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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
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
A mummy of a woman wrapped in linen bandages and covered with five pieces of cartonnage. The first piece is a mask that covers the face, on which are represented the facial features: the eyes, nose, mouth and ears. Two curls of hair flank the mask and the face is gilded.
The second piece is a pectoral, decorated with a scarab spreading its wings. Each wing terminates with the hawk head and above it the solar disc.
The third piece covers the abdomen and bears a representation of the goddess Nut sitting and spreading her arms, which take the form of a bird's wing. Each wing terminates in a hand holding the plume of justice of the goddess Maat.
The fourth piece is rectangular in shape, framed with a band of geometrical decorations, which encloses a vertical line of hieroglyphic inscriptions.
The fifth piece covers the feet. Its top is painted with a drawing of the feet, and its bottom with the soles of sandals in colour.
Mummy
Cartonnage and linen bandages
From Roman Period
Provenance Deir el-Bersha, Minya
BAAM 615
Antiquities Museum of Bibliotheca Alexandrina
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
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
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.
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
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
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
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
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
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
Ancient Egyptian Stool
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
The Naophorousor or Naos (Shrine) carrier statue is one of the prominent forms of late-period sculptures that emphasized the owner’s piety and connection to the gods.
This statue depicts the priest Psamtik-Seneb kneeling while carrying the naos of the god Atum, the procreator of all the gods and Lord of Heliopolis.
Limestone
Late Period
From Tanis
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
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
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
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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
Bronze, lapis lazuli, gold
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
The decorated hieroglyphs of the coffin list, among other things, sacrifices to Osiris and many other gods: 'Let them accept a funeral sacrifice of thousands of gifts, thousands of bulls, thousands of geese, thousands of incense holders, thousands of fabrics, and all the good and pure objects that were made for Ankhefenamun, the construction master of the house of Osiris and Amun.'
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
9.10.2020-21.3.2021
From the collection of the National Museum of Finland,
14460:660 Cat 173
This painted wooden door sealed the innermost chamber of Sennedjem's tomb. Its decoration shows Sennedjem and his wife sitting inside a pavilion in front of a senet board on which a number of red and white pieces are set. To the right is a table crowded with offerings, and a number of jars and plants are arranged underneath.
Below this scene is eleven columns of hieroglyphic text recording Chapters 72 and 17 of the Book of the dead.
These two chapters deal with the freedom of movement permitted to the dead. The first records a magic formula that allows the deceased to pass through the door of the tomb, and to leave or enter without encountering any danger. The second describes a series of actions that the deceased is permitted to perform, including the possibility of playing senet. The game was indeed associated with the promise of eternal life.
New Kingdom, 19th dynasty
Tomb of Sennedjem TT1, Deir el-Medina
(JE 27303)
NMEC National Museum of Egyptian Civilization, Fustat Cairo
(meglio in grande - best on large)
La Piazzetta Reale vista dalla Torre del Tesoro di Palazzo Madama.
Essa si affaccia sulla più grande Piazza Castello, ed è parte della maestosa scenografia disegnata dall'architetto Vittozzi.
La piazzetta fornisce la necessaria profondità di campo per rendere solenne al visitatore la facciata del Palazzo Reale.
A questo contribuisce anche la grande cancellata, eretta in loco di un grande porticato poi distrutto, dal Palagi, ultimata con le pregevoli statuee dei due Dioscuri, fuse da Abbondio Sangiorgio.
The Royal Square wiew from the Treasure Tower of Madama Palace.
It overlooks the largest Castle Square, and is part of the majestic scenery designed by Vittozzi.
(fonte: Wikipedia)
The square provides the necessary depth of wiew to give the visitor the solemn facade of the Royal Palace.
To this also contributes to the huge gate, built on site of a large porch and then destroyed by Palagi, completed with the valuable statues of the two Dioscuri, cast by Abbondio Sangiorgio.
(source: Wikipedia)
Despite condemning the old ways used in preserving the bodies of martyrs by Saint Athanasius in his letters between 379-380 AD mummification or rather desiccation continued during the Byzantine period. Until the 7th century, mummies were found in many Egyptian sites including Fayum. The technique was based on adding large quantities of Natron salt around the body (Salt Bath) and within the layers of shrouds before placing the body in the tomb. Instead of extracting the viscera and preserving them in the Canopic Jars of earlier times, Natron salt was also deposited inside the bodies. The style of the lozenge-shaped bandage of the mummy pinpoints a period of transition from pagan to Christian traditions, in addition to the painted cross in black ink on the chest.
Organic material and textile
Byzantine Period, 4th-6th centuries
Provenance Fayum
Coptic Art in the Graeco-Roman Museum
Alexandria Egypt
Another version of the triumphal theme is found on the lid of the chest which is decorated with two hunting scenes in the desert: the sovereign on his moving chariot shoots arrows into wild animals typically hunted in the desert: lions, antelopes, gazelles, hyaenas, wild monkeys and ostriches symbolizing Egypt's enemies.
Valley of the Kings, Tutankhamun's tomb KV62
18th dynasty
JE 61467
Egyptian Museum, Cairo
The figures of captives were made of different materials to be used in the ritual "Protecting the Land and the King" inside the temple. Thus, spells were recited on them and then tied with ropes and placed into the fire to destroy the enemies of Egypt. Moreover, they were buried in the corners of temples or forts to eliminate their evil as well.
New Kingdom, 19th dynasty
Tura el-Asmand/Mud
NMEC National Museum of Egyptian Civilization, Fustat 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
Need numismatic photography for your auctions, books, advertising or promotion? Check out our huge online gallery of numismatic images and get a quote today at HipShot photography
A beautiful 2020 1oz British Gold Bullion Coin.
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
The Djed-pillar or "backbone of Osiris" is a symbol that signifies stability and permanence. In Egyptian art, the pillar is a popular motif because it was believed to guarantee a steady and secure afterlife for the deceased. During a funeral ceremony, the priest would place a golden djed-amulet upon the neck of the mummy while reciting a spell of the Book of the Dead: "The one whose neck this amulet is placed on shall become (...) a skilful akh spirit.
Faience
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
One of the most important objects in a tomb was naturally the coffin that would protect its owner's mummy and incidentally preserve important information and research material for modern-day Egyptologists. During the New Kingdom coffins were often human-shaped. A deceased could have as many as three nested coffins.
Nakhtkhonsueru's wooden meticulously crafted coffin is representative of a typical Late Period coffin style. The maker has spread a layer of white plaster on the wooden lid and executed the paintings on the plaster. The coffin was discovered in the tomb of Prince Khaemwaset, son of Ramses III, among several other coffins. According to the inscriptions on the coffin, Nakhtkhonsueru was an important Theban person, "the Lord of the Necropolis at the temple of Amun".
25th dynasty
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
Contrary to what one would think, clothes and shoes were not recovered from within houses. Partly they were found in tombs and, in much greater quantity, in dumps.
From the exhibition of 'Unexpected treasures - 30 years of excavations and cooperation in Tebtynis (Fayum)'
Egyptian Museum, Cairo
A collection of amulets represented Bes, god of dancing, music and all kinds of pleasure, also worshipped as the protector of children and pregnant women. He is represented here as the dwarf with curved legs resting his hands on his thighs.
Antiquities Museum of Bibliotheca Alexandrina
This painted limestone statue is considered one of the oldest statues made in the form of the sphinx for one of the ancient Egyptian queens.
It is attributed to queen Hetepheres II, a daughter of King Khufu or the wife of King Djedefre, a royal princess of Egypt during the fourth dynasty, who became the queen of Egypt.
The statue was found at the site of the pyramid of Djedefre at Abu Rawash. He was a half-brother of hers who married her to become pharaoh after her earlier husband, Kawab, died.
This rare form statue of the queen may indicate her assumption of the throne, which indeed expressed the Egyptians, appreciation for women, and their reverence for her as a mother, a sister, a wife, a ruler and a goddess as well.
Limestone and plaster
Old Kingdom, 4th dynasty
Abu Rawash
(JE35137)
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Cat statue
Bronze
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
The upper part of the coffin is decorated with a funerary mask. The chest area is adorned with a seven-row pectoral composed of floral and geometrical motifs. Beneath it, is a figure of the goddess Mut spreading her wings. Five vertical lines of hieroglyphic inscriptions terminate with two figures of Anubis as a jackal. On both sides of the coffin, there is a representation of Agathodaimon, the benevolent and good-hearted spirit, who takes the shape of a snake and whose head is surmounted by the Double Crown of Upper and Lower Egypt.
Wooden coffin from the Ptolemaic Period
Provenance Minya, Sharuna (El-Kom El-Ahmar)
BAAM 608
Antiquities Museum of Bibliotheca Alexandrina
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