An Egyptian wood mummy mask for a man
Third Intermediate - Late Period, circa 1069-332 B.C.
The face with traces of gesso, the facial features carved with the eyes and brows detailed in black paint, with large ears, a false beard, the wig with black paint remaining. More
An Egyptian polychrome wood figure of a female offering-bearer
Middle Kingdom, 11th-12th Dynasty, circa 2133-1786 B.C.
Shown striding forward wearing a close fitting long garment, the left arm raised to steady the offering basket carried on her head, with ochre coloured skin, the details of the face finely painted. More
An Egyptian limestone wall-painting fragment from the tomb of Ken-Amun
Thebes, New Kingdom, 18th Dynasty, Reign of Amenhotep II, circa 1427-1400 B.C.
The decoration composed of polychrome on plaster, depicting a young man in profile with a short Nubian hairstyle with locks of black hair falling at the forehead and cheeks, the skin in reddish brown with finely-painted brow and eye, the broad collar painted in blue, green and pinkish-cream, the background ochre, set in a perspex frame,
Kenamun was the overseer of the cattle of Amun and chief steward of Amenhotep II. His mother, Amenemipet, was a wet nurse of Amenhotep II.
The tomb was known of from the early 19th Century and was visited by Champollion and Lepsius among others. In the late 1920s the Metropolitan Museum of Art, New York, fully documented and published the content of the tomb with drawings by N. de Garis Davies.
This fragment depicts a man with a Nubian hairstyle, which was only in fashion among soldiers under Amenhotep II.
A large Egyptian alabaster shabti
New Kingdom, late 18th - early 19th Dynasty, circa 1400-1200 B.C.
The male figure shown in daily dress with added painted details, wearing a duplex wig, the arms crossed over the chest, wearing pleated drapery with short sleeves and a long kilt projecting over the feet, a now faded column of hieroglyphic text down the front of the kilt. More
An ancient Egyptian shabti was a funerary figurine used in Ancient Egypt. Ushabtis were placed in tombs among the grave goods and were intended to act as servants or minions for the deceased, should he/she be called upon to do manual labor in the afterlife. The figurines frequently carried a hoe on their shoulder and a basket on their backs, implying they were intended to farm for the deceased. They were usually written on by the use of hieroglyphs typically found on the legs. More
An Egyptian limestone relief fragment
New Kingdom, late 18th Dynasty, circa 1300 B.C.
16.5cm x 15cm
Carved in relief with the seated figures of Ptah, titled 'King of the two lands' and 'Great Seat' by the hieroglyphs above, and 'the Goddess of the West', called 'Hathor, mistress of the West', with part of a large lotus flower in front of Ptah, probably from the top of an offering, the columns of hieroglyphic text: 'For the Ka of ...' (the name of the deceased is missing).
In Egyptian mythology, Ptah is the god responsible for the fashioning and maintenance of the physical universe, of Memphis, god of craftsmen and architects. In the triad of Memphis, he is the spouse of Sekhmet and the father of Nefertum. He was also regarded as the father of the sage Imhotep.
Ptah is the Creator god par excellence, by his willfulness, thought the world. It was first conceived by Thought, and realized by the Word. Ptah conceives the world by the thought of his heart and gives life through the magic of his Word. That which Ptah commanded was created, with which the constituents of nature, fauna, and flora, are contained. He also plays a role in the preservation of the world and the permanence of the royal function.
Profile of the god Ptah - Relief of the small temple of Hathor at Memphis, nineteenth dynasty
In the Twenty-Fifth Dynasty, the Nubian pharaoh Shabaka would transcribe on a stela known as the Shabaka Stone, an old theological document found in the archives of the library of the temple of the god at Memphis. This document has been known as the Memphite Theology, and shows the god Ptah, the god responsible for the creation of the universe by thought and by the word.
Ptah is the patron of craftsmanship, metalworking, carpenters, shipbuilders, and sculpture. From the Middle Kingdom onwards, he was one of five major Egyptian gods with Ra, Isis, Osiris and Amun. More
Hathor from the crypt at Dendera Temple
(Photo by Yvonne Buskens, 2010)
Hathor is an Ancient Egyptian goddess who personified the principles of joy, feminine love, and motherhood. She was one of the most important and popular deities throughout the history of Ancient Egypt. Hathor was worshiped by royalty and common people alike in whose tombs she is depicted as "Mistress of the West" welcoming the dead into the next life. In other roles she was a goddess of music, dance, foreign lands and fertility who helped women in childbirth, as well as the patron goddess of miners.
Hathor is commonly depicted as a cow goddess with horns in which is set a sun disk with Uraeus. Twin feathers are also sometimes shown in later periods as well as a menat necklace.
The Ancient Greeks sometimes identified Hathor with the goddess Aphrodite. More
Egyptian limestone figure of a concubine
New Kingdom, c. 1570 - 1075 BC
Egyptian limestone figure of a concubine, New Kingdom, c. 1570 - 1075 BC, wearing a Nubian wig and head band, her arms pendant at her sides. She lays on the lower portion of a sarcophagus, antique collection notes in black ink. Her features are detailed with remnants of black pigment in the eyes and on her hair. From Heliopolis (Matarieh), H: 3 3/4 in (9.5cm). 'Concubine' figures are found in the tombs of both men and women and probably served various functions such as providing the deceased with a partner in the afterlife or fertility for the living. An inscription on the thigh of one of these figures states 'May a birth be granted to your daughter She', indicating this particular figurine was placed in a man's tomb by his daughter who he could help her conceive. More
Egyptian sandstone relief
Egyptian sandstone relief, Ptolemaic Period, c. 332 - 30 BC, with a large solar disk flanked by uraei, several hieroglyphic characters around, including one in the form of a facing human head, which is beautifully carved. The signs are deeply carved with much detail. A substantial amount of original pigment remains with the facing head sign. A very attractive display piece with a very clever custom magnetic stand. 14 in x 7 ¾ in x 2 ½ in. More
EGYPTIAN SANDSTONE RELIEF
EGYPTIAN SANDSTONE RELIEF - Fragment of Architectural Sunk Relief showing the head of a Queen and part of an accompanying inscription, possibly Egypt – New Kingdom, 18th Dynasty, Amarna Period, reign of Akhenaten, ca. 1353-1336 B.C. Roughly 8 1/2" x 10" x 3". Worn. More
Egyptian stucco figurine of Isis with child Horus
An Egyptian stucco figurine of Isis with the child Horus, c. 1200 - 332 BC, mold made, the goddess is depicted in classic pose seated on her throne, wearing a long tight-fitting gown and a headdress consisting of a solar disk and ram's horns, suckling the child Horus who sits on her lap in her arms, H: 4 7/8 in (12.5cm). More
Egyptian Intaglio with Cleopatra as Isis
51-30 BC. An iron bezel with inset gold cameo depicting queen Cleopatra, as the goddess Isis, wearing tripartite wig, vulture headdress with uraeus and sun disc between cow horns; broad collar around neck. 1.25 grams, 21mm (1/4") From the Dolman collection; acquired in the early 1920s. Cleopatra VII Philopator was the last member of the Ptolemaic dynasty to rule over Egypt and was famously associated with both Julius Caesar and Marc Antony before she committed suicide after her defeat by Octavian Caesar, later the Emperor Augustus, at the battle of Actium. Cleopatra was the only member of the dynasty to speak the native Egyptian language and strongly identified herself with the Egyptian religion, patronising important temples such as that dedicated to the goddess Hathor at Denderah. She closely identified herself with the goddess Isis, and her coinage hailed her as the ‘New Isis,’ and she was actively worshipped as such in Egypt. After the ‘Donations of Alexandria’ she was never in public without her Isis robes. Caesar had even recognised Cleopatra as Isis in a triumph held in Rome and dedicated a gold statue of her as Isis in the temple of Venus Genetrix in the Forum. Religion was an integral part of Cleopatra’s political propaganda, for the sect of Isis had spread throughout the ancient Mediterranean world, and to be ‘internationally’ recognised as the goddess gave Cleopatra greater political prestige in the East. When Antony became a crucial part of her plans, Cleopatra’s propaganda ensured that he was revered by Greek Egyptians as Dionysus and by native Egyptians as Osiris, the ‘king of kings’. More
Egyptian Pectoral Plaque with Isis and Mut
Ptolemaic Period, 332-30 BC. A carved steatite trapezoidal pectoral plaque with holes to the upper edge and rear face; raised reeded border with winged sun-disc above profile high-relief figures of Isis wearing the horned headdress of Hathor and Mut in feathered headdress. 124 grams, 85mm (3 1/2"). More
An Egyptian cartonnage panel, Late Period
An Egyptian cartonnage panel, Late Period, c. 664 - 30 BC, depicting a large winged scarab above, a seated winged deity below, each flanked by two mummiform deities (Sons of Horus) and bordered by multicolored lines and rosettes. W: 11 2/5 in (29cm), H: 9 1/5 in (23.3cm). More
Acknowledgement: Ancient Resource,
Images are copyright of their respective owners, assignees or others