Description

Museum replication of the Egyptian writer Henka , ARA-limestone from ars mundi, after the model of 450 BC, H. approx. 40cm

Automatically translated by DeepL. The original version is the only legally valid version.
To see the original version, click here.

5281 
Go to lot
<
>

Museum replication of the Egyptian writer Henka , ARA-limestone from ars mundi, after the model of 450 BC, H. approx. 40cm

Estimate 300 - 600 EUR
Starting price 300 EUR

* Not including buyer’s premium.
Please read the conditions of sale for more information.

Sale fees: 29 %
Leave bid
Register

For sale on Saturday 27 Jul : 11:00 (CEST)
mutterstadt, Germany
Henry's Auktionshaus
+49623480110
Browse the catalogue Sales terms Sale info

Delivery to
Change delivery address
Delivery is not mandatory.
You may use the carrier of your choice.
The indicated price does not include the price of the lot or the auction house's fees.

You may also like

Parietal relief with a dignitary with poliomyelitis. Egypt, New Empire, 18th Dynasty, Reign of Pharaoh Amenhotep III co-ruler Amenhotep IV, 1417-1352 BC. Limestone. Provenance: -Private collection Max-Pol Pouchet, France. Offered by the Egyptian authorities in gratitude for his work in Nubia. The reverse is inscribed 'n.8791/10 n.61' - Acquired from the heirs. Publications: enclosed is a study on the antiquity of the piece. Conservation: good state of conservation. It has some scratches of its own on the surface. Measurements: 23 cm. length; 19 cm. height. Egyptian bas-relief, parietal fragment, in which we can see a high dignitary with his torso uncovered and placing one hand on a staff of command. This piece is of great value not only because of its quality and antiquity in Egyptian art, but also because it bears witness to a disease, polio, which was already taking the lives of many people at that time. The thicker left arm than the right and the rubbery-looking fingers can only allude to the ravages of the disease, which made no distinction in terms of social rank. This official, probably a magistrate or tyaty, retains a peaceful face depicted in profile, as was usual in Egyptian art. By the Ptolemaic period, however, the rigorous hieratism and strict geometry of earlier periods had been left behind. The slightly protruding belly is an unusual solution in the more hieratic style of earlier Dynasties. In this case, it is intended to indicate the high social status and affluent life of the personage. An Egyptian stele dated to between 1580 and 1350 BC, showing a priest with an atrophied leg due to polio, is considered to be the earliest plastic trace of the disease. It was found in the Temple of Astarte in Memphis.

Upper part of a concubine. Ancient Egypt, New Kingdom, 18th Dynasty, reign of Amenhotep III, 1390/1 to 1353/2 BC. Hardened limestone. Provenance: Private collection, James Gordon Hanes Jr., North Carolina (USA), acquired from Mathias Komor Gallery, New York, late 1950s-early 1960s. With Komor gallery label, n. 943. Private collection Eldridge C. Hanes, North Carolina (USA), acquired by inheritance from his father James G. Hanes Jr. Hanes Jr. in 1995. An old photo is preserved in the Getty archive. In good condition, with no restorations. There are dents on the back right side and a groove on the lower left side, caused by erosion in contact with the desert sand. The limestone has a solid shiny surface, which has hardened over time, becoming compacted. Attached is a letter of provenance signed by Mr. Eldridge C. Hanes. Parallels: -Pierre Bergé & Associés. Archéologie. Paris. 15 December 2009. Lot 155. -Pierre Bergé & Associés. Archéologie. Paris. 17 June 2010. Lot 147. -Petrie Museum. University College London. London. N. UC28687. Measurements: 22 x 18 x 13 cm. Upper part of an Egyptian sculpture representing a woman with a back plate, carved in a rectangular shape. The woman has both palms of her hands outstretched, holding her wig on both sides. This accessory is of a very specific type, a wide and thick tripartite wig, with a lot of volume, somewhat short, typical of the productions of the New Empire. The shape of the eye sockets so perfectly slit, together with the headdress, fits in with the marked style of female representation during the reign of the pharaoh Amenhotep III, taking as a model the sculptures of Queen Tiy. In addition, the face, although spherical, is accentuated by the pronounced chin, another distinctive element of the statuary of this period. In ancient Egypt, from the time of the pyramids, burials were richly adorned with grave goods. Among the multitude of elements, obviously all with a symbolism that was by no means casual, there were some fine sculptures, not always represented, of nude female silhouettes, carved in wood, later in the Middle Empire modelled in faience and in the New Empire in stone, with a marked physical attractiveness, with a halo of sensuality. Above all, this comes from their sparse decoration, nude with dots drawn on the body in the form of chokers and translucent dresses. This marked sexual character, so rarely seen in the Egyptian artistic imagination, soon attracted the attention of scholars and collectors. They are concubines or concubines of the dead. Their role is not very well defined: are they intended to ensure the sexual activity of the deceased in the Afterlife and the resulting procreation. The sculpture present here, in terms of its physiognomic style as described above and its stone carving, dates to the New Kingdom. The clearest examples, although not common, as they are pieces that are not frequently seen, especially in terms of quality and considerable dimensions such as this one, although there are numerous examples in terracotta or faience of small dimensions, are the ones in which the beautiful lady is lying on a bed. The later support is possibly the representation of a bed, as can be seen in the best complete example on the market at Pierre Bergé & Associés, in the Archéologie catalogue of 15 December 2009, lot 155. Some other limestone monuments with only the reclining woman are preserved in Brussels (E. 2591), Florence (2142) or Dublin (E. 72:77).

Female bust; Cyprus century, V-IV BC. Limestone. It shows superficial wear and losses of material on the nose, cheek and chin. Provenance: Alexandre Iolas, (1908-1987), Paris, acquired on the Parisian art market in the 1960s/1970s. Measurements: 17,5 x 9 x 11,5 cm. Beautiful head of a veiled woman made in Cypriot limestone. Probably belonging to a larger sculpture. It shows a feminine face with very characteristic features, like almond-shaped eyes, big nose and thick lips, a serene face with a hint of smile. She wears a hairstyle with a veil that reveals her curly hair-finished in front. This work belonged to the collection of Alexander Iolas (1908 - 1987), a famous Greek-American art gallery owner of Egyptian origin and great collector of modern art, who launched the careers of René Magritte, Andy Warhol or Max Ernst among other artists. He established the modern model of the world art business, managing successful galleries in Paris, Geneva, Milan and New York. Ancient Cypriot art refers to all works of visual art originating from Cyprus in the Eastern Mediterranean, from about 10,000 B.C. to about 330 A.D. During this period, various types of objects such as domestic tools, weapons, jewelry and decorative figures were produced. This range of art attests to the mixture of both native and foreign influences from ancient Egypt, Greece and Rome as they successively occupied the country. Works of art produced in ancient Cyprus incorporate almost every visual art medium worked in ancient history, including terracotta, stone, metals, glass, and precious stones. There is superficial wear and loss of material on the nose, cheek and chin.