CANOPE VASE STOPPER Alabaster. Antique burnished patina. Height 13 cm, width 14 cm Egypt, Late Period, 664-332 B.C. Provenance Former collection of the founder Marcel Valsuani (active from 1924-1973) By descent, in the same family Private collection from the South of France Remarkable alabaster (calcite) canopic vase stopper representing Amset (Imsety), one of the four sons of Horus who protected the liver, associated with the southern cardinal point and the goddess Isis. This piece testifies to the sophistication of Egyptian funerary practices and the quality of Late Period lapidary sculpture. The stopper, in the shape of a truncated cone that flares out towards the base, is carved with a human head with stylised features typical of Amset iconography. The face is soberly and powerfully modelled, with a broad, rounded forehead, almond-shaped eyes with delicately hemmed eyelids, a straight nose with discreet nostrils, and a closed mouth with full lips suggesting eternal serenity. The ears, finely sculpted in lateral relief, frame the face symmetrically. The tripartite wig, a traditional funerary headdress, is made up of three masses of hair falling on either side of the face and down the back: two side panels framing the cheeks and descending to the shoulders, and a central panel descending to the nape of the neck. The surface of the wig is smooth, with no detail of individual striations in the locks, following the convention of geometric simplification characteristic of the Low Period. The alabaster (Egyptian calcite) has a magnificent colouring with a natural gradation from translucent light beige at the base to deep brown-black at the top. This spectacular chromatic variation is the result of both the natural stratification of the stone and a remarkable ancient burnished patina. The surface, carefully polished in ancient times, retains a noble satin sheen despite the passage of thousands of years. Areas of brown-black oxidation, particularly pronounced on the top of the skull and parts of the face, create a striking visual effect that accentuates the sculptural depth. The base of the stopper, circular and slightly concave, was designed to fit perfectly into the opening of the corresponding canopic vase. The precise junction between the stopper and the vase ensured a watertight seal to protect the mummified viscera. A Late Period Alabaster Canopic Jar Lid. 664-332 BCE. Remarkable canopic jar lid in alabaster (calcite) representing Imsety (Amset), one of the four sons of Horus who protected the liver, associated with the south cardinal point and the goddess Isis. This piece bears witness to the sophistication of Egyptian funerary practices and the quality of lapidary sculpture of the Late Period. The lid, of truncated conical form flared towards the base, is sculpted with a human head displaying stylized features characteristic of Imsety iconography. The face presents a sober and powerful modeling: broad domed forehead, almond-shaped eyes with delicately rimmed lids, straight nose with discreet nostrils, closed mouth with full lips sketching eternal serenity. The ears, finely sculpted in lateral relief, frame the face symmetrically. The tripartite wig, a traditional funerary headdress, is rendered by three masses of hair falling on either side of the face and in the back: two lateral sections framing the cheeks and descending on the shoulders, a central section descending on the nape. The wig surface is smooth, without detail of individual lock striations, following the geometric simplification convention characteristic of the Late Period. The alabaster (Egyptian calcite) displays magnificent coloration with natural gradation ranging from translucent light beige at the base to deep brown-black at the summit. This spectacular chromatic variation results from both the natural stratification of the stone and a remarkable ancient burnished patina. The surface, carefully polished in Antiquity, preserves a noble satiny luster despite the millennia. Brown-black oxidation zones, particularly marked on the top of the skull and certain parts of the face, create a striking visual effect accentuating the sculptural depth. The lid's base, circular and slightly concave, was intended to fit perfectly into the opening of the corresponding canopic jar. The precise junction between lid and jar ensured the seal protecting the mummified viscera.