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Wooden cosmetic boxes
The lids of boxes attached at the back open to reveal compartments for cosmetics. The box could be secured by winding twine around the two knobs at the front.
The elaborate decorations of cosmetic boxes were intended to imitate more expensive boxes inlaid with ebony, ivory, and perhaps cedar or mahogany.
NMEC National Museum of Egyptian Civilization, Fustat Cairo
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
Grinding the wheat on the plate to prepare the flour
Wood
Old Kingdom, 6th dynasty
Provenance Saqqara
NMEC National Museum of Egyptian Civilization, Cairo
A shrine made from alabaster - a stone that the Egyptians quarried in the caves at Hatnub in Middle Egypt - lay inside the monumental shrine made of gilded wood found in the Treasure Room.
The form of the alabaster shrine resembles the model of Predynastic temples on southern Egypt. It is fixed to a gilded wooden sled that was supposed to facilitate the movement of the object.
The inside of the shrine is divided into four compartments that held the solid gold sarcophaguses that contained Tutankhamun's internal organs. The compartments are closed by alabaster lids that bear the image of the king; his face is framed by the nemes headdress while vulture and a uraeus serpent, the emblems of royal power, appear on his forehead.
Relief images of Isis, Nephthys, Neith and Selket - identified by the hieroglyphic marks on their heads - appear on the corners of the shrine with their arms open to protect the body parts of the pharaoh. The inscriptions engraved on the sides of the shrine are the formulas intoned by the goddesses to further protect Tutankhamun.
The base of the shrine is covered with thin gold leaf decorated with a line of djed and tit symbols in alternating pairs; these are the emblems associated with Osiris and his consort Isis respectively.
JE 60687
Egyptian Museum, Cairo
Table games were very much appreciated in ancient Egypt with the most popular being Senet. The game was for two people and played on a rectangular board with the upper surface divided into thirty squares; probably the game consisted of moving tokens around the board following the throw of small battens that corresponded to our modern dice. The lower surface of the board was used for playing the twenty-square game.
Tutankhamun had four senet boards of which the largest was the most lavish. The squares were inlaid with ivory and the board itself rests on a small frame with supports in the form of lion' paws and fitted with runners. The drawer on the short side was found empty and removed from its housing and, as the tokens were missing, it is supposed that they were made from a valuable material and stolen by the tomb thieves. The token shown in the picture belonged to other, less magnificent, boards.
During the New Kingdom, Senet took on a magical-religious value and in the introductory formula in Chapter 17 of the Book of the Dead, it was considered essential that the deceased played a game against an invisible opponent to ensure his survival.
Valley of the Kings, Tutankhamun's tomb KV62
18th dynasty
JE 62059 - SR 1/82 - 580
Egyptian Museum, Cairo
A shrine made from alabaster - a stone that the Egyptians quarried in the caves at Hatnub in Middle Egypt - lay inside the monumental shrine made of gilded wood found in the Treasure Room.
The form of the alabaster shrine resembles the model of Predynastic temples on southern Egypt. It is fixed to a gilded wooden sled that was supposed to facilitate the movement of the object.
The inside of the shrine is divided into four compartments that held the solid gold sarcophaguses that contained Tutankhamun's internal organs. The compartments are closed by alabaster lids that bear the image of the king; his face is framed by the nemes headdress while vulture and a uraeus serpent, the emblems of royal power, appear on his forehead.
Relief images of Isis, Nephthys, Neith and Selket - identified by the hieroglyphic marks on their heads - appear on the corners of the shrine with their arms open to protect the body parts of the pharaoh. The inscriptions engraved on the sides of the shrine are the formulas intoned by the goddesses to further protect Tutankhamun.
The base of the shrine is covered with thin gold leaf decorated with a line of djed and tit symbols in alternating pairs; these are the emblems associated with Osiris and his consort Isis respectively.
JE 60687
Egyptian Museum, Cairo
The majority of the pottery had been manufactured locally in the Fayum region, if not in the village itself.
From the exhibition of 'Unexpected treasures - 30 years of excavations and cooperation in Tebtynis (Fayum)'
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)
Mummy bed of Nedjemib, called Tutu
Late Ptolemaic Period
from Akhim
SR/ 11359/4
Upper floor, gallery 21
Egyptian Museum, Cairo
Part of a tomb wall with high reliefs depicting the deceased lovingly embraced by his wife. The wife's skin is painted in pale yellow, while her husband is depicted in dark brown. The man wears a short white kilt and a wig, a large collar and a bracelet around each wrist. Above the figures is a hieroglyphic inscription describing the wife as beloved.
Limestone
New Kingdom
Provenance El-Asasif at El-Korna, Thebes
BAAM 831
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 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
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. The bow takes the shape of the head of a strange creature.
Two or more boats were usually included in the burial: at least one representing the crew sailing upstream with the prevailing winds and placed facing south, the other equipped for rowing north with the current of the river (like the one we have here) and placed with the bow facing north.
Wood
11th dynasty
BAAM 620
Antiquities Museum of Bibliotheca Alexandrina
Yuya and Tuya were the parents of Tiy, the Great Royal Wife of Amenhotep III and they had the honour of being buried in the Valley of Kings. Their tomb (KV46) was opened by James E. Quibell in 1905 and found with filled sarcophaguses and grave goods up to the ceiling. The tomb was not pristine and it had been entered by tomb robbers at least two occasions, perhaps three. All small objects of value, such as jewels, metal objects, perfumes and cosmetics, were missing. The thieves, who had also stripped the jewellery from the mummies, had disturbed the eternal sleep of the tomb's owners but their bodies had not been destroyed and their internal organs were found still in the canopic vases.
The Valley of the Kings was the royal Theban necropolis of the New Kingdom (18th-20th dynasties) and it does not only contain royal remains but also those of members of the royal family and important functionaries. These are characterized by the simplicity of the architecture: they are modest in size and without decoration, in design being nothing more than shaft tombs or with one or two descending corridors with steps that lead directly to the burial chamber.
18th dynasty
From the Valley of the Kings, KV46
Tomb of Yuya and Tuya
CG51008 - JE95316-SR93 and CG51009 - JE95254
Upper floor, gallery 43
Egyptian Museum, Cairo
This is a 1990 sculpture of Arnaldo Pomodoro, placed in the Vatican courtyard that was built in 1506. The Sphere brings about contrasting meanings, and ideas. And adds the contrast of modern and ancient artifacts in this Vatican courtyard.
Cortile della Pigna
Apostolic Palace - Vatican Museum
Rome, Italy
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.
The sides of the throne are decorated with a baboon; on the right side, he is holding a cosmetic pot of kohl eyeliner, while on the left he is holding a special mirror, called ankhet, which was associated with the ritual of rebirth and with sun symbolism.
Painted limestone
18th dynasty, no provenance
(JE 98831)
NMEC National Museum of Egyptian Civilization, Fustat Cairo
This is a miniature reproduction of the original Etruscan horse, housed in the Metropolitan Museum of Art. I bought this for my sister years ago.
I find him so regal, detailed, and simply beautiful.
For my Flickr groups…
Fragment of a stela shows King Amenhotep I seated on his throne, wearing a blue crown and holding the symbols of power and life. Behind him, his wife is seated on her throne, holding the symbol of life in her right hand, and placing her left on her husband's shoulder. In front of her, is an offering table with representations of papyrus and lotus plants.
Limestone
18th dynasty, reign of Amenhotep I
BAAM 832
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.
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 bust model of Tutankhamun is a unique artefact carved in wood, smoothed with gesso and painted. Gesso is a preparation of plaster and glue used as a surface for painting.
Although the body has minimal details and is without arms, the face is an accurate portrait of the young king who wears a flat crown with a uraeus or cobra.
JE 60722
Egyptian Museum, Cairo
Sennedjem was an ancient Egyptian artisan who lived in Set Maat (Place of Truth) and worked in the tombs of the Valley of the Kings during the reigns of Seti I and Ramses II of the New Kingdom. Workmen who lived there were called "Servants in the Place of Truth".
Wood, pigment
New Kingdom, 19th dynasty
Tomb TT1 Deir el-Medina, Thebes
NMEC National Museum of Egyptian Civilization, Fustat Cairo
In the upper part of the statue one can see the name of Pharaoh Psamtik I inscribed inside a cartouche or an oval line that encloses a hieroglyph. Writing the royal name inside a cartouche served to protect the bearer of the name from evil forces. The spelling on the statue is the most legible: "Son of Ra, Psamtik, may he live forever".
Psamtik I ruled during the 26th dynasty from 664 to 6610 BC. During his long reign, he expelled the Nubians, who had conquered Egypt, reunited the divided country and heralded Pharaonic Egypt into its last golden age.
Greywacke
26th 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.
NMEC National Museum of Egyptian Civilization, Fustat 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.
The sides of the throne are decorated with a baboon; on the right side, he is holding a cosmetic pot of kohl eyeliner, while on the left he is holding a special mirror, called ankhet, which was associated with the ritual of rebirth and with sun symbolism.
Painted limestone
18th dynasty, no provenance
(JE 98831)
NMEC National Museum of Egyptian Civilization, Fustat Cairo
God Khonsu's name is written in hieroglyphics on the statue of Khonsu.
Granite
New Kingdom, 18th dynasty
From the Temple of Khonsu at Karnak
(CG 38488)
NMEC 838
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Numerous boxes and caskets were found piled haphazardly in the western corner of the Antechamber, just as they had been left after the tomb had been ransacked by robbers in antiquity.
The containers were almost all rectangular in shape, with lids that were either flat or vaulted, or had triangular pediments.
With the exception of examples in calcite and reed, the majority were made of wood, inlaid with ivory, gold leaf, turquoise or glass paste. In many cases, a hieratic or hieroglyphic inscription indicated function and contents, followed by the name of the king and the ritual verse which wished for 'life, strength and health' for the king.
Valley of the Kings, Tutankhamun's tomb KV62
18th dynasty
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
These two painted cartonnage masks were found in the tomb of Sennedjem. The tomb of Sennedjem can be considered a collective because at least three generations of the same family were united in the same chamber.
The mask on the right side belongs to his wife, Iyneferti, the other one is a mask of a woman may be one of his daughters or his daughters-in-law.
The masks were placed over the mummified and wrapped face of the deceased in order to identify them and to protect the body within.
New Kingdom, 19th dynasty
Tomb of Sennedjem TT1
Deir el-Medina, Thebes
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Sokar was the ancient celestial god of the Memphis region. He was associated with craftsmanship, which is why he is often united with Ptah, the god of craftsmanship and the chief god of Memphis. These gods were joined by another god, Osiris. Since the New Kingdom Ptah-Sokar-Osiris became almost more popular than Osiris himself. Books of the Dead were often hidden inside Ptah-Sokar-Osiris statues.
Wood
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
Clappers are among the earliest percussion instruments in ancient Egypt. Clappers were used in all activities featuring music or singing, such as banquets, funerary processions, and rituals.
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Khonsu was the god of the moon and a member of the Theban Triad during the New Kingdom. He was depicted in the form of a young man carrying a moon disk over his head and a characteristic braid of youth. He was a symbol of the youth, vitality and vigor of the reigning king.
The features of the statue indicate that it dates back to the reign of Tutankhamun, as it bears the personal features of the king.
Granite
New Kingdom, 18th dynasty
From the Temple of Khonsu at Karnak
(CG 38488)
NMEC 838
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Coffin of Isis
New Kingdom, 19th dynasty
Tomb of Sennedjem TT1, Deir el-Medina
(JE 27309)
NMEC National Museum of Egyptian Civilization, Fustat Cairo
This is one of the coolest examples of this coin I have had the pleasure to photograph. Macedon, Greece, c. 167-149 BC.
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
Large silver tetradrachm minted under Roman occupation, Amphipolis mint. ΜΑΚΕΔΟΝΩΝ ΠΡΩΤΗΣ club of Herakles within oak wreath; thunderbolt to left, monograms above and below.
Reverse
Features a modern design by sculptor Emanuel Hahn, showing an Indian and a voyageur, a travelling agent for a fur company, paddling a canoe by an islet on which there are two wind-swept trees. In the canoe are bundles of goods; the bundle at the right has HB, representing the Hudson's Bay Company. The vertical lines in the background represent the northern lights.
Princess Neferwptah, Neferuptah or Ptahneferu (“Beauty of Ptah”) was the daughter of king Amenemhat III of the 12th dynasty. A burial for her was prepared in the tomb of her father at Hawara. However, she was not buried there, but in a small pyramid at Hawara. Her tomb was found intact in 1956 and still contained her jewellery, a granite sarcophagus, three silver vases and other objects. Objects belonging to her include a sphinx of black granite and the fragment of a statue found on Elephantine.
Neferuptah is one of the first royal women whose name was written inside a cartouche. Although she never had the title 'king's wife', she must have had a special status; it is possible she was regarded as a future ruler.
Her titles included a member of the elite, great of favour, great of praise and beloved king's daughter of his body.
The elements of Jewellery which were found and could be restored most probably to their original state consisted of :
1.-a necklace of gold, carnelian and beads
2.-a broad collar
3.-a pair of bracelets and a pair of anklets
4.-a girdle of disc beads with a hawk-pendant
5.-A funerary apron of faience and blue frit beads
Burial of Neferuptah in Hawara
Middle Kingdom, 12 dynasty
Hawara
NMEC National Museum of Egyptian Civilization, Fustat Cairo
This yellow coffin is from the period when the Egyptians ceased to build tombs and began to bury the dead in impressive coffins in communal graves. Painted on the coffins were illustrations that were originally meant for the walls of tombs.
Its occupant Ankhefenamun was one of the officials of the temple of Karnak. His title was Foreman of the Bearers of the Balanquin Shrine of the God in the Temple of Amun-Ra and as such he was quite an insubstantial figure. His wife, Tanetnebu, was a singer at the same temple.
New Kingdom, 21st dynasty
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
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 sacred bull catacombs at Heliopolis, Saqqara, and Armant were among the holy sites visited by pilgrims. During festivals, visitors used to lay votive stelae to mark their visit to these locations and to show their gratitude.
Limestone
Ptolemaic Period
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Paser appears in this statue carrying an altar topped by a ram's head, the symbol of Amun-Ra, Lord of Karnak.
Paser lived during the reign of Seti I, where he held the title of the sole companion of the king and held many positions as the royal palace advisor, the governor of the city of 'Thebes', and who receives the tribute of the foreign lands for the king. Then, during the reign of Ramses II, he became a judge, a seal bearer and a deputy of the king in Nubia, where he supervised the construction works of the temple of Abu Simbel. He also assumed the position of high priest and overseer of the Karnak temple until his death in the 25th year of the reign of Ramses II.
Paser is known from many monuments and statuary.
New Kingdom, 19th dynasty
Burial TT106 Thebes
Black granite
From Karnak, great temple cachette
(CG 42156 / JE 37388)
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Torino è la capitale del cosiddetto "Barocco Piemontese".
Verso la fine del XVI secolo, Torino era ancora racchiusa all'interno dell'antico impianto romano del castrum; pochi anni dopo, durante il regno di Carlo Emanuele I, la città divenne un importante centro barocco, punto di incontro delle tendenze romane e francesi.
(fonte: Wikipedia)
Turin is the capital of the "Piedmontese Baroque."
Towards the end of the sixteenth century, Turin was still enclosed within ancient Roman castrum plant, a few years later, during the reign of Carlo Emanuele I, the city became an important center of baroque, meeting point of Roman and French trends .
(source: Wikipedia)
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
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