This limestone head of a woman dates from the New Kingdom. Its remnants showcase a beautifully decorated wig, adorned with a headband and plait cascading down the back of her head. However, the piece has received much restoration work and has somewhat influenced how we see this piece in the modern age. This below is...
This round topped funerary stele of Tembu is carved in very low relief and brightly painted in red, yellow, blue, and black. The decoration comprises of two registers of offering scenes and a register of inscription on the bottom. The top depicts two Wadjet eyes flanking a shen-ring and water ripples with a bowl. Below...
This fascinating figure of a woman is beautifully carved from a piece of limestone and showcases a woman in her feminine nature. She holds one bust, and if you look closely, you can see the remnants of a baby, who she is suckling. She appears nude and is flanked by her kohl tube and personal...
Purchased in Cairo by Nicholas Tano in 1922, this Egyptian Alabaster goblet is formed and detailed in the shape of a lotus flower. Both the throne name, “Nefer-kheperu-Re, beloved of Re” and personal name of Amenhotep IV (later Akhenaten) are engraved on the side of the chalice, between two cartouches encircling the early titulary of...
This ostracon (British Museum. EA8505) was discovered in Deir el-Medina, the site of the famed Worker’s Village (Set Ma’at). The Worker’s Village housed the workmen and their families employed to construct nearby royal and aristocratic tombs. It is officially classified as a heritage site due to the large number of archaeological discoveries left by the...
This face, carved from wood (unknown at the present which type of wood), measures at 22.8cm and was purchased by the British Museum from the collection of the Somerset Lowry-Corry, 2nd Earl Belmore (1774–1841) in 1843. Originally, this wooden face was made to be attached to a coffin, alas, whether it ever was attached to...
A pregnant Queen Ahmose, with her daughter (and future ruler of Egypt) Hatshepsut in utero. This scene is depicted within the walls of Hatshepsut’s funerary temple Djeser-Djeseru (“Holy of Holies”) and documents the mythos of Hatshepsut’s divine conception and birth, therefore giving her divine-right to the throne of Egypt. It is known as the Birth...
In its entirety the relief showed Ay kneeling in worship with his family and surrounded by a long prayer inscribed in hieroglyphs. The style of Ay’s portrait is typical of the Amarna period in its naturalistic depiction of the narrow and bony face, long nose, and small, squinty eyes- features common to other surviving representations...
Musicians perform as the seminary priest offers libation. A harpist, flute and lute player can be seen performing a Harper’s Song. Interestingly, the Harper’s Song accompanying this scene within the Chapel of Pa-Aten-Em-Heb, has a somewhat agnostic lyric, telling the listener through song, that lamenting and worrying about an Afterlife is seldom constructive, and one...
This limestone fragment was once a part of a full scene that appears to be depicting the king’s procession (almost certainly, king Akhenaten) as he arrived at the temple. On the far left of the fragment, you can see the elbow and arm of a trumpeter, who blows his horn as women in translucent linens...
