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This gilded wooden box takes the form of a rectangular chest supported on simple square feet and closed with a vaulted lid in imitation of the earliest shrines of Upper Egypt.
Two large button-like knobs in blue faience, one on the curved part of the lid and the other in the centre of the upper part of the front, were used to fasten the casket using a cord tied around them.
The decoration is rich and elegant, with two colours dominating the overall effect. A chequered frame runs around the main figurative panels and creates an attractive contrast with the bright blue faience inlays on the gilded surfaces.
The decoration in the long side panels consists of a series of five royal cartouches set between uraei surmounted by the solar disc. In the cartouches, the king's birth name, Tutankhamun, alternates with his coronation name, Nebkherure. These same two cartouches are also found in the panels of the front and rear short sides. Here they are placed centrally and flanked by the protective figures of Heh, holding symbols denoting millions of years, arranged symmetrically either side.
Valley of the Kings, Tutankhamun's tomb KV62
18th dynasty
JE 61476
Egyptian Museum, Cairo
The tomb of Prince Khaemwaset, son of Ramses III, who ruled during the 20th dynasty, was discovered in 1903 when Museo Egizio's archaeological expedition was excavating in the Valley of Queens. Grave robbers had been using the tomb as storage. The floor was strewn with mummies and coffins, including this coffin of Nesimendjem.
The coffin has been decorated in the typical Late Period style where the space is divided into horizontal scenes and vertical text columns.
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
This gilded wooden box takes the form of a rectangular chest supported on simple square feet and closed with a vaulted lid in imitation of the earliest shrines of Upper Egypt.
Two large button-like knobs in blue faience, one on the curved part of the lid and the other in the centre of the upper part of the front, were used to fasten the casket using a cord tied around them.
The decoration is rich and elegant, with two colours dominating the overall effect. A chequered frame runs around the main figurative panels and creates an attractive contrast with the bright blue faience inlays on the gilded surfaces.
The decoration in the long side panels consists of a series of five royal cartouches set between uraei surmounted by the solar disc. In the cartouches, the king's birth name, Tutankhamun, alternates with his coronation name, Nebkherure. These same two cartouches are also found in the panels of the front and rear short sides. Here they are placed centrally and flanked by the protective figures of Heh, holding symbols denoting millions of years, arranged symmetrically either side.
Valley of the Kings, Tutankhamun's tomb KV62
18th dynasty
JE 61476
Egyptian Museum, Cairo
This mummified body covered with a fine funeral net of faience beads characteristic of the Late Period has clearly gone through a highly sophisticated mummification process.
The visceral organs have been removed and the body has been anointed with perfumed oils before being wrapped in bandages and shrouds, the latter of which has been well preserved. On the chest where the heart is located lies a scarab amulet which is a reference to rebirth as is the turquoise colour of the faience net. The yellow colour represents the sun and also furthers the deceased's reawakening in the afterlife.
Organic material, linen, faience
3rd Intermediate Period
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
Late Period, 25th-26th dynasties
Thebes, Valley of the Queens, tombs of Khaemwaset, QV 44
or Setherkhepeshef, QV 43
The exhibition 'Nefertari and the Valley of the Queens' from the Museo Egizio, Turin' in the Hermitage Museum, St Petersburg, 2017
Statue of Administrator of Amun temple, Hapi, reading from a papyrus roll.
Sandstone
New Kingdom, 19th dynasty, reigns of Seti I and Ramses II
Karnak temple
NMEC National Museum of Egyptian Civilization, Fustat Cairo
The deities pictured between the mummy bandages incised on the body assist Ibi in his journey in the Beyond.
Greywacke
26th dynasty
From TT36, Cemetery of El-Assasif, Thebes
Cat. 2202/1 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
Senenmut served as a close advisor and architect for the ruler, Hatshepsut. He was trusted enough to be the tutor of Hatshepsut's daughter, Neferura, who is shown with Senenmut in this statue. Senenmut designed and oversaw the construction of Hatshepsut's memorial temple at Deir el-Bahri and other buildings in Karnak temple.
Granite
18th dynasty
Karnak temple
(JE 36923 & CG 42116)
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Maat was the daughter of the sun god Atum whom he created to set order in the universe, therefore ancient Egyptians believed that Maat is the symbol of justice and the cosmic order that controls all creatures as a symbol of absolute perfection.
When the king presents the statuette of Maat as an offering to the gods, it means that he is the one who establishes justice and the divine order to preserve the universe's stability.
New Kingdom, 20th dynasty
Reign of Ramesses III
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Inside the wooden, beautifully shaped coffin is a mummified fish wrapped in linen. The text of the coffin tells that the fish (Mehyt in Egyptian language) was given as a gift to the lion goddess Mehyt, which is an ancient pun. The fish species was also sacred because one of its representatives was believed to have eaten the penis of Osiris, the god of Afterworld.
Wood, organic material, linen
Greek Period
Provenance Thebes (?)
Cat. 2396/1,2 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
The subjects of the side and end panels pertain to the chase, their compositions being friezes of animals, and the king and queen fowling and fishing. As to the contents of the casket, when deposited in the tomb, we can only make a conjecture.
Valley of the Kings, Tutankhamun's tomb KV62
18th dynasty
JE 62059 - SR 1/82 - 580
Egyptian Museum, Cairo
The gold-covered footboard of bed no 466 of Tutankhamun with its string-mesh mattress. The central panel is decorated in relief with papyrus clumps, plant designs and sema-tawy (binding of the Two Lands) motif.
Egyptian Museum, Cairo
This mummified body covered with a fine funeral net of faience beads characteristic of the Late Period has clearly gone through a highly sophisticated mummification process.
The visceral organs have been removed and the body has been anointed with perfumed oils before being wrapped in bandages and shrouds, the latter of which has been well preserved. On the chest where the heart is located lies a scarab amulet which is a reference to rebirth as is the turquoise colour of the faience net. The yellow colour represents the sun and also furthers the deceased's reawakening in the afterlife.
Organic material, linen, faience
3rd Intermediate Period
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
Statue of the sphinx, which has no history clearly. In the Ptolemaic period, it was common to place small sphinx statues in front of the temples to be used for protection and guarding.
Limestone
Ptolemaic Period
Kom Ombo
NMEC National Museum of Egyptian Civilization, Fustat Cairo
property of the Brooklyn Museum of Art, New York
for educational purpose only
please do not use without permission
Five vertical lines of hieroglyphic inscriptions terminate with two figures of the god Anubis as a jackal.
Wooden coffin from the Ptolemaic Period
Provenance Minya, Sharuna (El-Kom El-Ahmar)
BAAM 608
Antiquities Museum of Bibliotheca Alexandrina
The group represents King Ramesses the Third, the god Horus and the god Seth.
Ramesses III is wearing the white crown of Upper Egypt with the royal cobra on the front, a wide collar of many rows, and the royal pleated kilt, the shendyt, with a long belt hanging down to the bottom of it. He is holding the ankh sign of life in his right hand and the roll of power in his left hand. His left leg is forward.
The statues of the gods, Horus and Seth, are in the same posture with the left leg forward; they are each holding the ankh, and wearing the Egyptian pectoral and the shendyt kilt. Each god has placed one hand on the crown of the king, performing the Coronation of Ramesses III.
20th dynasty
Pink granite
From Medinet Habu
JE 31628
Ground floor, room 14
Egyptian Museum, Cairo
The ancient Egyptians believed that the other world contained a celestial river equivalent to the Nile, where the gods travelled over it in their boats and spirit crossed it on their way to resurrection. Therefore models of boats were placed within the funerary furniture to depict the deceased's journey to the cemetery and its equivalent to the other world.
NMEC National Museum of Egyptian Civilization, Fustat Cairo
The tomb of Prince Khaemwaset, son of Ramses III, who ruled during the 20th dynasty, was discovered in 1903 when Museo Egizio's archaeological expedition was excavating in the Valley of Queens. Grave robbers had been using the tomb as storage. The floor was strewn with mummies and coffins, including this coffin of Nesimendjem. The coffin has been decorated in the typical Late Period style.
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
Delicadamente grabada en la pata de un banco de piedra, esta cabeza sobrenatural, representada de perfil, deletrea el nombre de un lugar mítico. Si bien su lectura completa es incierta, el topónimo corresponde a un abrevadero pedregoso. Las referencias al agua incluyen aletas, plantas acuáticas y algunos de los atributos del dios de la lluvia Chahk. Una marca dentada en forma de V en la coronilla de la cabeza indica que este lugar mítico se abrió, probablemente para dar origen a deidades.
The arched harp (shoulder harp) was a common musical instrument in ancient Egypt and was often decorated with colourful motifs on its outer surface. Here you can distinguish the figures of the animals despite the bad picture.
Harps, together with percussion instruments, were very popular and were used in both sacred and secular contexts.
Wood
New Kingdom, 19th dynasty
Provenance Luxor
NMEC National Museum of Egyptian Civilization, Fustat Cairo
The ancient Egyptian noble Ibi (sometimes transliterated as Aba or Abe) was chief steward of the God's Wife of Amun, Nitocris I, during the reign of the 26th Dynasty pharaoh Psamtik I. He was buried in a large tomb, TT36, located in the El-Assasif district of the Theban Necropolis
Greywacke
26th dynasty
From TT36, Cemetery of El-Assasif, Thebes
Cat. 2202/1 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
The winged woman portrayed on the chest represent the sky goddess Nut.
This coffin lid, counted among the finest examples of coffins from the Late Period, was made for Taditratawy, "the mistress of the house".
25th dynasty
From the Valley of the Queens QV 43 or QV 44
S. 5243 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
Block from the tomb of the 'Great Head of the Army' called Iwrkhy of Syrian origin. He began his military career under King Sethi I and succeeded to reach a high position in the time of King Ramses II and was responsible for the administrations of all the estates of the king: the Ramesseum.
The block was found buried in the sand beside the northeast wall of the room named 'Statue Room' because it contained on both sides of its western wall on each side of the door a base of statues.
Description of the block
It shows a scene in two registers. The upper one shows two chariots driven each by two men with two horses leading each of them. The chariots are separated by a waterway filled with crocodiles.
In the lowes registers, an army formed of five men of different nationalities according to their features and hair dress. The three first one to the left might represent the mDAyw police force formed of Nubians. They are carrying weapons (swords and sticks with shield). Following them a group of donkeys: two at the front with a child on the back of one of them and two at the back with a boy crouching on the back of one of them.
A man holding a long stick is leading the donkeys who seem to be crossing the waterway on a flat area beneath the water with crocodiles.
This block is an important discovery since it depicts for the second time the waterway with crocodiles which appeared for the first time on the relief of the northern outer wall of the hypostyle court at Karnak where Sethi I is depicted coming back victorious from a campaign against the SAsw Bedouins in Sinai.
The waterway in this relief is clearly filled with crocodiles and represents - like the one in Karnak - the fortress of Tharou, as clearly mentioned in the relief on the left side.
From the tomb of the 'Great Head of the Army' called Iwrkhy of Syrian origin
Saqqara, south of Unas Causeway
Season 2017/2018
Egyptian Museum, 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 gilded, wooden statuette of King Tutankhamun stands on a wooden boat that is painted to represent a papyrus boat.
Its details are picked out in gold leaf.
JE 60710
Egyptian Museum, Cairo
Ibi's tranquil characteristically Saitean smile has been skillfully engraved in black greywacke sandstone.
Three holes are bored under the beard and another in the scepter. Their purpose must have been to make it easier to move the object, which weighs more than a ton.
Greywacke
26th dynasty
From TT36, Cemetery of El-Assasif, Thebes
Cat. 2202/1 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
The seat and the backrest of the armchair Armchair of Queen Hetepheres I are made of natural wood. They are surrounded by a simple wooden frame covered with gold leaf with high arms in gilded wood. The backrest of the chair is reinforced at the rear by a central support.
The space between the arms, the seat, and the backrest is decorated with an elegant floral design, the dominant decorative element of the armchair. The floral design is composed of three papyrus flowers whose stems are tied with a band.
The front legs are shaped like lions’ paws, based on the ancient concept of protection given by lions. The front pair is taller than the rear pair so that the seat inclines slightly toward the rear.
Old Kingdom, 4th dynasty, reign of King Khufu
From the tomb of queen Hetepheres I, G 7000X Giza Plateau
(JE 53263)
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Gilded bed from Tutankhamun's tomb. The central panel of the footboard is decorated in relief with papyrus clumps, plant designs and sema-tawy (binding of the Two Lands) motif.
Egyptian Museum, Cairo
This coffin lid, counted among the finest examples of coffins from the Late Period, was made for Taditratawy, "the mistress of the house".
Four scenes are depicted on the coffin: the weighing of the heart, the mummification conducted by Anubis, the deceased sailing in a sun ship while worshipping Ra, and eight seated gods. The winged woman portrayed on the chest represent the sky goddess Nut.
The colours of the paintings have been well preserved; complex patterns in yellow, green, blue and red paint constitutes a riotously colourful but pleasant whole.
The coffin lid of the mistress of the house, Taditratawy has been found in the tomb of the Valley of the Queens, which does not belong to her. The Egyptians who lived later buried their deceased in the graves of the royal family and sometimes even re-used the coffins found in the graves.
25th dynasty
From the Valley of the Queens QV 43 or QV 44
S. 5243 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
In wall reliefs, pharaohs were often depicted fighting bravely on the battlefield and skillfully handling the bow and arrow. Indeed the arrow as an object saw immense development during Dynastic Egypt both in terms of materials and shape. These arrowheads were of the types most commonly used during the Late Period. They were made of bronze and had a shape resembling a willow leaf.
The last dynasties of ancient Egypt were very warlike. These arrows are from the 26th dynasty when Psamtek I conquered Egypt back to the Egyptians from the conquerors of the 25th dynasty who came from Nubia.
Bronze
26th dynasty
Provenance unknown
Cat. 6267/1-2 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
This statue is one of three statues of king Merenptah which were recently found south of Mit Rahina the site of the ancient city of Memphis. The statue depicts the king standing in the company of Mut, the goddess of Thebes, the patron of kingship and the consort of the god Amun-Ra, the king of the gods.
Red granite
New Kingdom, 19th dynasty
Mit Rahina
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Selket with a scorpion on her head watches over the intestines with Qebehsenuf. Selket is also known as Serket, Serqet, Selqet, or Selcis.
Four goddesses with open arms watch over the organs of the sovereign. They are identified by the hieroglyphs on their heads and on the low reliefs of the sanctuary walls. Each goddess faces and is associated with one of the four children of Horus whose duty was to preserve the king's organs: the goddess Isis watches over the liver with Imset, Nephthys the lungs with Hapi, Neith the stomach with Duamutef and Selket the intestines with Qebehsenuf.
Characteristics typical of the art of Amarna can be seen in the slight rotation of the statues' heads (compared to the frontal tradition of Egyptian statuary), the long neck stretching forwards and the naturalistic modelling of the bodies.
Detail of Canopic Shrine of Tutankhamon
Wood lined with stucco and gilded, glass paste
Tomb of Tutankhamon, KV 62
Valley of the Kings
JE 60686
Egyptian Museum, Cairo
This sculpture of a jackal-headed deity was probably used as an amulet or a pendant. Objects of this type were usually associated with Anubis, the god of mummification but the features of the sculpture could also refer to Input, Anubis's less known female counterpart.
Wood
Late Period-Greek Period
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
Tutankhamun's tomb contained 413 shabti figures, only relatively few of which were inscribed. Of the total number, 236 were found in the Annexe, 176 in the Treasury and just one in the Antechamber. They had originally been kept in wooden caskets with inlays of beaten gold or bronze. The shabtis were made from a variety of materials, including wood that was gessoed and painted, and stone.
The larger shabti figures varied in form, size and attributes. They were differentiated above all by their headdresses (the Red Crown of the North, the White Crown of the South, the nemes, the afnet headcloth and a type of cylindrical helmet) and inscriptions. The statuettes portray a figure with youthful features.
Valley of the Kings, Tutankhamun's tomb KV62
18th dynasty
Egyptian Museum, Cairo
A group of "Ushabti" statues, which are small funerary statues usually found in cemeteries, also known as the "Shawabti" meaning "Respondents". The purpose of these statues in the tomb is to work in the afterlife rather than the owner of the tomb.
Hieroglyphic texts are usually carved on the statues bearing the name of the owner of the tomb or excerpts from the Book of the Dead.
Antiquities Museum of Bibliotheca Alexandrina
This funerary boat and some smaller items were found in the tomb of Amenhotep II.
Tomb of Amenhotep II, KV35
18th dynasty
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Fetishes of Anubis
The peculiar image of an animal carcass hanging from a post and mounted on a plinth, known as the emblem or 'fetish' of Anubis. Its symbolism is something of a mystery.
"The Imiut was a fetish associated with embalming and the gods Anubis and Imiut (who was largely absorbed by Anubis). It represented a headless, stuffed animal skin (usually a great cat or a bull) hung on a pole planted in a pot. The tail of the animal skin has either a papyrus blossom or a lotus blossom attached to it. Although the fetish was often made with a real animal skin wrapped in bandages, stylised versions were also popular. A set of beautiful golden Imiut fetishes were discovered in Tutankhamun´s tomb and the fetish makes a few appearances in Hatshepsut´s mortuary temple.
The fetish was sometimes known as the “Son of the hesat-Cow”, referring to the cow that gave birth to the Mnevis bull which was associated with the cow goddess Hesat (one of the goddesses named as the mother of Anubis). It was clearly an ancient symbol, already in widespread use by the First Dynasty.
Its purpose and meaning of the object have not been confirmed, but it is thought that fetish was linked to the bandages used in mummification and it was apparently important in the celebrations of the “heb sed” (royal jubilee) festival."
- copyright J Hill 2010
Egyptian Museum, Cairo
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
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
Maiherpri was noble of Nubian origin. He probably lived during the rule of Thutmose IV. Amongst his titles were Child of the Nursery and fan-bearer on the right side of the king.
One of Maiherpri's anthropoid coffins - made too large to fit within his second coffin and discarded, unused, in the centre of the burial chamber.
The golden face of the coffin has inlaid eyes with black and white jasper. The wig is adorned alternately with blue and gold stripes. The multicoloured necklace has five rows of pearls. On the sides of the coffin, is separated strips with inscriptions and Wadjet-eyes.
18th dynasty, from Valley of the Kings - KV36
CG 24003
Upper floor, room 17
Egyptian Museum, Cairo
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
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The Banco de Tamaulipas operated from 1902-15 and most of its issues are scarce except for some released in 1914. This Cinco Peso banknote was made in the USA by the American banknote company of New York. This banknote is from the J Arnold Collection.