This greywacke statue of Thutmose III was found in the Karnak Cachette in 1904.

The Karnak Cachette was discovered by Gaston Maspero in 1903 and excavated by Georges Legrain between 1903 and 1907. It was a treasure trove of finds, with over 700 stone statues and 17,000 bronze artefacts discovered, ranging from throughout Egypt’s Dynastic age; the Old Kingdom to Ptolemaic Period.

Now on the display at the Luxor Museum

In the painted chambers of her tomb at the Valley of the Queens, Nefertari- appears adorned with the double plume headdress combined with the vulture crown. The soaring twin feathers, often surmounted by a solar disk, were the emblem of the god Amun, later adopted by pharaohs to proclaim their divine authority. Their lofty form also echoed the celestial power of Hathor, patroness of queenship and love, while the golden vulture cap represented the goddess Nekhbet, guardian of Upper Egypt and eternal protectress of the royal house.

Together, these emblems expressed majesty, divine protection, and the fusion of earthly and celestial roles within a single figure.

By wearing this composite crown, Nefertari was proclaimed not merely as the consort of Ramesses II, but as a goddess-queen in her own right. The vulture’s wings enfolded her as a symbol of maternal guardianship, while the double plumes linked her to Amun’s supreme authority and the pharaohs who bore his crown. In this imagery, the queen becomes at once mortal and divine, embodying the eternal sovereignty of Egypt and assuring her own place among the gods in the afterlife.

This statue is probably one of the few remaining accurate portraits of Ankhesenamun.

The statue is part of a diad depicting Amun and Mut, with the features of Tutankhamun and Ankhesenamun.

It was usurped by Ramses II (it bears an inscription listing the titles of the king User-Maat-Ra, Setepen-Ra, beloved of Mut, Lady of the Sky—Ramses II—User-Maat-Ra Setepen-Ra), but its style clearly reflects the late 18th Dynasty.

It was discovered in the Karnak cache along with other statues and still bears traces of color (note the uraeus).

According to Aidan Dodson, this statue displays a striking face, reflecting the portraits of both his mother and his father.

It is currently housed at the Luxor Museum.

Calcite (alabaster) with pigments

Sources:

Aidan Dodson, Tutankhamun: King of Egypt, the Life and Afterlife, The American University in Cairo Press, 2022, pp. 40–41, 68–69

'Scarabeus sacer' symbolized the rising sun, one of the three stages in the life of the sun god Re. Within the funerary context it became synonymous with the resurrection or rather rebirth, and it is for this reason that the heart-shaped scarab was placed in the mummy of the deceased, replacing magically the inert heart of the dead person. This heart scarab exhibits faithfully the anatomy of the insect: the head with its mandibles, eyes and antennae are finely carved. The hieroglyphic text which covers the underside of the scarab is a formula taken from chapter 30B of the 'Book of the Dead'. The deceased was required to recite this during the judgement of the dead, so that his confession would agree with that of his own heart.

Bibliography

• M.-P. Vanlathem, Oudegyptische lijkkisten en mummies - Cercueils et momies de l'Égypte ancienne, Bruxelles 1983, 38-39
• Witte magie, zwarte magie. Cataloog (Exposition), Bruxelles 1995, nº 5

Kneeling statue with sistrum (sistrophore) of Senenmut, high steward of Amun, steward of Amun, overseer of the double granaries of Amun, treasurer of Amun, high steward of the King, Privy Councillor of the Imy-wer phyle , Privy Councillor in the temples, overseer of the temples of Neith and overseer of the fields of Amun

Accession number
ÄS 6265

Current Location
Gallery "Art and Time"

About the object
The granite statue shows the high-ranking official Senenmut as a so-called sistrophor. Senenmut kneels on a pedestal and holds a sistrum in front of his body with both hands - a rattle instrument that was used, among other things, in the cult of various goddesses. The cult instrument is elaborately designed: It consists of a Hathor head with a strand wig and cow ears over a knot amulet. Above it rises an architectural framing with stylized cow horn. A cryptogram of the throne name of Queen Hatshepsut (Maat-ka-Re) is represented in a central niche. The Sistrum thus refers at the same time to the goddess Hathor and to the queen, in whose service Senenmut spent his career.

The person depicted wears a long wig and a short chin beard. The face is idealized, but has individual design features that are also encountered on other portraits of Senenmut. The finely modeled, youthful face is contrasted with a strong, full upper body. This body design corresponds to the ancient Egyptian ideal image of a high-ranking dignitary.

Senenmut came from simple circumstances in Iuni, today's Armant. Under Hatshepsut, he achieved an extraordinary social advancement. He held numerous high offices, including that of the queen's courtmaster and the educator of her daughter Neferure. As a senior official, he was involved in several royal construction projects, including the terraced temple of Hatshepsut in Deir el-Bahari. His inscriptions mention more than 80 titles. With about 25 surviving statues, Senenmut is represented more often than any other known non-royal personality of the New Kingdom.

His close connection to the royal workshops may also have favored the development of new statue types. Several unusual forms of images appear for the first time on his monuments. The sistrophore is one of those types that subsequently found its way into the repertoire of Egyptian circular sculpture and were used until the late period. The statue thus illustrates not only Senenmut's outstanding position at the royal court, but also the innovative power of sculptural art under Hatshepsut.

At a time that is not exactly known today, Senenmut disappears from the written sources. Many of his monuments were later damaged or their inscriptions were erased. It can be assumed that Senenmut fell out of grace with Hatschepsut, but so far only speculation can be given about the reasons for this.
(Arnulf Schlüter)

Inscription
Hieroglyphs

Date
c. 1479–1458 BC, Hatshepsut, 18th Dynasty, New Kingdom, Egypt (Inscription)

Material
Granite

Dimensions
Height x Width x Depth: 40.0 x 12.0 x 25.0 cm

Geographic Origin
Bibliographic reference: Armant, Upper Egypt, Egypt

Provenance
seit 1976, Institution: Staatliches Museum Ägyptischer Kunst
1976, Auction / Dealer: Maspero, Paris
Auction / Dealer: Établissement Archéologique, Vaduz, Liechtenstein

Individuals / Institution
Staatliches Museum Ägyptischer Kunst

References
Persons and Names of the Middle Kingdom and early New Kingdom, Version 6 [accessed July 4, 2025] [Copyright 2024 Alexander Ilin-Tomich]
Konrad, Kirsten, Der Sistrophor. Zur Genese, bedeutung und Funktion eines theophoren Statuentypus der altägyptischen Privatplastik, Berlin 2026, cf. Kat. D18-3, 72- 77, 674.
Dahms, Jan-Michael, Exkurs. Senenmut. Erzieher der Königstochter Neferure, in: Flossmann-Schütze, Mélanie / Schlüter, Arnulf unter Mitarbeit von Perrot, Anne-Hélène / Kutschka, Markus (Hg.), Kindheit am Nil. Aufwachsen im Alten Ägypten, München 2025, 90-91, cf. 90-91 mit Abb. 1.
Bicker, Roxane, Kulturgeschichte. Margaret Benson. Ausgrabungen in Karnak, in: MAAT. Nachrichten aus dem Staatlichen Museum Ägyptischer Kunst München 30, 2024, 64–71, cf. Abb. 6 S. 68.
Wildung, Dietrich, Avantgarde. Drei innovative Statuentypen im SMÄK, in: MAAT. Nachrichten aus dem Staatlichen Museum Ägyptischer Kunst München 24, 2022, 29–31, cf. 30 mit Abb. 2.
Böckler, Nadja, Altägyptische Kryptographie. Verborgene Inhalte hinter den Zeichen, in: MAAT. Nachrichten aus dem Staatlichen Museum Ägyptischer Kunst München 25, 2022, 33–39, cf. 36-37 mit Abb. 5.
Willeitner, Joachim, Die Münchner Priesterstatue aus Achmim. Ein Umgearbeitetes Bildwerk der Späten 18. Dynastie, in: MAAT. Nachrichten aus dem Staatlichen Museum Ägyptischer Kunst München 21, 2021, 26–35, cf. 33-34 mit Abb. 12b.
Flossmann-Schütze, Mélanie, Statue - Titel - Platz in der Gesellschaft! Das Publikationsprojekt "Inschriften auf Statuen": ein Zwischenbericht, in: MAAT. Nachrichten aus dem Staatlichen Museum Ägyptischer Kunst München 21, 2021, 13–20, cf. 15-16 mit Abb. 5, 17, 18.
Schoske, Sylvia / Wildung, Dietrich, Munich quality. Zur Erwerbungsphilosophie des Museums, in: MAAT. Nachrichten aus dem Staatlichen Museum Ägyptischer Kunst München 16, 2020, 25–31, cf. 25-26 mit Abb. 1.
Wildung, Dietrich, Zerstört. Getilgt, in: MAAT. Nachrichten aus dem Staatlichen Museum Ägyptischer Kunst München 12, 2019, 48–52, cf.
Selim, Hassan, A Fragment of the Hathor-head naos sistrum from a sistrophorous statue of Senenmut from Karnak, in: Coulon, Laurent (Hg.), La Cachette de Karnak: nouvelles perspectives sur les découvertes de Georges Legrain. Bibliothèque d'étude (BdE) 161, Kairo 2016, 249–254, cf. 250-251, Kat.-Nr. 5.
Loeben, Christian E., Un nouveau musée Égyptien à Munich, in: Égypte, Afrique & Orient 73, 2014, 49–56, cf.
Schoske, Sylvia / Wildung, Dietrich, Persönlichkeiten: Bildnisskulptur der Nachamarnazeit, Aegyptiaca Monacensia 1, Wien 2013, cf. 17, Abb. 14.
Schoske, Sylvia / Wildung, Dietrich, Das Münchner Buch der Ägyptischen Kunst, München 2013, cf. 90-91 mit Abb. 71-72.
Bernhauer, Edith, Innovationen in der Privatplastik: die 18. Dynastie und ihre Entwicklung, Philippika 27, Wiesbaden 2010, cf. Tf. 10, Kat.-Nr. 3.3-57.
Wildung, Dietrich / Schoske, Sylvia, Last Exit Munich - Altägyptische Meisterwerke aus Berlin, München 2009, cf. 28 mit Abb., 31, Kat.-Nr. 17.
Schoske, Sylvia, Fest gemauert in der Erden. Grundsteinbeigaben im alten Ägypten, München 2007-2008, cf. 28-29 mit Abb., Kat.-Nr. 37.
Roehrig, Catharine H. / Dreyfus, Renée / Keller, Catherine A. (Hg.), Hatshepsut: from Queen to Pharaoh, New York 2005, cf. Kat.-Nr. 68.
Grimm, Alfred / Schoske, Sylvia, Hatschepsut - KönigIN Ägyptens, Schriften aus der Ägyptischen Sammlung (SAS) 8, München 1999, cf. 55 mit Abb., Kat.-Nr. 10.
Schoske, Sylvia (Hg.), Staatliche Sammlung Ägyptischer Kunst München, Zaberns Bildbände zur Archäologie, Mainz am Rhein 1995, cf. 6, Abb. S. 7, Kat.-Nr. 2.
Helck, Wolfgang, Historisch-biographische Texte der 2. Zwischenzeit und neue Texte der 18. Dynastie: Nachträge, Kleine ägyptische Texte 6/2, Wiesbaden 1995, cf. 35-36, Kat.-Nr. 11.
Schoske, Sylvia, Egyptian art in Munich, München 1993, cf. 26 mit Abb., Kat.-Nr. 21.
Wildung, Dietrich, Die Kunst des Alten Ägypten, Freiburg 1988, cf. 157.
Dorman, Peter, The monuments of Senenmut: problems in historical methodology, London 1988, cf. 127-128, 151, 194-195, Tf. 20, Kat.-Nr. A 17.
Schulman, Alan R. , The ubiquitous Senenmut, in: Bulletin of the Egyptological Seminar (BES) 9, 1987-1988, 61-81, cf. 61-81.
Wildung, Dietrich, 1985. Berichte der Staatlichen Kunstsammlungen. Neuerwerbungen. Staatliche Sammlung Ägyptischer Kunst, in: Münchner Jahrbuch der bildenden Kunst (MJbK) 36, 1985, 17-38, cf. 20, 24 mit Abb. 10, 37 mit Anm. 23.
Schoske, Sylvia / Wildung, Dietrich, Ägyptische Kunst München. Katalog-Handbuch zur Staatlichen Sammlung Ägyptischer Kunst München, München 1985, cf. 48-52 mit Abb., Kat.-Nr. 32.
Meyer, Christine, Senenmut. Eine prosopographische Untersuchung. Dissertation, Hamburger Ägyptologische Studien (HÄS) 2, Hamburg 1982, cf. 50, 219-222, 332-333, Tf. 7.
Wildung, Dietrich, Fünf Jahre. Neuerwerbungen der Staatlichen Sammlung Ägyptischer Kunst München 1976-1980, Mainz am Rhein 1980, cf. 18-19 mit Abb..
Wildung, Dietrich, 1977. Berichte der Staatlichen Kunstsammlungen. Neuerwerbungen. Staatliche Sammlung Ägyptischer Kunst, in: Münchner Jahrbuch der bildenden Kunst (MJbK) 28, 1977, 219-224, cf. 220-222 mit Abb. 2.
Bothmer, Bernard V., More statues of Senenmut, in: The Brooklyn Museum Annual 11, 1969-1970, 125-147, cf. 126, 134-139, Abb. 6-8.

Further information
https://pnm.uni-mainz.de/inscription/11750

Credits
Datensatz: SMÄK, letzte Bearbeitende (chronologisch): Anne-Hélène Perrot, Mélanie Flossmann; Bibliografie: Anne-Hélène Perrot, Mélanie Flossmann.

Last change
24.08.2026, 13:11

[Do you have any information on this object](mailto:sammlung.online@smaek.de?subject=Kneeling%20statue%20with%20sistrum%20(sistrophore)%20of%20Senenmut,%20high%20steward%20of%20Amun,%20steward%20of%20Amun,%20%20overseer%20of%20the%20double%20granaries%20of%20Amun,%20treasurer%20of%20Amun,%20high%20steward%20of%20the%20King,%20Privy%20Councillor%20of%20the%20Imy-wer%20phyle%20,%20Privy%20Councillor%20in%20the%20temples,%20overseer%20of%20the%20temples%20of%20Neith%20and%20overseer%20of%20the%20fields%20of%20Amun,Kneeling%20Statue%20(Statuary%20/%20Statue)%20&body=https%3A%2F%2Fsammlung.smaek.de%2Fen%2Fobject%2Fkneeling-statue-statuary-statue-525%3Fsort%3Dfield%3DsortInv%2526order%3Dasc%2526type%3Dtext%26offset%3D628)

Țitle
Kneeling statue with sistrum (sistrophore) of Senenmut, high steward of Amun, steward of Amun, overseer of the double granaries of Amun, treasurer of Amun, high steward of the King, Privy Councillor of the Imy-wer phyle , Privy Councillor in the temples, overseer of the temples of Neith and overseer of the fields of Amun, c. 1479–1458 BC, Hatshepsut 18th Dynasty New Kingdom, Findspot: Bibliographic reference: Armant, Upper Egypt, Granite, Staatliches Museum Ägytischer Kunst

https://sammlung.smaek.de/en/object/kneeling-statue-statuary-statue-525?sort=field=sortInv%26order=asc%26type=text&offset=628

Staatliches Museum Ägytischer Kunst

Diorite vessel with handles for suspension. The working of stone vessels was perfected over the fourth millennium, and large numbers were produced in the Early Dynastic Period, following the unification of the country. At this period there was a marked preference for mottled stones of the type seen here, somewhat in contrast to the Old Kingdom and later selection of stones with single fields of colour with subtler veining.

Bibliography

• Margaret Murray, National Museum of Science and Art, General Guide III. Egyptian Antiquities, Dublin 1910, 41

This small gold statuette represents Thoth, the scribe-god, shown with a human body and the head of an ibis. On top of his tripartite wig are the lunar disc and crescent. Behind his head is a small ring with the aid of which the statuette could be strung to a collar as an amulet. The pendent was made in a mould using the lost-wax process.

Bibliography

• Koninklijke Musea voor Kunst en Geschiedenis. Aanwinsten 1964- 1973 - Musées Royaux d'Art et d'Histoire. Acquisitions 1964 - 1973, Bruxelles 1974, n° 4
• F. Lefebvre et B. Van Rinsveld, L'Égypte. Des Pharaons aux Coptes, Bruxelles 1990, 228

c1500 BC

Egypt, Thebes, Temple of Deir el-Bahri

Limestone relief fragment

Donated by Sir James Key Caird, 1914

Museum no. 1977-534

This important fragment is the only known low-relief portrait of Princess Neferure who lived through one of the most interesting times of Egyptian history. She was the daughter of Tuthmosis II and Queen Hatshepsut, one of the most powerful female pharaohs of Egypt

Magical Horus-stela with hole for hanging

Accession number
ÄS 1252

Current Location
Gallery "Script and Writings"

About the object
Horus steles could be made in different sizes or presented in combination with magical statues. Large-format magical stelae such as the "Metternich" stele (Metropolitan Museum of Art, New York, Inv. No. 50.85), which was created by King Nektanebos (30. Dynasty) could be set up in the temple. Smaller specimens were much more handy and mostly come from the
Non-royal area. ÄS 1252 is a magical stele due to the eyelet, which could also be hung. The front shows the well-known motif of the Harpocrat, who is depicted as the tamer of numerous dangerous animals. All surfaces, including the back, are described with magical texts.
Mélanie Flossmann-Schütze

Inscription
Hieroglyphs

Date
4th Century BC, Late Period – Ptolemaic Period

Material
Calcite Alabaster

Dimensions
Height x Width x Depth: 14.9 x 10.3 x 3.5 cm

Geographic Origin
Unknown

Provenance
seit 1970, Institution: Staatliches Museum Ägyptischer Kunst
1949–1970, Institution: Ägyptische Sammlung des Bayerischen Staates
1945–1949, Institution: Central Collecting Point
1935–1945, Institution: Ägyptologische Sammlung des Staates
1920–1934, Institution: Museum Antiker Kleinkunst
1909–1920, Institution: (neues) Königliches Antiquarium, München
1909, Auction / Dealer: Emanuel Kohn, München

Individuals / Institutions
(neues) Königliches Antiquarium

References
Schlüter, Arnulf, Einfach Zauberhaft. Magische Objekte, in: MAAT. Nachrichten aus dem Staatlichen Museum Ägyptischer Kunst München 20, 2021, 46–55, cf. 51 mit Abb. 7.
Schoske, Sylvia / Grimm, Alfred, isisblut & steinbockhorn - Amulett und Talisman in Altägypten und im Alpenraum, Schriften aus der Ägyptischen Sammlung (SAS) 11, München 2010, cf. 50 mit Abb. 15, 90-91 mit Abb., Kat.-Nr. 22.
Sternberg- El-Hotabi, Heike, Untersuchungen zur Überlieferungsgeschichte der Horusstelen: ein Beitrag zur Religionsgeschichte Ägyptens im 1. Jahrtausend v. Chr. 2 vols, Ägyptologische Abhandlungen (ÄA) 62, Wiesbaden 1999, cf. I: 107, 110 mit Abb. 60, 117, Tf. XIX, II: 69.
Habrich, Christa / Kolta, Kamal Sabri / Schoske, Sylvia, Ein Leib für Leben und Ewigkeit - Medizin im alten Ägypten, Ingolstadt 1985, cf. 45-46 mit Abb., Kat.-Nr. 102.
Müller, Hans Wolfgang / Löhr, Beatrix (Hg.), Staatliche Sammlung Ägyptischer Kunst, München 1976, cf. 190-191, Kat.-Nr. 114.
Müller, Hans Wolfgang / Löhr, Beatrix (Hg.), Staatliche Sammlung Ägyptischer Kunst, München 1972, cf. 110, Kat.-Nr. 98.
Sieveking, Johannes, Archäologischer Anzeiger (AA) Berlin 1910, cf. 478.

Credits
Datensatz: SMÄK, letzte Bearbeitende (chronologisch): Anne-Hélène Perrot, Mélanie Flossmann; Bibliografie: Anne-Hélène Perrot, Mélanie Flossmann.

Last change
02.07.2026, 11:34

[Do you have any information on this object?](mailto:sammlung.online@smaek.de?subject=Magical%20Horus-stela%20with%20hole%20for%20hanging,Stela%20&body=https%3A%2F%2Fsammlung.smaek.de%2Fen%2Fobject%2Fstela-4563%3Fsort%3Dfield%3DsortInv%2526order%3Dasc%2526type%3Dtext%26offset%3D185)

Title
Magical Horus-stela with hole for hanging, 4th Century BC, Late Period – Ptolemaic Period, Findspot unknown Egypt, Calcite Alabaster, Staatliches Museum Ägytischer Kunst

https://sammlung.smaek.de/en/object/stela-4563?sort=field=sortInv%26order=asc%26type=text&offset=185

Staatliches Museum Ägytischer Kunst

Shabtis are already found in funerary equipment of the Middle Kingdom. From the New Kingdom, they theoretically numbered 365 workers and 37 overseers, one for each team of 10 workers. It is thought that they were expected to undertake forced labour in the next world on behalf of the deceased, and thus they were often provided with small model tools. This superb shabti in blue faience was one of the large collection of funerary figurines made for Sethos I. The wig, eyebrows, collar, as well as the agricultural instruments which the shabti holds in its hands, are painted in black. The text is taken from chapter 6 of the Book of the Dead.

Present location KMKG - MRAH [07/003] BRUSSELS

Inventory number E.8386

Dating SETHOS I/MENMAATRE

Archaeological Site VALLEY OF THE KINGS

Category SHABTI

Material POTTERY

Technique FORMED BY HAND; PAINTED; FAYENCE; WRITTEN WITH A REED PEN/REED WITH SPLIT NIB

Height 10.2 cm

Width 4.9 cm

Depth 3 cm

Bibliography

W. Seipel, Ägypten. Götter, Gräber und die Kunst. 4000 Jahre Jenseitsglaube (Exposition), Linz 1989, I 210 n° 168

Le Roman de la momie. Les amours d'une princesse égyptienne (Exposition Saint-Gérard de Brogne), Namur 1997, 139 n° 168

The obelisk as you walk into the grounds is quite unique. Normally you when you see one, you wouldn't even know that they have carvings in the base. Hopefully i have included the relevant picture.

The views from the museum are spectacular, especially towards the pyramids are breathtaking.

The solar boat was found just outside the great pyramid, (those photos will be in a new post), and moved to the GEM. The boat was built for the after life of the pharoah. And it has its own wing in the museum.

Still tons more to post, as and when.

For details of each photo you could potentially use AI, probably give you more info than I ever could 😉

Hope you enjoy these.

Also got photo dumps for Giza, plenty of temples, scenes from the Nile, etc.

Vase

At A Glance

Period
1333-1224 BCE
Geography
Egypt
Material
Glass
Dimension
H x W x D: 6 x 4.6 x 4.6 cm (2 3/8 x 1 13/16 x 1 13/16 in)
Accession Number
F1909.425
EDAN ID
edanmdm:fsg_F1909.425

Object Details

Description
Light blue vase, originally one-handled, with black, white and dark blue dragged design. Broken and repaired.

Label
Vessels such as this one are the masterpieces of Freer's Egyptian purchases. Of superb quality and beautifully preserved, they remain the world's premier collection of Egyptian glass vessels produced during Dynasty 18 (1550-1307 B.C.E.). The rich blues and blue-greens and the lustrous surfaces that appealed to Freer were also prized by ancient artisans, who sought to imitate in glass the colors and appearance of favored gemstones, especially turquoise and lapis lazuli. The vessels were made by winding threads of molten glass around a core of sand, clay, and mud.
These small vessels were fashioned as containers for costly perfumed ointments, scented oils, and cosmetics. Comparison with vessels and fragments excavated from royal glass workshops suggests that many of the Freer examples were made during the reigns of the pharaohs Amenhotep III (1391-1353 B.C.E.) and Amenhotep IV, who changed his name to Akhenaten (1353-1335 B.C.E.). They may likewise be the products of royal workshops.

Provenance
To 1909
Giovanni Dattari (circa 1858-1923), Cairo, Egypt, to 1909 [1]
From 1909 to 1919
Charles Lang Freer (1854-1919), purchased from Giovanni Dattari in 1909 [2]
From 1920
Freer Gallery of Art, gift of Charles Lang Freer in 1920 [3]

Notes:
[1] See S.I. 189, Miscellaneous List, Egyptian Glass, pgs. 1 and 3, Freer Gallery of Art and Arthur M. Sackler Gallery Archives. This piece is part of a collection of glass that was purchased en bloc and includes 1,388 specimens (for further purchase information, see the folder for F1909.332).
[2] See note 1.
[3] The original deed of Charles Lang Freer's gift was signed in 1906. The collection was received in 1920 upon the completion of the Freer Gallery.

Collection
Freer Gallery of Art Collection

Exhibition History
Charles Lang Freer and Egypt (June 13, 1998 to October 2, 2011)
Ancient Egyptian Glass (August 13, 1994 to July 7, 2005)
Ancient Glass (May 26, 1982 to June 25, 1982)
Untitled Exhibition, South Corridor (March 6, 1981 to May 7, 1984)
Ancient Glass (June 1962 to (end date unknown))
Glass Exhibition, in honor of VI International Congress on Glass (July 4, 1962 to December 3, 1962)

Previous custodian or owner
Giovanni Dattari (1858-1923) (C.L. Freer source)
Charles Lang Freer (1854-1919)

Origin
Egypt

Credit Line
Gift of Charles Lang Freer

Type
Vessel

Keep Exploring

Related Resources
collections.si.edu
Date
BCE 1000s
Name
Dattari, Giovanni, Freer, Charles Lang
Place
Egypt
Topic
Dynasty 19 (ca. 1292 - 1190 BCE)), Charles Lang Freer collection, Art, Glass, Ancient Egyptian Art, Glass dragging, New Kingdom (ca. 1539 - 1075 BCE)), Core-forming, Dynasty 18 (ca. 1539 - 1295 BCE))
Culture
Egyptians
Object Type
Vessels (containers))

Title
Vase, 1333-1224 BCE, Findspot unknown Egypt, Glass, Smithsonian National Museum of Asian Art

https://asia.si.edu/explore-art-culture/collections/search/edanmdm:fsg_F1909.425/

Smithsonian National Museum of Asian Art

Statuette of the God Thoth as a Baboon

Object Number
BSAe 1103
Cultural area
Egypt

Epoch
Late Period (Egypt)
Basic information
Steatite, glass and gold, h. 12 cm Late Period, 6th–4th centuries BC BSAe 1103

Provenance
Donation 2007 Novartis AG. Formerly collection Martin Winkler (1893–1982), South Germany.

Description
The hamadryas baboon (Papio hamadryas) was the second animal sacred to Thoth, the god of the moon and of wisdom, the primary one being the ibis (see above). This figurine is remarkable for the finely-worked rendering of the baboon’s fur and for the fact that it was once inlaid with other materials. It is therefore unlikely to have been a simple votive statuette and was probably a cult image in a small shrine. The baboon crouches in characteristic pose on a shield-shaped base, his front paws resting on his knees. His upper body is erect and he gazes straight ahead. His face is dominated by the prominent snout and by the eyes, which are inlaid in red and black glass. His mane falls to his shoulders and his upper body is covered with a mantle of fur. His long tail curves around the right half of his buttocks. His feet and hands are rendered in careful detail, as are his genitals, visible between the splayed hindquarters. His buttocks were once inlaid, perhaps with red glass, but this is now missing. Around his neck he wears a rectangular pectoral, which was also once inlaid. A hole in the top of his skull suggests that the animal originally wore a crown, probably in the shape of the crescent and full moon. Traces of gold are clearly visible in the hole, suggesting that the crown, and possibly also the pectoral, were made of gold, or at least gilded. Baboon figurines often wear pectorals, which generally bear an image of a barge with the motif of the full and crescent moon or the eye of Horus.

Bibliography
D. Wildung – S. Schoske, Entdeckungen. Ägyptische Kunst in Süddeutschland, Ausstellungskatalog Bayerische Landesbank München (München, Mainz 1985) 82 Nr. 62

Antikenmuseum Basel und Sammlung Ludwig, Katalog 101 Meisterwerke (Basel 2022) 68f. Nr. 22

Title
Statuette of the God Thoth as a Baboon, Late Period, 6th–4th centuries BC, Findspot unknown Egypt,Steatite glass and gold, Antikenmuseum Basel

https://antikenmuseumbasel.zetcom.net/en/collection/item/74166/

Antikenmuseum Basel

No point in not sharing, there's no point keeping them in my phone