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Serpentinite
Late Period
Cat. 945 numero doppio Museo Egizio
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
Fine ostrich feather fan of ivory, the handle inscribed with the names of the king.
18 dynasty, tomb of Tutankhamun, KV 62
Egyptian Museum, Cairo
This anthropomorphic coffin belonged to an unknown person, probably a woman. The coffin and the mummy wrapped in bandages of varying widths probably originate from the Late Period, when the sophistication of mummification declined remarkably compared to the preceding Third Intermediate Period, which marks the high point of mummification.
During the Late Period, a typical modest funeral complement included the following items: an anthropomorphic inner coffin, a rectangular outer qrsw coffin, a shabti box containing shabti statuettes, four canopic jars, and occasionally a box for holding them, a wooden stela, a wood sculpture of Ptah-Sokar-Osiris and possibly a number of pottery jars and other objects. However, the Late Period saw the gradual disappearance of most everyday objects from burial chambers.
Late Period
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
Cartonnage is a type of material used in Ancient Egyptian funerary masks from the First Intermediate Period to the Roman era. It was made of layers of linen or papyrus covered with plaster.
Egyptian Museum, Cairo
Funerary equipment of Sennedjem
New Kingdom, 19th dynasty
Tomb of Sennedjem TT1, Deir el-Medina
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Funerary papyrus, Book of Dead of Maiherpri
New Kingdom, 18th Dynasty, reign of Thutmose III
From Maiherpri's tomb KV36, Valley of the Kings, Thebes
CG 24095b - JE 33844
Egyptian Museum, Cairo
A model boat that originally carried eight sailors, four of whom are missing. The boat has no sail and the sailors were equipped with oars which were fixed in the holes made in their fists.
Wood
11th dynasty
BAAM 620
Antiquities Museum of Bibliotheca Alexandrina
Discovered from the tomb of the high courtier Hemaka, these disks are thought to have been placed on top of a wooden pin and spun around.
Schist and limestone
Left:
Spinning Disk with two Birds
From Saqqara, tomb of Hemaka
1st dynasty, reign of Den
(JE 70160)
Right:
Disk decorated with geometric motifs
From Saqqara, tomb of Hemaka
1st dynasty, reign of Den
(JE 70162)
NMEC National Museum of Egyptian Civilization, Cairo
This was photographed from a bridge called Ponte Vittorio Emanuele II. In Rome, you can see amazing sculptures like this one throughout the city. The whole city is like a giant museum.
In the 1960s many Nubian temples were in danger of being submerged under the rising waters of the Assuan Dam that was under construction and completed in the 70s. Museo Egizio took part in an international rescue operation led by Unesco. Temples to be rescued and relocated included the temples of Derr and Gherf Hussein.
Both temples were built by Ramesses II during the 19th dynasty. The temple located in Gherf Hussein was built by the Setau, Viceroy of Nubia and was partially cut into the rock so only the freestanding parts could be relocated during the Unesco project. The temple was dedicated to Ptah, Ptah-Tenen, Hathor and above all to Pharaoh Ramses II who had elevated himself to godhood.
An avenue of ram-headed sphinxes led from the Nile to the first pylon, which like the courtyard beyond is also free-standing. The courtyard is surrounded by six columns and eight statue pillars. The entrance to a peristyle court is decorated with colossal Osiris statues. The rear portion of the building which is 43 m in depth was carved out of rock and follows the structure of Abu Simbel with a pillared hall featuring two rows of three statue pillars and, curiously, four statue recesses, each with divine triads along the sides. Beyond the hall lay the hall of the offering table and the barque chamber with four cult statues of Ptah, Ramesses, Ptah-Tatenen and Hathor carved out of the rock.
The origin of the temple models is unclear but they are believed to have been made by Jean-Jacques Rifaud, a friend of the General Consul of France in Egypt, Bernardino Drovetti. The collections of Museo Egizio are based on Drovetti's collection, which he sold to the Italian Kingdom of Savoy in 1823. The collection was brought to Turin in the same year.
Wood, plaster
19th century
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
Borobudur, or Barabudur, is a 9th-century Mahayana Buddhist Temple in Magelang, Central Java, Indonesia
Statue of Kaemked, the funerary priest of the noble Urirni, who was overseer of the Treasury and Prophet of the sun temples of Userkaf and Neferirkare. This statue was discovered in the tomb of Urirni with other servant statues accompanying their master in the Afterlife.
Painted limestone
From Saqqara
5th dynasty
CG 119
Egyptian Museum, Cairo
Model of pottery building divided into three sections with small wall-mounted statues - similar to Osirion ones.
Pottery
Provenance Al-Qurnah
BAAM 810
Antiquities Museum of Bibliotheca Alexandrina
This wooden box represents a typically Egyptian shrine or naos with its tapering walls. All four sides are covered with a layer of plaster featuring painted coloured scenes.
The first scene represents the falcon god Horus spreading its wings and standing on the symbol of the sky. His head is surmounted by the sun disk. On each of his wings appears an ostrich feather, the sign of Maat (justice and cosmic order). In the below register appears the Djed pillar of the god Osiris above the two horns of the cow and the two plumes of Amun and flanked by goddesses Isis and Nephthys facing each other. All these scenes are coloured in red, yellow, green and white.
The naos is covered with a flat lid guarded by a figurine of a mummified falcon, whose head is equipped with a hole in which was, most probably, fixed the feather headdress - a characteristic depiction of Sokar, patron god of the Memphite necropolis, who is often shown in this position on the roof of the tomb of Osiris. Thus, the shrine is associated with the famous Osireion.
The foot of the walls is protected by a continuous enclosure rendered by the panelled serekh (palace façade) pattern, while its upper part is decorated with a kheker (stylized bundles of reeds) frieze.
Wood
Provenance Gamhoud, Beni Sueif
Roman era, 1st to 2nd cent. AD
BAAM 618
Antiquities Museum of Bibliotheca Alexandrina
This elaborate container was used to hold perfumed oils and ointments and was found in the burial chamber between the first and second shrines. The container is in the form of the hieroglyph sema meaning union. The two figures at the sides, representing the god of the Nile, knot the heraldic plants of Upper and Lower Egypt to the pot. The overall composition reproduces the emblem meaning 'the union of the Two Lands' often seen on the throne in statues of the pharaohs.
JE 62114
Egyptian Museum, Cairo
A statue depicting a man grinding grain that would be used to make bread that was a mainstay of the Egyptian diet.
Wood
Old Kingdom, 6th dynasty
Provenance Saqqara
NMEC National Museum of Egyptian Civilization, Cairo
One thing that I was dying to see in the Valley of Fire was the petroglyphs. There's just something about viewing ancient art that makes me giddy inside. I guess I'm just a hopeless geek. Plus I love thinking about the lives of the people who made them. Most of the petroglyphs I saw were much higher than I could climb but these particular ones were within a fairly easy amble up some red rocks. It was difficult to get a good angle on them so this was the best I could do. I loved how they all are holding hands. The placards in the Valley of Fire said that there was no interpretation of the symbols available.
P.S. That blurry bit on the last figure on the left is not due to my lens, it's how it appears on the rock.
A quartzite statue of the priest Padiamenopet shows him as a scribe seated cross-legged on the ground. His right hand is shown as if he held a reed pen (now missing) to write on the papyrus unrolled across his lap.
25th dynasty
From Karnak
Egyptian Museum, Cairo
Funerary equipment of Sennedjem
New Kingdom, 19th dynasty
Tomb of Sennedjem TT1, Deir el-Medina
NMEC National Museum of Egyptian Civilization, Fustat Cairo
At first, I thought coming into the Vatican Museum -- there would only be works of art that has something to do with Christianity. It wasn't. The museum is a treasure of sculptures, artworks and paintings that dates back to the ancient world. This particular hall is a collection of several marble statues and sculptures.
The Hall of Statues
Vatican Museum
Vatican City
Rome, Italy
The coffin has been decorated in the typical Late Period style where the space is divided into horizontal scenes and vertical text columns. The decorations are intricate for example, below the usekh necklace painted under the face, one can find the Sky goddess Nut, and below her a depiction of a sacrificial ceremony. In the ceremony, the deceased sits to the right, accompanied by a group of gods: Osiris, Isis, Nephthys, the four sons of Horus, and probably Thoth to the left.
Late Period
Valley of the Queens, tomb of Prince Khaemwaset QV 44
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
The wooden anthropoid coffin of a man called "Aba son of Ankh Hor", ruler and governor of Upper Egypt and the Head of the treasury.
The coffin is fully decorated in the shape of a mummy resembling Osiris with the upturned ceremonial false beard and a wig. The eyes are inlaid with ivory and ebony. Iba wears a large multicoloured necklace, and the sky-goddess Nut appears on the chest area. The goddess Isis with wide-spread wings is portrayed on the feet, while the goddess Nephtys appears at the head. The three goddesses offer protection to the deceased. The coffin lid is also decorated with texts from the Egyptian Book of the Dead and the base shows hieroglyphic inscriptions.
Organic material, sycamore wood
Late Period, 26th Dynasty, Saite Period
Provenance Upper Egypt, Luxor (Thebes), West Bank, Qurna
BAAM 829
Antiquities Museum of Bibliotheca Alexandrina
A collection of fertility figurines made of pottery representing women illustrated in a non-realistic form based on highlighting the areas related to fertility in the body. Fertility figurines were usually found in tombs dating back to the age of Badari (5500-4000 BC) to ensure the new birth of the deceased.
Antiquities Museum of Bibliotheca Alexandrina
Bovine-legged beds dating from the Predynastic Period onward have been found in the funerary context all over Egypt. In the Middle Kingdom coffins appear that seem to combine the rectangular coffins of that time with the lion bier. It is merely a logical development to add feline heads to the already lion-legged beds. In the Greco-Roman Period, they are no longer simple coffins or beds but combine features of both. (Ancient Egyptian Coffins, Strudwick & Dawson)
Upper floor, gallery 21
Unfortunately, I have no information whatsoever of this bed or the coffin.
Egyptian Museum, Cairo
The ibis bird was one of the most widely worshipped animals in Ancient Egypt. A huge number of ibis mummies dating from the Late and Greco-Roman Period bear witness to the great devotion to the god Thoth, usually depicted as an ibis-headed man and worshipped as the god of writing and knowledge.
Organic material, linen
Late Period
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
This piece of the mosaic was discovered in the al-Shatby quarter in 1892 and was used as a floor in the banqueting room (Triclinium) of a rich man's house in ancient Alexandria. This floor was decorated with floral motifs made of large pieces of coloured marble. It is one of the oldest known mosaic pieces in Egypt.
Marble
Ptolemaic Period
2nd century BC
Alexandria
NMEC National Museum of Egyptian Civilization, Fustat Cairo
This elaborate container was used to hold perfumed oils and ointments and was found in the burial chamber between the first and second shrines. The container is in the form of the hieroglyph sema meaning union. The two figures at the sides, representing the god of the Nile, knot the heraldic plants of Upper and Lower Egypt to the pot. The overall composition reproduces the emblem meaning 'the union of the Two Lands' often seen on the throne in statues of the pharaohs.
JE 62114
Egyptian Museum, Cairo
This group statue shows a seated woman holding four children, three standing and the fourth sitting on a cushion on her lap. The posture of a nurse and child, or children, was a popular one in private sculpture, although it also appeared in royal statuary. The standing prince and two princesses are naked and have only a lock of hair on their heads, which shows that they are younger than the prince who is sitting on her lap. He is wearing a kilt and holding a royal handkerchief. All four are wearing the heart amulet as well as bracelets inlaid with cornelian.
Painted limestone
18th dynasty, no provenance
(JE 98831)
NMEC National Museum of Egyptian Civilization, Fustat Cairo
The statue rests on tall and solid bases decorated with a group of cartouches, such as the Hyksos king, Nehesy, King Ramses II and Merenptah of the 19th dynasty, and King Pseusennes I of the 21st dynasty, but through the features, they were attributed to King Amenemhat III of the 12th dynasty.
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Fine ostrich feather fan of ivory, the handle inscribed with the names of the king. The peculiar shape minimizes the motion of the hand.
18 dynasty, tomb of Tutankhamun, KV 62
Egyptian Museum, Cairo
The BA Antiquities Museum is the first among all archaeological Museums in the world that is located within a library.
The Museum's collection documents various epochs of Egyptian civilization dating from the Pharaonic era up to the Islamic period, including the Greek civilization that came to Egypt with the conquest of Alexander the Great. It was followed by the Roman and Coptic civilizations before Islam established itself in Egypt.
The collection comprises about 1322 artefacts.
Bibliotheca Alexandrina
Cartonnage is a type of material used in Ancient Egyptian funerary masks from the First Intermediate Period to the Roman era. It was made of layers of linen or papyrus covered with plaster.
Egyptian Museum, Cairo
This was a no trespassing area at this time. Good thing they turned on the lights. I don't know what's behind the corner up ahead. This is as near as I can go.
Vatican Museum Library
Apostolic Palace
Vatican City
Rome, Italy
Mummy of a woman with a portrait
2nd century AD
Fayum mummy portraits showed the deceased as in life. The details of hairstyle, jewellery and clothing help to date these portraits and provide information about their rank and status.
This woman has beautiful golden earrings and several necklaces.
Egyptian Museum, Cairo
With the right set up and software, a shot like this can take less than 5 minutes to complete, which makes our quality numismatic photography affordable. This F-15 grade uncertified British Crown sells for a little more than $200.
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1845 Great Britain Crown
SPECIFICATIONS
Composition: Silver
Fineness: 0.9250
Weight: 28.2760g
ASW: 0.8409oz
Melt Value: $13.76 (5/15/2020)
DESIGN
Obverse: Head left
Obverse Legend: VICTORIA DEI GRATIA
Reverse: Crowned arms within branches
Reverse Legend: BRITANNIARUM REGIBA FID: DEF:
NOTES
Ruler: Victoria
Artists who have made black paintings include Paul Bilhand, Kasimir Malevich, Barnet Newman, Ad Reinhardt, Josef Albers, Robert Rauschenberg, Alan McCollum, Anish Kapoor, me...and, eventually no doubt, Damien Hirst.
uk.pinterest.com/pin/401805597987485550/
In other news :
Anish Kapoor provoked the fury of fellow artists by acquiring the exclusive rights to the blackest black in the world.
Known as Vantablack, the pigment is so dark that it absorbs 99.96 percent of light. The color is produced by the UK firm Surrey NanoSystems and was developed for military purposes such as the painting of stealth jets.
The Indian-born British artist has been working and experimenting with the “super black” paint since 2014 and has recently acquired exclusive rights to the pigment according to reports by the Daily Mail.
The material is so dark it makes crinkled aluminum foil appear flat.
“It’s blacker than anything you can imagine,” Kapoor told BBC radio 4 in September 2014. “It’s so black you almost can’t see it. It has a kind of unreal quality.”
The artist clearly knows the value of this innovation for his work. “I’ve been working in this area for the last 30 years or so with all kinds of materials but conventional materials, and here’s one that does something completely different,” he said, adding “I’ve always been drawn to rather exotic materials.”
However, Kapoor’s decision to withhold the material from fellow artists has sparked outrage across the international artists community.
Group in limestone with two representations of Ramses II, kneeling face to face and holding what appears to be a kind of altar.
The summit of this one presents a cavity or was fixed some object of worship, probably an image of the solar boat with the god Khepri, perhaps in gold or in silver. The altar, whose sides carry the cartouches of Ramses II, rests on the head of a character with high arms. The king's two kneeling representations bore scarabs on their heads, indicating that Ramses II was identified with the god Khepri.
The motif of the scarab, either large or small, carved in high relief on the head of the pharaoh is found on a small number of royal statues. All of these statues are attributed to kings of the Ramesside Period, with only one exception, a statue from the late phase of the Eighteenth Dynasty.
The inscriptions on a group statue of Ramesses II with a scarab on the head of the king contain mainly the names and epithets of Ramesses II associated with Atum, Re-Horakhty, Khepri and Geb, without any clarification of the role or the religious symbolism of the scarab.
The religious symbolism of a scarab sculpted on the top of a royal head was new in royal statuary of the New Kingdom, especially in the Ramesside Period. It signified the wish to
be reborn after death, a renewal. The power of Khepri was transferred to the pharaoh as a guarantee of a prosperous and renewed Egypt. The king was identified with the sun god and as such, he was regenerated overnight, just like the daily rising of the morning sun. It is noticeable that the kings of the New Kingdom, especially of the 19th and 20th dynasties, preferred this concept endowing the kings with the role of the Creator God, and therefore also with that of the god Khepri, and used it in their iconography.
(A Fragmentary Statue of Ramesses II with a Scarab on the Head, Mahmoud Kassem, Institute of Archaeology, University of Warsaw, 2006)
Karnak, 19th dynasty
Egyptian Museum, Cairo
The apron is formed of a belt of tiny faience beads in a geometric pattern. The two semi-oval pieces were probably the clasp and may have been covered with a plate bearing the name of Neferuptah. This apron was probably placed around the abdomen of the mummy of the princess, over the bandages.
Blue frit and faience
Middle Kingdom, 12th dynasty
Tomb of Neferuptah, Hawara
(JE 90189)
NMEC National Museum of Egyptian Civilization, Fustat Cairo
This statue represents one of the protective goddesses that were found in the tomb of king Amenhotep II. They were responsible for protecting the body of the king in his afterlife journey. It represents Meretseger in the form of the winged Cobra.
Meretseger, a Cobra goddess dwelling on the mountain overlooks the Valley of the Kings in western Thebes. During the New Kingdom Meretseger had great authority over the whole Theban necropolis area. She can appear as a coiled cobra or as a cobra with a female head and an arm projecting from the front of the snake’s hood.
Her name translated as ‘she who loves silence’, aptly descriptive of a deity protecting secluded royal tombs.
Wood
18th dynasty, New Kingdom
Tomb of Amenhotep II, Valley of the Kings
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Cow represented standing in a thicket of papyrus, alternating umbels and buds engraved in hollow on both sides of the plinth, which connects it to the base.
Provenance: excavations of the temple of Ramesses II at El-Sheikh Ibada
19th dynasty
JE 89613
Egyptian Museum, Cairo
La Galleria Subalpina è una delle gallerie commerciali della città di Torino.
Progettata da Pietro Carrera nel 1873 e inaugurata il 30 settembre 1874 deve il suo nome alla Banca Industriale Subalpina che si assunse l'onere della costruzione. La galleria, collocata tra Piazza Castello e Piazza Carlo Alberto, è lunga cinquanta metri, larga quattordici e alta circa diciotto. Presenta elementi decorativi sia in stile rinascimentale che barocco ed è percorsa per tutta il suo perimetro da una balconata.
Lo spazio della galleria era, fino a che la capitale del Regno d'Italia non venne trasferita a Firenze, occupato dal Ministero delle finanze.
Al suo interno oggi si trovano vari locali commerciali tra i quali il caffè storico Baratti & Milano, una galleria d'arte, una libreria antiquaria e un cinema.
The Subalpine Gallery is one of the commercial malls of the city of Turin.
Designed by Pietro Carrera in 1873 opened 30th September 1874. It owes its name to the Industrial Bank Subalpina who assumed the burden of the building. The gallery, located between Piazza Castello and Piazza Carlo Alberto, is fifty meters long, fourteen meters wide and about eighteen meters high. It features decorative elements in both Baroque and Renaissance style and it's sourrounded throughout the whole perimeter by a balcony.
The gallery space was occupied by the Ministry of Finance until the capital of the Kingdom of Italy was moved to Florence.
Today there are several business premises including the historic café Baratti & Milano, an art gallery, an antiquarian bookstore and a cinema.
WIKIPEDIA
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Commemorative Issue Coin
Reverse
Eagle with snake in talons, denomination below
Lettering:
DEUTSCHES REICH 1913
* DREI MARK *
Obverse
Figure on horseback surrounded by people
Lettering:
DER KÖNIG RIEF UND ALLE ALLE KAMEN ·
MIT GOTT·FÜR KÖNIG UND VATERLAND
17-3-1813
Edge
Lettering: GOTT MIT UNS
Translation: GOD WITH US