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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
A mummy of a woman wrapped in linen bandages and covered with five pieces of cartonnage.
One of the pieces 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
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
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
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
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
Collection of writing tools from the Pharaonic period. Pens and pen cases, each with two cavities for pens.
Wood
Provenance Saqqara, Al-Bersha
Antiquities Museum of Bibliotheca Alexandrina
Because of their love for makeup, mirrors were very popular in ancient Egypt. The Egyptian mirrors were made by beating a lump of bronze until it was as thin as a sheet of cardboard. Then it was polished to make it shiny enough to reflect the light from your face. Sometimes these mirrors had handles made out of bone or ivory.
The woman's face with cow's ears represents the goddess Bat and is also an emblem of the goddess Hathor.
Besides being functional, mirrors developed religious and funerary uses. Their circular shape, brightness, and reflective quality suggested to the Egyptians the face of the sun and its life-giving powers and thus the mirror became a symbol of regeneration and vitality.
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 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
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
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 wood coffin belonging to King Seti I was among the cachette of mummies at Deir el-Bahri. It shows the king in the Osirian position, his arms placed over his chest. A hole in the forehead suggests the former presence of another cobra, probably made of gold. The hole in the chin also indicates that a false beard had most likely been attached, also, likely to have been gold. Several lines of the cursive hieratic script on the lid reveals that the tomb of Seti I was restored during the sixth year of the reign of King Herihor, in the 21st dynasty. In the 16th regnal year of the same king, the mummy of Seti I was first moved to the tomb of a princess, before being transported by king Panedem I to the tomb of Amenhotep II. Finally, it became part of the cachette of Deir el-Bahri.
Wood, Western Thebes
19th dynasty, reign of Seti I
Upper floor, gallery 46
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
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
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
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
The scene on the backrest depicts the king relaxing on his throne with his feet resting on a low stool with cushions. He is wearing a short wig surmounted by a composite crown and the typical pleated robe of the time, which left his prominent stomach uncovered, a feature typical of the Amarna period.
Ankhesenamun stands in front of the king, rubbing ointment on the left shoulder of her young consort. The queen is leaning slightly forward and in her left hand she holds the cup containing the unguent. She is wearing a wig cut diagonally at the back and surmounted by a crown featuring the emblem of the goddess Hathor (a diadem of uraei on which a solar disc rests, enclosed within a pair of horns, and from which two tall plumes project). The queen's pleated robe in silver features a subtle play of transparencies around her legs.
Behind the queen is a small table with long legs on which a necklace has been placed. The entire scene is enclosed within an elaborate frame of floral motifs, open in the upper centre section where the Aten solar disc is situated.
18th dynasty
Valley of the Kings, Tomb of Tutankhamun, KV62
JE 62028
Egyptian Museum, Cairo
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
A woman's death mask made in the Greco-Roman period. The decorations show both traditional Egyptian and northern influences.
Linen, plaster
Greco-Roman Period
Provenance Asyut
S. 14723/1 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
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
Upon his arrival from the other world, the sun god purifies himself in the eastern horizon before his shining in Heaven, where the four gods Horus, the Lord of the North, Seth, the Lord of the South, Dewen-anwy, the Lord of the east, and Thoth, the Lord of the West, pour the water of life and power over him from the four corners of the universe.
NMEC National Museum of Egyptian Civilization, Fustat Cairo
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
Amun, the god of the air, was one of the eight primordial Egyptian deities. Amun's role evolved over the centuries; during the Middle Kingdom he became the King of the deities and in the New Kingdom he became a nationally worshipped god. He eventually merged with Ra, the ancient sun god, to become Amun-Ra.
The Karnak Temple was the main center of his worship.
Diorite statue
New Kingdom, 18th dynasty
Karnak
NMEC National Museum of Egyptian Civilization, Fustat 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.
This wood coffin belonging to King Seti I was among the cachette of mummies at Deir el-Bahri. It shows the king in the Osirian position, his arms placed over his chest. A hole in the forehead suggests the former presence of another cobra, probably made of gold. The hole in the chin also indicates that a false beard had most likely been attached, also, likely to have been gold. Several lines of the cursive hieratic script on the lid reveals that the tomb of Seti I was restored during the sixth year of the reign of King Herihor, in the 21st dynasty. In the 16th regnal year of the same king, the mummy of Seti I was first moved to the tomb of a princess, before being transported by king Panedem I to the tomb of Amenhotep II. Finally, it became part of the cachette of Deir el-Bahri.
Wood, Western Thebes
19th dynasty, reign of Seti I
Upper floor, gallery 46
Egyptian Museum, Cairo
The exhibition 'Nefertari and the Valley of the Queens' from the Museo Egizio, Turin' in the Hermitage Museum, St Petersburg, 2017
Canopic box of Tameket, who was the wife of Khonsu, son of Sennedjem
New Kingdom, 19th dynasty
Tomb of Sennedjem, TT1
Deir el-Medina, Thebes
NMEC National Museum of Egyptian Civilization, Fustat Cairo
The inner cover portrays Sennedjem in his worldly attire, wearing a long white linen kilt.
Wood, pigment
New Kingdom, 19th dynasty
Tomb of Sennedjem TT1, Deir el-Medina, Thebes
(JE 27308)
NMEC National Museum of Egyptian Civilization, Fustat Cairo
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
The coffin of Nedjemankh is a gilded ancient Egyptian coffin from the late Ptolemaic Period. It once encased the mummy of Nedjemankh, a priest of the ram god Heryshaf.
The anthropoid coffin represents the deceased with plaited divine beard and broad collar with solar raptor terminals wearing the White crown of Upper Egypt decorated with two feathers.
NMEC National Museum of Egyptian Civilization, Fustat Cairo
This painted wooden door is decorated on both sides. It sealed the innermost chamber of Sennedjem's tomb.
On the external face on a yellow background is a scene in two registers, with a hieroglyph representing the sky at the top.
In the upper register, Sennedjem, his wife Iyneferty and his daughter Irunefer are standing before Osiris and the goddess of justice Maat, to whom they are paying respectful homage.
In the lower register, the sons of Sennedjem are portrayed in the same pose before Ptah-Sokar-Osiris and Isis. Sennedjem and his eldest son have their hands raised in an act of adoration. The two women hold a vase with a long neck while the other six sons each hold a lotus flower with a long stem.
New Kingdom, 19th dynasty
Tomb of Sennedjem TT1, Deir el-Medina
NMEC National Museum of Egyptian Civilization, Fustat Cairo