynopolis
This sculpted triad, a three-person statue, shows King Menkaure between two ladies.
The goddess Hathor is on his right and the personification of Cynopolis, the 17th nome of Upper Egypt, is on his left. He wears the crown of Upper Egypt and has a false beard. He wears the short pleated Shendyt kilt and holds two small cylindrical objects.
...

The two ladies wear tight fitting dresses and have three-part wigs. They each hold in one hand the Shen sign of power and embrace the king with the other hand.
Hathor wears her usual crown, composed of the sun disk between the two cow horns, while the other lady is placed beneath a jackal, the symbol of her nome.
The text engraved on the base identifies them and records the different offerings given to the king from the nome.
Present location EGYPTIAN MUSEUM [01/001] CAIRO EM
Inventory number JE 46499
Dating MYCERINUS/MENKAURE
Archaeological Site GIZA NECROPOLIS
Category STATUE
Material GREYWACKE
Technique CARVED
Height 96 cm
Width 38 cm
http://www.globalegyptianmuseum.org/detail.aspx?id=14994

Double Statue of a Man and Wife

Double Statue of a Man and Wife

This double statue probably depicts Meres-ankh and his wife, as it was found in his mastaba (tomb) at Giza. The man wears a curled wig, and has a fine mustache. He is wearing a short kilt with an overlap and a wide collar of polychrome faience; he holds staffs in his hands. The lady's arm is round the shoulder of her husband. She is dressed in a long, tight, white dress with shoulder straps, a black wig parted in the middle, and a wide beaded collar. The round faces of the statues show both persons to be full of life and reveal their good nature.

The skin tones are in accordance with ancient Egyptian artistic convention that decrees light brownish for men, who were usually active outdoors, and yellowish cream for women as they were mostly indoors. The statues still retain their vivid colors.

Present location EGYPTIAN MUSEUM [01/001] CAIRO EM

Inventory number JE 66619

Dating 5TH DYNASTY

Archaeological Site GIZA NECROPOLIS

Category STATUE

Material LIMESTONE

Technique CARVED

Height 49.5 cm

Width 28 cm

http://www.globalegyptianmuseum.org/detail.aspx?id=14773

Statue of Sebek-em-sauf

Statue of Sebek-em-sauf
Tomb statues and votive statues of non-royal persons from the Middle Kingdom share a common realistic treatment of the face which is also known from royal sculpture (cf. the head of Senwosret III, inv. no. 5813). The differences with the latter lie in the lack of expression of energy and power in the private statuary and their smaller size. The imposing statue of the "speaker of Thebes" Sebek-em-sauf does not conform to these general restrictions. The piece is just under life-size and shows a man of noticeable corpulence and apparent esteem. The head is held up high and his arms hang down close to his body, showing him standing before his god. His wrap-around garment, which is tied together at the chest, is characteristic of his high official ranking. The head is bald with the features rendered in a realistic manner except for a few details such as the eyebrows which are more schematic. The statue has been assembled from three fragments of which only the head and the torso are original. The pedestal with the feet forms part of the collection of the National Museum of the Republic of Ireland and is currently in Vienna on loan. The front of the garment carries two columns of inscription with the title, name and origin of the man: "The speaker Sebek-em-sauf true of voice, born of Dat-nofret true of voice". The base and the back pillar carry the offering formula which should ensure a division of offerings from the gifts brought to the gods for "the Speaker of Thebes, Sebek-em-sauf, raised by the Magnate of the Tens of Upper Egypt, Dedu-sobek Bebi".These indications allow us to identify this person with some other men of the same name. A stela in Cairo names a man "...-em-sauf", and a small scribe statue in Berlin names a Sebek-em-sauf, even though this man only bears the title of "overseer of storerooms". A tomb stela in the Louvre mentions a man with the same title who is said to be the brother of the "great royal wife Nub-kha'es". It is not clear who this Nub-kha'es was nor who her royal husband was. All four monuments are to be dated to the 13th Dynasty, the second half, when the country's unity was dissolving and a competing 14th Dynasty was exerting power. The Dynasty would end with the rule of the Hyksos who had settled in the eastern Delta.
From the monuments which name Sebek-em-sauf, we can glean some of his family history. The sister of the overseer of the storeroom, Nub-kha'es, succeeded in becoming a first royal wife. (Or should we say that the husband of Nub-kha'es succeeded in acquiring royal status?). The Pharaoh, who resided in the north, then appointed his brother-in-law to a key position in the administration of the south by making him the governor of Thebes. The title "Speaker" refers to this position. His royal connections explain why Sebek-em-sauf could commission a statue of himself of truly royal dimensions.
The statue originates from the Miramar collection. According to its number, the head formed part of the collection acquired in 1855, which was chiefly donated by the viceroy. The body was acquired for the museum in 1865 by Reinisch. We should not be too astonished by this striking coincidence, however, because it has turned out that the two collections in Miramar were not always kept strictly apart.
Present location KUNSTHISTORISCHES MUSEUM [09/001] VIENNA
Inventory number 5801
Dating 13TH DYNASTY
Archaeological Site UNKNOWN
Category STATUE
Material DIORITE; GRANITE
Technique HEWN; CARVED; ENGRAVED
Height 150 cm
http://www.globalegyptianmuseum.org/detail.aspx?id=5125
Translation
The speaker Sebek-em-sauf true of voice, born of Dat-nofret true of voice.
An offering which the king gives to Montu, the Lord of Thebes, who resides in Hermonthis, so that he may give a funerary offering of bread and beer, meat and poultry, alabaster and linen, incense and unguent, offerings and food, justification and strength, ... and all good and pure things on which a god lives, to the Ka of the Speaker in Thebes, Sebek-em-sauf true of voice, raised by the Magnate of the Tens of Upper Egypt, Dedu-sobek Bebi true of voice, the lord of veneration.
Bibliography•Smith, W.S., The Art and Archtiecture of Ancient Egypt (London 1981) 217.
•Jaros-Deckert, B., Statuen des Mittleren Reichs und der 18. Dynastie. Corpus Antiquitatum Aegyptiacarum (CAA) 1 (1987) 39-48.
•Nachtrag Corpus Antiquitatum Aegyptiacarum (CAA) 6 (1990) 187-189.
•Satzinger, H., Ägyptische Kunst in Wien (Wien 1980), Abb. 10.
•Satzinger, H., Das Kunsthistorische Museum in Wien. Die Ägyptisch-Orientalische Sammlung. Zaberns Bildbände zur Archäologie 14. Mainz. 1994
•Schott, E., Das Leben und die Kunst im alten Ägypten. Erster Teil: dargestellt an Statuen und Statuetten in europäischen Museen (1993), 23.
•Ägypten. Die Welt der Pharaonen (ed. Schulz, Seidel), Köln (1997), 141.

Statuette of the goddess Thoeris

Statuette of the goddess Thoeris

A statuette showing the goddess Thoeris, striding, her left leg forward. On her hippopotamus head she wears a tripartite wig with incised stripes and ribbons. Her human arms are held forwards, alongside her belly.

Present location MUSEO ARCHEOLOGICO NAZIONALE/MUSEO EGIZIO [05/027] FLORENCE

Inventory number 467

Dating NEW KINGDOM (not before); UNKNOWN; LATE PERIOD (not after)

Archaeological Site UNSPECIFIED

Category FIGURINE/STATUETTE

Material CALCITE/ALABASTER

Technique HEWN; INCISION

Height 9.5 cm

http://www.globalegyptianmuseum.org/detail.aspx?id=9802

Bibliography•E. Schiaparelli, Museo Archeologico di Firenze-Antichità Egizie, Roma, 1887, pg. 117, n. 956.

Statue of the God Thoth with the Godess Maat Squatting in Front of Him

Statue of the God Thoth with the Godess Maat Squatting in Front of Him
This statue represents the God Thoth in the form of an ibis, a bird with long legs, a long curved bill and red eyes.
Maat, who was the goddess of justice and who had been associated with him since the time of the Middle Kingdom, is shown squatting in front of him on a high chair. The goddess wears a long, tripartite wig and rests her arm on her thigh. A hole was cut on her head in which to place the ostr...ich feather that was her symbol.

Two small figures on two special thin bases flank Maat's chair.
Present location BIBLIOTHECA ALEXANDRINA ANTIQUETIES MUSEUM [01/027] ALEXANDRIA BAAM
Inventory number 622
Dating LATE PERIOD
Archaeological Site TUNA EL-GABAL
Category STATUE
Material WOOD; BRONZE; CALCITE/ALABASTER
Technique HEWN; POLISHED
Height 16 cm
http://www.globalegyptianmuseum.org/detail.aspx?id=14565