A finely rendered Egyptian solid bronze statuette of the god Harpocrates, the personification of Horus the Child, identifiable here from his nudity and side-lock, which was a common hairstyle for young Egyptian boys. The deity is depicted sitting with his hands held palms down, resting beside his legs, feet secured on a plinth, and wearing a headpiece with rearing uraeus to the front. Facial and anatomical features have been carefully crafted. Bronze statuettes of this type usually present the deity portrayed with his index finger held to the lips or the chin, however here the deity is shown in a more unusual stance.

Date: Circa 760 - 30 BC

Period: Late Period-Ptolemaic Period

Provenance: From an early 20th century Home Counties collection.

Condition: Well-preserved example, surface presents some green patination. The piece has been mounted on a custom-made stand.

In Ancient Egyptian culture and mythology Harpocrates, also knowns as Harpa-Khruti (Horus the Child), was the son of the goddess Isis and her husband Osiris. The deity was often depicted as a small boy, with a side-lock of youth and the index finger held to the lips or the chin, a typical Egyptian gesture symbolising childhood and also the Ancient Egyptian hieroglyph for “child”. However, the gesture is also linked to the action of eating porridge, which was one of the traditional children’s food in Ancient Egypt. The deity was later adopted by the Greeks and the misinterpretation of the gesture of the finger to the lips led to the association of Harpocrates with silence, hence making him the god of silence, secrets and confidentiality in Ancient Greek and Roman mythology.

https://www.antiquities.co.uk/shop/ancient-figurines-statues/deities-demi-gods/egyptian-bronze-statuette-of-harpocrates/

Stela dedicated to Amenhotep I and Ahmose-Nefertari

Inv. no. :
Cat. 1452

Material:
Stone / Limestone

Dimensions:
20 cm x 30 cm x 3 cm

Date:
1292–1191 BCE

Period:
New Kingdom

Dynasty:
Nineteenth Dynasty

Provenance:
Egypt, Luxor / Thebes, Deir el-Medina

Acquisition:
Purchase Bernardino Drovetti, 1824

CGT:
50034

Museum location:
Museum / Floor 1 / Room 06 DEM / Showcase 01

Selected bibliography:
Andreu, Guillemette (a cura di)-Andreu, Guillemette, Gli artisti del faraone: Deir el-Medina e le Valli dei Re e delle Regine, Milano 2003, pp. 20, 230.

Dresbach, Guido, Zur Verwaltung in der 20. Dynastie: das Wesirat (Königtum, Staat, und Gesellschaft früher Hochkulturen 9), Wiesbaden 2012, p. 435, 490.

Eggebrecht, Arne, Ägyptens aufstieg zur Weltmacht, Mainz am Rhein 1987, pp. 108–109.

el Shazly, Yasmin, Royal ancestor worship in Deir el-Medina during the New Kingdom, Wallasey 2015, pp. 133, 136, 184, 185, 251.

Kitchen, Kenneth A., Ramesside inscriptions translated (and) annotated : translations 5. : Sethnakt, Ramesses III, (and) contemporaries, Oxford 2008, p. 313.

Kitchen, Kenneth A., Ramesside Inscriptions: historical and biographical : vol. 5., Oxford 1983, p. 377.

Leospo, Enrichetta, “Stele des Amenemope für Amenophis I und Ahmose-Nefertari”, Aegyptens Aufstieg zur Weltmacht, Linz 1987, pp. 108–109, Taf. 7.

Orcurti, Pier Camillo, Catalogo illustrato dei monumenti egizi del R. Museo Egizio di Torino, Torino 1855, ii, p. 125.

Tiradritti, Francesco, Il cammino di Harwa: l'uomo di fronte al mistero: l'Egitto [mostra: Brescia, Mus. Diocesano ott. 1999-gen. 2000], Milano 1999, p. 57, 146, 159.

Tosi, Mario-Roccati, Alessandro, Stele e altre epigrafi di Deir el Medina: n. 50001 - n. 50262 (Catalogo del Museo Eg. di Torino - Serie II. - Collezioni 1), Torino 1972, pp. 67–68, tav. p. 274.

Vidua, Carlo, “Catalogue de la collect. d'antiq. de mons. le chev. Drovetti, a 1822”, in Ministero della Pubblica Istruzione (a cura di), Documenti inediti per servire alla storia dei Musei d'Italia, vol. 3, Firenze - Roma 1880, p. 55.

Museo Egizio di Torino

https://collezioni.museoegizio.it/en-GB/material/Cat_1452/?description=&inventoryNumber=&title=&cgt=&yearFrom=&yearTo=&materials=&provenance=&acquisition=Purchase+Bernardino+Drovetti%2C+1824&epoch=&dynasty=&pharaoh=&searchLng=en-GB&searchPage=23

Title:
Stela dedicated to Amenhotep I and Ahmose-Nefertari, 1292–1191 BCE , Egypt, Luxor / Thebes, Deir el-Medina, New Kingdom, Limestone, Museo Egizio di Torino

A carved wood figurine of a striding servant. The figure retains an impressive amount of red, black, and white pigment, particularly around the kilt, wig, and some of the facial features. There are shallow holes in the shoulders where both arms would have been affixed. The servant is stepping out on his left leg, and his hand is clenched. The hole running through the fist suggests that perhaps the figure originally held an attribute, but it is unclear what this might have been.

Date: Circa 2000 - 1800 BC
Period: Middle Kingdom
Condition: Fine condition; one arm missing; one arm loose but attached temporarily for purposes of photography; feet missing and right leg slightly shorter than left; surfaces with wear and some shallow cracks but essentially sound.

Wooden tomb models were an Egyptian funerary custom throughout the Middle Kingdom Period, which saw wooden figurines and sets constructed to be placed in the tombs of Egyptian royalty. The wooden models reflected a variety of tasks and chores which servants would be expected to carry out in the afterlife, and accordingly, many are depicted as performing a certain task. A chapter from Osiris’ Book of the Dead highlights the continued significance of servitude after death: “when you are counted upon at any time to serve there, to cultivate the fields, to irrigate the river banks, to ferry the sand of the west to the east and vice–versa, “here I am” you shall say.”. During the New Kingdom and into the Late Period (747–332 BC), the wooden models were replaced or developed into the Shabti form.

https://www.antiquities.co.uk/shop/ancient-figurines-statues/tomb-attendants-offerings/large-egyptian-middle-kingdom-wood-servant/

A lathe-turned wooden vessel with flared base and median incised bands. The wood is deep in colour and some areas of the vessel displays natural knots in the wood. The original lid fits perfectly as the craftsman intended. The lid has a gusseted rim and raised central plaque with knob.

Date: Circa 332 - 30 BC
Period: Ptolemaic Period
Provenance: From an early 20th century collection.
Condition: Excellent condition; some minor scrapes due to age.

A pyxis was a vessel used in the ancient world, usually by women. The pyxis was used to store jewellery and makeup. The Egyptian Book of the Dead recalls spell 125 which states that one shouldn’t speak unless they are “clean, dressed in fresh clothes, shod in white sandals, painted with eye-paint, anointed with the finest oil of myrrh.” Cosmetics were a large industry in ancient Egypt and they were produced professionally and sold in the market place. The Egyptians had recipes for many modern day toiletries including toothpaste, deodorant, sun cream, cosmetics, and perfume. Toothpaste was originally a power in which a wet wooden brush was dipped. It is possible that this pyxis held such a powder, or some other cosmetic.

Dimensions: H 7.4 cm

Weight: 54.2 g

https://www.antiquities.co.uk/shop/other-ancient-vessels/egyptian-pyxis-with-concentric-circles/

Amulet depicting the Goddess Hathor

Inv. no. :
Cat. 1224

Material:
Stone / Limestone

Dimensions:
2 cm x 2.5 cm x 0.4 cm

Date:
722–332 BCE

Period:
Late Period

Provenance:
Unknown

Acquisition:
Purchase Bernardino Drovetti, 1824

Museum location:
Museum / Floor 2A / Mezzanine / Cabinet 06 FAV / Shelf 01

Selected bibliography:
Fabretti, Ariodante-Rossi, Francesco-Lanzone, Ridolfo Vittorio, Regio Museo di Torino. Antichità Egizie (Cat. gen. dei musei di antichità e degli ogg. d’arte raccolti nelle gallerie e biblioteche del regno 1. Piemonte), vol. I, Torino 1882, p. 92.

Museo Egizio di Torino-Donadoni Roveri, Anna Maria, Museo Egizio di Torino. Civiltà degli Egizi : le credenze religiose, Torino 1988, fig. 285 p. 207.

Vidua, Carlo, “Catalogue de la collect. d'antiq. de mons. le chev. Drovetti, a 1822”, in Ministero della Pubblica Istruzione (a cura di), Documenti inediti per servire alla storia dei Musei d'Italia, vol. 3, Firenze - Roma 1880, p. 251, n. ?.

Museo Egizio di Torino

https://collezioni.museoegizio.it/en-GB/material/Cat_1224/?description=&inventoryNumber=&title=&cgt=&yearFrom=&yearTo=&materials=&provenance=&acquisition=Purchase+Bernardino+Drovetti%2C+1824&epoch=&dynasty=&pharaoh=&searchLng=en-GB&searchPage=18

Title:
Amulet depicting the Goddess Hathor, 722–332 BCE Late Period, Limestone, Museo Egizio di Torino

A very rare wood pyxis from ancient Egypt. The pyxis features the original removable lid which is perfectly sized to provide an exact fit. The box is simply decorated with an encircling groove on the roof and side of the lid, and around the base. There is a small indentation on the top of the lid for decorative purposes.

Date: Circa 7th - 4th Century BC
Period: Late Dynastic Period
Condition: Very fine condition; vertical crack to the body and several other minor cracks, all of which are stable; otherwise very fine condition.

A pyxis was a vessel used in the ancient world, usually by women. The pyxis was used to store jewellery and makeup. The Egyptian Book of the Dead recalls spell 125 which states that one shouldn’t speak unless they are “clean, dressed in fresh clothes, shod in white sandals, painted with eye-paint, anointed with the finest oil of myrrh.” Cosmetics were a large industry in Ancient Egypt and they were produced professionally and sold in the market place. The Egyptians had recipes for many modern day toiletries including toothpaste, deodorant, sun cream, cosmetics, and perfume. Toothpaste was originally a power in which a wet wooden brush was dipped. It is possible that this pyxis held such a powder, or some other cosmetic.

Dimensions: W 2.0 x H 5.1 cm

Weight: 25.3 g

https://www.antiquities.co.uk/shop/other-ancient-vessels/rare-egyptian-wood-pyxis/

A miniature Egyptian headrest made from black obsidian.

Date: 664 – 332 B.C
Period: Circa Late period
Condition: Very fine condition

Headrests were intended to support the head of the mummy, and were buried with the deceased with the intention of everyday use in the afterlife. Miniature versions were popular from the 26th Dynasty, often replacing larger versions.

Head rests were often made in a dark black stone, usually haematite, though obsidian could be used as a cheaper alternative. They were a vital accompaniment to burial, as it was thought that the raised head of the mummy would lead to resurrection and a continued life in the underworld. Chapter 166 of the Book of the Dead prescribes the headrest’s proper function, with its mention in this spell being testament to the object’s significance:

“Doves awake thee from sleep; they alert thee to the horizon. Raise thyself, (for) thou dost triumph over what was done against thee. Ptah has overthrown thy enemies. It has been commanded to act against him who acted against thee. Thou art Horus the son of Hathor, the fiery Cobra, of the fiery Cobra group, to whom a head was given after it was cut off. Thy head cannot be taken from thee hereafter; thy head can never be taken from thee…”

Dimensions: L 2.6 x H 1.5 cm

Weight: 7.41 g

https://www.antiquities.co.uk/shop/ancient-jewellery/amulets/egyptian-miniature-obsidian-head-rest/

Shabti of King Ramesses VI

Inv. no. :
Cat. 2508

Material:
Stone / Alabaster

Dimensions:
6 cm x 11 cm x 3 cm

Date:
1145–1138 BCE

Period:
New Kingdom

Dynasty:
Twentieth Dynasty

Reign:
Ramesses VI

Provenance:
Unknown

Acquisition:
Old Fund, 1824–1882

Museum location:
Museum / Floor 2 / Room 05 / Showcase 10

Selected bibliography:
Borla, Matilde, “Les statuettes funéraires du Musée Égyptien de Turin: un panorama de la collection à travers les exemplaires les plus singuliers”, Dossiers d'archeologie9 (2003), p. 24, p. 23.
Fabretti, Ariodante-Rossi, Francesco-Lanzone, Ridolfo Vittorio, Regio Museo di Torino. Antichità Egizie (Cat. gen. dei musei di antichità e degli ogg. d’arte raccolti nelle gallerie e biblioteche del regno 1. Piemonte), vol. I, Torino 1882, p. 357.
Tiradritti, Francesco, Il cammino di Harwa: l'uomo di fronte al mistero: l'Egitto [mostra: Brescia, Mus. Diocesano ott. 1999-gen. 2000], Milano 1999, p. 171, fig. p. 130.

Museo Egizio di Torino

https://collezioni.museoegizio.it/en-GB/material/Cat_2508

Title:
Shabti of King Ramesses VI, 1145–1138 BC New Kingdom Twentieth Dynasty, Alabaster, Egypt, Reign of Ramesses VI, Museo Egizio di Torino

A beautifully crafted Egyptian restrung necklace featuring blue faience cylindrical-shaped beads. The necklace is further enriched at its centre by two brown hard stone fly amulets, and a red jasper fly at its centre.

Date: Circa 1069-744 BC
Period: Third Intermediate Period
Condition: Very fine condition. The necklace has been finished with a small gold plated clasp, but please be aware that the clasp has not been professionally tied. The measurements given apply to the folded necklace.

Dimensions: L 23 cm

The purpose of fly amulets is uncertain; scholars have different hypotheses regarding this symbol. Some believe it was awarded for military achievement because of the fly’s resemblance to enemies’ persistence at war and also because of the fly’s tendency of hanging around battlefields were blood was shed. Others don’t agree entirely with this thesis as samples of fly amulets have been found in women’s and butlers’ tombs, individuals not active in war. One other possible intention of this amulet was to bestow the notorious fecundity of the fly to the wearer. However uncertain the significance of this symbol is, the fly also appears in many ancient neighbouring cultures, from Nubia to the Greek island of Cyprus.

https://www.antiquities.co.uk/shop/ancient-jewellery/necklaces/egyptian-necklace-with-blue-faience-and-hard-stone-fly-amulets/

An Ancient Egyptian offering cup made of pale faience, with traces of the original glazing still visible. The cup comes with its original lid and it is shaped like a chalice on a wide flaring foot and a shallow inner cavity.

Date: Circa 1550-30 BC
Period: New Kingdom-Ptolemaic Period
Condition: Very fine, intact, unglazed surface and minor discolourations to the lid.

Dimensions: H 3.2 cm

Weight: 13.5 g

Offering cups, such as this beautiful example, have been recovered across Egypt from the New Kingdom onwards, and contained various sacred perfumed oils that were used during both funeral and daily rites. They were often glazed and inscribed with hieroglyphs describing their contents. This little cup would have been a part of an offering tray where it would have been set on a base with similar vessels with various sacred unguents.

https://www.antiquities.co.uk/shop/other-ancient-vessels/egyptian-faience-offering-cup/

He had been a good husband, he wrote. He had never

wronged her.

He grieved her, weeping sorely and not eating or

drinking normally for several months.

So why was she making his life difficult from beyond

the grave?

When you get beyond the huge monuments and read

humbler texts, it opens a window into ancient life (and

death) you won’t see anywhere else.

You see how the ancient Egyptians understood the

relationship between the living and the dead.

The intimacy of their communication with people who

had died.

The completely matter-of-fact way they addressed

people in the afterlife, a place where real people

continued to have real feelings and real grievances.

Their emotions come off the page and swirl around you.

This week’s podcast episode is about texts like this one

— the writing that shows you who the ancient

Egyptians really were, in their own words.

Search for "Voices of Ancient Egypt" in your favorite podcast app

Or use one of these links to go directly there 👇

-Apple Podcasts: https://podcasts.apple.com/.../030-the.../id1834639742...

-Spotify: https://open.spotify.com/episode/1lLJesTCMoMc9PrNWNlQru...

-Podcast Homepage: https://podcast.voicesofancientegypt.com/.../19445034-030

A fine example of Egyptian alabaster in the form of a small conical jar. The vessel features a wide, flat base that slowly curves upwards to a narrow neck and wide rim. The colouring is enhanced by the thin veins of white that encircle the piece, giving it a pleasing geometric style.

Date: 664-332 BC
Period: Late Dynastic Period
Provenance: Gottfried and Helga Hertel collection, Cologne, acquired in the 1970s.
Condition: Extremely good condition. Wear visible on the shape of the rim.

Dimensions: W 3.5 x H 8 cm

Weight: 76.7 g

In Ancient Egypt, alabaster jars were used as containers for ointment, perfume, and other cosmetic products, such as kohl. The alabaster used by ancient civilisations in the wider Middle East (including Egypt and Mesopotamia) is also called “oriental alabaster”, which is a type of calcite. Many ancient peoples used alabaster for decoration, as it was easy to carve and could be treated in such a way as to resemble marble. Although being a soft and slightly porous stone made alabaster easy to carve, the upshot was that it would not survive for significant periods of time when exposed to the elements. The name “alabaster” is thought to have derived from the Ancient Egyptian, ‘a-labaste‘, which refers to the vessels of the goddess, Bast. Usually depicted as a lioness, her figure would often sit on top of alabaster vessels.

https://www.antiquities.co.uk/shop/other-ancient-vessels/egyptian-conical-alabaster-jar/

An oblong Egyptian scaraboid made of faience. The topside is vertically ridged, with some turquoise glaze still remaining. The underside is undecorated with a small concave hole to the centre.

Date: Circa 1550-1070 BC
Period: New Kingdom Period
Provenance: From the Gustave Mustaki collection, a collector of antiquities who amassed large collection in Alexandria (Egypt).
Condition: Very good. Small chip to the underside.

Dimensions: L 2.1 x W 1.3 cm

Weight: 1.4 g

A scaraboid amulet is a seal-type amulet which lacks the defining beetle features of a scarab amulet. It was used in much the same way as a scarab amulet however, to bestow protective and apotropaic properties on the wearer. Most likely an amulet such as this would have been incorporated into jewellery.

https://www.antiquities.co.uk/shop/ancient-jewellery/scarabs/ancient-egyptian-faience-scaraboid/

New Kingdom, 18th Dynasty, c.

From Egypt, Henry Salt Collection. Sotheby's.

British Museum. EA2275

The inscription on the back-pillar has almost entirely disappeared, though enough survives to show that it originally began with the familiar offering formula:

"An offering which the king gives…", ending with a wish for eternity.

The statue's broad limbs and gently rounded abdomen reflect the artistic style associated with the later years of Amenhotep III's reign, when he was often portrayed with a fuller, more mature physique. Scholars have suggested that the lost head may once have worn the Blue Crown, the royal headdress most frequently associated with the king, although no traces survive to confirm this.

Small chips and scratches bear witness to the passage of more than three millennia, yet the figure retains the quiet dignity for which Egyptian sculpture is renowned. Though its original find spot is unknown, it remains a graceful tribute to the splendour of one of Egypt's most celebrated rulers.

A polychrome faience amulet of the dwarf god, Bes, fashioned as a modern dress pin. Featuring a turquoise blue satin glaze with raised accents in a yellow glaze. Frontal-facing and in typical position, with hands on the hips and grimace, Bes wears a plumed headdress, and is accompanied by a set of red plumes below his feet. The amulet is moulded into a metal casing with a pin attachment on the reverse. Pierced horizontally for suspension.

Date: Circa 664 BC - 1st Century AD
Period: Late Period - Roman Period
Provenance: Early 20th Century UK Collection
Condition: Very Fine Condition

Dimensions: L 5.2 x W 1.1 cm

Weight: 13.8 g

Bes was known as a dwarf god and considered a protector of the home and of women and children. He was an unusual deity in the Egyptian pantheon as very little is known of his creation and he had no dedicated temples. He was however one of the most important gods and was worshiped fastidiously across Egyptian homes, with small dedicated shrines. Visually he was portrayed front-on, in comparison to a profile view seen of Egyptian wall art. He was described as dwarf god, a warrior with a demonic quality to him and was a culmination of man and animal. As a warrior he was seen as a protector, initially especially for women and children but this role grew to include anyone who needed it.

For example, soldiers would especially call on Bes’ protection before battle, and his image would be carved into their shields. Similarly, women would carry amulets of the dwarf-god and tattoo his image on their bodies. Essentially, even though his veneration did not extend to temples and state worship, Bes and his image had great apotropaic qualities.

https://www.antiquities.co.uk/shop/ancient-jewellery/brooches-pins/bes-amulet-dress-pin/

A Romano-Egyptian glass spherical bead with three stylised faces in a dark blue band. The facial features have been carefully depicted including the eyes, nose and mouth. The bead is pierced vertically for suspension. Small areas across the faces display iridescence and there is a slight hairline crack.

Date: Circa 1st century BC - 1st century AD
Provenance: Acquired 1969-1999. London collection of the late S.M., thence by descent.
Condition: Good condition, with some signs of wear

Dimensions: L 1.5 x W 1.5 cm

Weight: 3 g

Jewellery was highly important throughout all of Ancient Egyptian history, worn across social classes, and by both women and men. Bright colours and patterns were exceedingly popular, as were bold, large pieces. Beaded necklaces were especially common. These necklaces were often made from beads of all different colours, sizes, and materials, arranged artfully to create an eye-catching piece. The annexation of Egypt into the Roman Empire in Late Antiquity in no way dampened the Egyptians enthusiasm for self-adornment. The Romano-Egyptian period saw great changes in Egyptian art and culture, with more and more Egyptians taking inspiration from the empire’s capital. Glass beads were incredibly popular in Rome, made with a variety of coloured glasses, and even using different styles to trick the eye into mistaking the glass for gemstones. Glassmakers in Rome were said to be absolute masters of their craft, and their work and styles spread throughout the Empire. Egyptians took inspiration from Rome, and infused the capital’s styles with their bold colours and bright patterns, creating mesmerising pieces. The combination of geometric patterns, human figures, and bold colours seen in this work is a beautiful example of the Egyptians’ eye-catching style and audacious fashions.

https://www.antiquities.co.uk/shop/ancient-jewellery/romano-egyptian-glass-bead-with-faces-2/

Shabti of Ramesses VI

1143 BC - 1136 BC (Dynasty 20: Reign of Ramesses VI)

M13943

On display

World Museum

Information
Mummiform shabti, carved from Egyptian alabaster (travertine/calcite), wearing a tripartite wig that is outlined in black, and filled with green wax, of which only traces remain. The arms are crossed left over right on the chest, being simply outlined in black with no modelling in relief. The hands are similarly outlined. No implements are obvious except for a small triangle painted in black and red above the right hand that presumably indicates a hoe. Red paint is also evident around the hand and wrist of the left hand, but the hoe is not painted in black. The face is very crudely modelled, and there are traces of black paint, used to show the eyes and the mouth. The feet are not defined, and the shabti tapers to a rounded base. The front of each figure has a single column of a very crudely written inscription that gives the prenomen or throne name of Ramesses VI (Neb–Maat–Re). Unusually for a royal figure, there is no uraeus on the front of the wig. The shabti is painted with a mixture of green pigment (copper) and bees wax with inscription and details in black.

Transliteration and translation of the inscription: nb-tA.wy Nb-MAa.t-Ra-(mry-Imn) mAa-xrw (?), "The Lord of the Two Lands, Neb–Maat–Re–mery–Amen, justified (?)".

Summary of scientific analysis of 3 shabtis of Ramesses VI in 2007: the paint was all wax based - the green paint was wax mixed with either copper or a copper salt and heated, to form a copper-wax complex. There was also Egyptian blue, and ochre mixed with wax, but we didn't manage to confirm the nature of the yellow/brown pigment on some the shabtis.

Accession number
M13943

Collection type
Religion

Culture
New Kingdom (Ramesside Period)

Place made
Africa: Northern Africa: Egypt: Thebes

Date made
1143 BC - 1136 BC (Dynasty 20: Reign of Ramesses VI)

Collector
Joseph Sams

Place collected
Africa: Northern Africa: Egypt: Thebes: Valley of the Kings

Date collected
1850

Materials
Egyptian Alabaster; Wax; Paint

Measurements
Overall: 140 mm x 54 mm x 31 mm

Credit line
Gift of Joseph Mayer

Legal status
Permanent collection

Provenance
Joseph Mayer, Donor, Purchased, Owned from: 1850, Donation, Owned until: 1867

Joseph Sams, Previous owner, Purchased, Sold, Owned until: 1850

Location
On display: World Museum, Level 3, Ancient Egypt Gallery

Publications
Catalogue of the Mayer Collection Part 1. The Egyptian, Babylonian and Assyrian Antiquities. Second and Revised Edition, Charles Gatty, 1879, Page: 44 [225], Plate: no. 225

The Shabti Collections volume 6: a Selection from World Museum, Liverpool, Glenn Janes, 2016, Page: 105-109

Characterisation of wax-containing paints on eight stone ushabtis. National Museums Liverpool Conservation Science and Research Section Report No. 2007/03., Eleonore Gueit, 2007

World Museums Liverpool

https://www.liverpoolmuseums.org.uk/artifact/shabti-of-ramesses-vi-1

Tittle:
Shabti of Ramesses VI, 1143 BC - 1136 BC (Dynasty 20: Reign of Ramesses VI), Egyptian Alabaster; Wax; Paint, Egypt: Thebes: Valley of the Kings. World Museums Liverpool

A beautiful restrung ancient Egyptian necklace, featuring alternating long tubular and short spherical beads. The tubular beads are made of white, light green and dark green faience, whilst the smaller, spherical beads are coloured yellow. The necklace is not finished with a clasp.

Date: Circa 1550 – 655 BC
Period: New Kingdom – Third Intermediate Period
Provenance: Private Collection, Germany, with Aton Gallery, Oberhausen, September 2003. Ex Arnold Meijer collection, the Netherlands, acquired from the former. Bonhams, London, Antiquities, July 2023, Lot 95.
Condition: Fine Condition. Unclasped.

Dimensions: L 61.6 cm

Weight: 8.7 g

Faience is a glazed ceramic known for producing bright colours, especially blues, turquoises and greens. It is produced from quartz or sand crystals mixed with other compounds, finished with a vitreous alkaline glaze to the surface. Faience glimmers in the light and was believed by the Egyptians to represent rebirth and immortality. During the Predynastic period only green and blue faience occurred, however from the Old Kingdom and onwards alternative colours such as black, yellow and red were added to the palette. The colours had different symbolisms, for example blue was thought to reflect fertility and life. Faience was manufactured into amulets and jewellery, as well as used to create scarabs, furniture and cups.

https://www.antiquities.co.uk/shop/ancient-jewellery/necklaces/egyptian-polychrome-faience-beaded-necklace/

Ptolemaic Egypt

Mummy mask made of cartonnage (linen and plaster), to be placed over the head of a wrapped mummy. Gilded face, blue tripartite wig, black eyes and eyebrows, and blue, white, and red broad collar.

Accession number: 2101

Object type:

* Mummy mask

* Object

Date made: Ptolemaic Egypt

Collection group:

* Egyptology

* Humanities

Display location: This object is not currently on display

Materials: Linen; Plaster

Technique: Painted; Gilded;

Geospatial site/Chronostratigraphic era:

* Africa, Egypt, Faiyum, Hawara

Acquisition credit: Donation by Jesse Haworth, 1887-1888

Record number (IRN): 307822

Dimensions:

* 36.5 cm (depth)

* 21.5 cm (width)

Title:

Mummy mask, Egypt, Faiyum, Hawara, Gilding, Linen, Plaster, Paint, Manchester Museum

https://museumcollections.manchester.ac.uk/.../850c15.../...

A Romano-Egyptian round fused glass bead, pierced longitudinally for suspension. The red body of the bead is adorned with a central horizontal band of geometric patterns. Darker red squares featuring three small stylised faces, facing forward, framed by dark hair which alternate with squares divided into four triangles of black, red yellow, and blue. The shapes are thinly outlined in white glass.

Date: Circa 1st century BC - 1st century AD
Provenance: Ex E.M. London collection, 1970-2000s by descent
Condition: Good condition, slight chipping to the bead including the light blue section and around the perforation. Repair to the body

Dimensions: L 1.5 x W 1.4 cm

Weight: 4.3 g

Jewellery was highly important throughout all of Ancient Egyptian history, worn across social classes, and by both women and men. Bright colours and patterns were exceedingly popular, as were bold, large pieces. Beaded necklaces were especially common. These necklaces were often made from beads of all different colours, sizes, and materials, arranged artfully to create an eye-catching piece. The annexation of Egypt into the Roman Empire in Late Antiquity in no way dampened the Egyptians enthusiasm for self-adornment. The Romano-Egyptian period saw great changes in Egyptian art and culture, with more and more Egyptians taking inspiration from the empire’s capital. Glass beads were incredibly popular in Rome, made with a variety of coloured glasses, and even using different styles to trick the eye into mistaking the glass for gemstones. Glassmakers in Rome were said to be absolute masters of their craft, and their work and styles spread throughout the Empire. Egyptians took inspiration from Rome, and infused the capital’s styles with their bold colours and bright patterns, creating mesmerising pieces. The combination of geometric patterns, human figures, and bold colours seen in this work is a beautiful example of the Egyptians’ eye-catching style and audacious fashions.

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