Lot Essay
The name Ka-nefer as Overseer of Craftsmen is known from two offering tables said to be from Saqqara, one now in the Ny Carlsberg Glyptotek, Copenhagen (AEIN 1551) and one now in the British Museum (BM 29207) (see Porter and Moss, Topographical Bibliography of Ancient Egyptian Hieroglyphic Texts, Reliefs and Painters, III 2. Memphis, part 2, pp. 768-769). His son Khuwy-ptah was the owner of a mastaba at Saqqara, and several objects, probably from his tomb, bear his name, including a drum and two offering stands (see Porter and Moss, op. cit., p. 689; Murray, Saqqara Mastabas I, pl. 3, no. 3; and Borchardt, Catalogue Général des Antiquités Egyptiennes du Musée du Caire; Denkmäler des Alten Reiches I, pp. 1-2, nos. 1295 & 1297).
Family group tomb sculptures make their appearance during the Fourth Dynasty. For related groups from the Fifth Dynasty, compare the standing figure with his wife and son in the Brooklyn Museum, no. 126 in Arnold, et al., Egyptian Art in the Age of the Pyramids, and the seated figure of Ni-ka-re with his wife and daughter, no. 130 in Arnold, op. cit. According to Cody (in Fazzini, et al., Art for Eternity, Masterworks from Ancient Egypt, Brooklyn Museum of Art), "because scale reflected relative importance in ancient Egyptian art, the father's large size signifies his dominance." The similarity of Ka-nefer's facial features with those of King Sahure and a Nome God on his gneiss statue in the Metropolitan Museum of Art (Arnold, op. cit., no. 109) suggests the date for the present work.
Family group tomb sculptures make their appearance during the Fourth Dynasty. For related groups from the Fifth Dynasty, compare the standing figure with his wife and son in the Brooklyn Museum, no. 126 in Arnold, et al., Egyptian Art in the Age of the Pyramids, and the seated figure of Ni-ka-re with his wife and daughter, no. 130 in Arnold, op. cit. According to Cody (in Fazzini, et al., Art for Eternity, Masterworks from Ancient Egypt, Brooklyn Museum of Art), "because scale reflected relative importance in ancient Egyptian art, the father's large size signifies his dominance." The similarity of Ka-nefer's facial features with those of King Sahure and a Nome God on his gneiss statue in the Metropolitan Museum of Art (Arnold, op. cit., no. 109) suggests the date for the present work.