This piece is remarkable for its fidelity to Egyptian models, fine execution, well-preserved color as well as the articulation of the back. The figure wears and Egyptian kilt, or shenti, and wig. Although Egypt controlled Cyprus for part of the sixth century, the Phoenicians had introduced Egyptian features considerably earlier.
From a tomb at Amathus (?)
Cesnola, Luigi Palma di. 1885. A Descriptive Atlas of the Cesnola Collection of Cypriote Antiquities in the Metropolitan Museum of Art, New York, Vol. 1. pl. XXXIV.215, Boston: James R. Osgood and Company.
Myres, John L. 1914. Handbook of the Cesnola Collection of Antiquities from Cyprus. no. 1033, New York: The Metropolitan Museum of Art.
Gjerstad, Einar. 1948. The Swedish Cyprus Expedition: The Cypro-Geometric, Cypro-Archaic, and Cypro-Classical Periods, Vol. 4(2). pl. VI.3–.4, Stockholm: The Swedish Cyprus Expedition.
Sophocleous, Sophocles. 1985. ""Atlas des représentations chypro-archaiques des divinités." Master's Diss.." Master's Diss. pl. XLV.1. Paul Aströms Förlag.
Karageorghis, Vassos, Joan Mertens, and Marice E. Rose. 2000. Ancient Art from Cyprus: The Cesnola Collection in The Metropolitan Museum of Art. no. 179, p. 114, New York: The Metropolitan Museum of Art.
Karageorghis, Vassos. 2002. Early Cyprus: Crossroads of the Mediterranean. pl. 392, Los Angeles, California: J. Paul Getty Museum.
Faegersten, Fanni. 2003. The Egyptianizing Male Limestone Statuary from Cyprus: a study of a cross-cultural eastern Mediterranean votive type. no. 49, p. 348, pls. 11.2, 32, Lund, Sweden: Lund University, Museum of Classical Antiquities.
Hermary, Antoine and Joan R. Mertens. 2013. The Cesnola Collection of Cypriot Art: Stone Sculpture. no. 45, pp. 59, 62–3, Online Publication, New York: The Metropolitan Museum of Art.