Egyptian Amulet Depicting a Fist - FF.201 Origin: Egypt Circa: 600 BC to 300 BC Dimensions: 1.25" (3.2cm) high x 1" (2.5cm) wide Collection: Egyptian Style: New  More »

Egyptian Amulet Depicting a Fist - FF.201 Origin: Egypt Circa: 600 BC to 300 BC Dimensions: 1.25" (3.2cm) high x 1" (2.5cm) wide Collection: Egyptian Style: New Kingdom Medium: Diorite Condition: Very Fine   « Less

Origin: Egypt Circa: 664 BC to 525 BC Dimensions: 1.5" (3.8cm) high Collection: Egyptian Antiquities Style: 26th Dynasty Medium: Carnelian Condition: Extra Fine In  More »

Origin: Egypt Circa: 664 BC to 525 BC Dimensions: 1.5" (3.8cm) high Collection: Egyptian Antiquities Style: 26th Dynasty Medium: Carnelian Condition: Extra Fine In this tiny amulet, we see all of the coiled stregnth, ferocious repose, and exquisite musculature of the Nile Crocodile. The wearer perhaps wished to imbibe himself with the primordial vigor of this undenaibly powerful beast, or to ward off the approach of evil spirits with its imposing presence. Whatever the reason, the piece was obviously extremely important to whomever commisioned it- for rarely in the art of amulet-making do we encounter a piece of this meticulous and beautiful execution. The crocodile's legs bulge with muscle, his back is etched with the dry lumps of his spine. His whole body is lined with muscle, giving him a sense of agressive beauty. His eyes, set exquisitely beneath his bulging brow, are alive with fire and stregnth. The artist of this piece has infused in this crocodile something that our nature documentaries, with their high-definition cameras, can never capture. In him is an energy beyond the physical, a ferocity and power that extend beyond his body and razor sharp teeth, and into his eyes, his expression, and his emotion. The emotions we feel when staring into the eyes of this beast give us an idea of what its original owner must've felt. To hold it in our hands is to exude the same confidence, and the same suriety that our Ancient Egyptian ancestor felt while wearing it around his neck. - (FJ.1556)   « Less

Origin: Egypt Circa: 650 BC to 330 BC Dimensions: 3.25" (8.3cm) high x 4" (10.2cm) wide Collection: Egyptian Style: Ibis Medium: Bronze Condition: Very Fine The Ibis  More »

Origin: Egypt Circa: 650 BC to 330 BC Dimensions: 3.25" (8.3cm) high x 4" (10.2cm) wide Collection: Egyptian Style: Ibis Medium: Bronze Condition: Very Fine The Ibis once preened itself upon the shores of the Nile, and when one observes the elegance and majesty of the bird as encapsulated in this piece, it is easy to see why the Ancient Egyptians should deify the graceful figure. The Ibis was the corporeal form Toth, who gave man heiroglyphs and was protector of earthly wisdom. And doesn't the eye of this Ibis seem to follow us with a certain omniscent intelligence and pride? The perfectly structured beak, the sweeping and dramatic neck, and the intricate delicacy of the talons make this piece a rare beauty to behold. But where we may see nothing more than than an aesthetically beautiful bird, the Egyptians saw a creature of divine presence, and wrought an Ibis with a complex and regal personality. Our world has, for the most part, shed the ideals of animals holding intellect, and the complex emotionality that comes along with it; and we smile at the innocent minds who would concieve of animist worship. But looking at this Ibis, being in the presence of such a majestic and truly sensitive bird, makes us think twice about so easily dismissing notions of animal personality. Perhaps, rather than gaining knowledge, we have lost a primal respect for the world around us. In some of us, the feeling that nature's beauty is teeming with passion and emotion is not quite yet gone. And this piece harkens back, a paen sung from a long-dead throat, reminding us that in Ancient Egypt, the most primitive and essential root of our civilziation, such time and love was dedicated to the preservation of the animal ego. - (FF.22)   « Less

Bronze Seated Sculpture of Osiris - FF.025 Origin: Egypt Circa: 1085 BC to 332 BC Dimensions: 11.8" (30.0cm) high x 5.5" (14.0cm) wide Collection: Egyptian  More »

Bronze Seated Sculpture of Osiris - FF.025 Origin: Egypt Circa: 1085 BC to 332 BC Dimensions: 11.8" (30.0cm) high x 5.5" (14.0cm) wide Collection: Egyptian Antiquities Style: Late Dynastic Period Medium: Bronze   « Less

Origin: Egypt Circa: 100 AD to 300 AD Dimensions: 4.25" (10.8cm) high x 1.625" (4.1cm) wide Catalogue: V1 Collection: Egyptian Style: Roman Period Medium: Bone There  More »

Origin: Egypt Circa: 100 AD to 300 AD Dimensions: 4.25" (10.8cm) high x 1.625" (4.1cm) wide Catalogue: V1 Collection: Egyptian Style: Roman Period Medium: Bone There is a naive yet energetic quality to the carving of this piece that captures our imaginations. Is this boldly naked woman with the wide stare a goddess like Venus, or some more secular beauty? She strides forward as if hers is the natural state of being. In the forceful carving and her energetic movement we feel the pulse of ancient life not so very different in essential ways from our own. - (P.0141)   « Less

Origin: Egypt Circa: 664 BC to 580 BC Dimensions: 5" (12.7cm) high x 1.375" (3.5cm) wide Collection: Egyptian Style: Late Dynastic Period Medium: Faience Perhaps no  More »

Origin: Egypt Circa: 664 BC to 580 BC Dimensions: 5" (12.7cm) high x 1.375" (3.5cm) wide Collection: Egyptian Style: Late Dynastic Period Medium: Faience Perhaps no single object epitomizes the spirit of ancient Egypt better than the ushabti. Shaped like a divine mummy, the ushabti evokes the magical side of Egyptian belief in an afterlife, while the two hoes clutched in the hands and the basket carried on the back recall the rural, agrarian culture of the land. The word ushabti (supplanting the older term shawabti) literally means "the answerer". The function of these little figures is described in Chapter VI of the Book of the Dead: "0 this Ushabti! If (the deceased) is called upon to do hard labor in the hereafter, say thou: I am here." The ushabti was expected to answer the call to work in place of the deceased, and this passage was frequently inscribed on the figures themselves. Originally, a single usabti was placed in any given tomb, but by the New Kingdom the statues had come to be regarded as servants and slaves for the deceased rather than as a substitute, and many might be found buried together, along with an overseer figure. In the course of Egyptian history, ushabti were created from wood, stone, metal and faience. In the cultural renaissance of the XXVIth Dynasty (Saite period), a green faience the color of the Nile and evocative of the verdant landscape in springtime was particularly popular. To look upon an ushabti is to come face to face with the mystery and magic of Egypt itself. - (PF.0488)   « Less

Origin: Sinai, Egypt Circa: 600 BC to 300 BC Dimensions: 3.5" (8.9cm) high x 5.375" (13.7cm) wide Catalogue: V1 Collection: Egyptian Antiquities Style: Late Dynastic  More »

Origin: Sinai, Egypt Circa: 600 BC to 300 BC Dimensions: 3.5" (8.9cm) high x 5.375" (13.7cm) wide Catalogue: V1 Collection: Egyptian Antiquities Style: Late Dynastic Period Medium: Bronze This thick-snouted fish with a long dorsal fin, pairs of ventral fins front and back, and a bipartite tail is a member of the Mormyrus genus, more commonly termed the Oxyrhynchus fish in Egyptological literature. The more common name of this fish is that of the village of Oxyrhynchus situated in the Egyptian Faiyum, the agriculturally-rich region to the southwest of modern Cairo. Hollow cast in bronze with the eyes originally inlaid, the fish rests on a rectangular base. The fish wears as an attribute the horns of a cow fronted by a sun disc. The ancient Egyptian traditions which grew up around the Oxyrhynchus fish are varied and complex. The best known, preserved by Plutarch, a Greek priest of the oracle of Apollo at Delphi writing in the second century A.D., in chapter 72 of his monumental opus De Iside recounts how the citizens of Oxyrhynchus engaged in a bloody confrontation with the citizens of neighboring Kynopolis because the citizens of Kynopolis ate the Oxyrhynchus fish. That account in Plutarch differs from the two ancient Egyptian accounts of this fish, both of which are associated with the god Osiris. As one recalls, Osiris and his brother, Seth, became embroiled in a conflict for power with the result that Seth triumphed over Osiris. In so doing, he dismembered the body of Osiris and scattered it far and wide. Isis, the dutiful wife and, incidentally, sister of Osiris, gathered up the pieces and reassembled them, but not before the Oxyrhynchus fish ate his phallus. The phallus was necessary for the posthumous conception of Osiris’s son and heir, Horus. In another version of the myth, the Oxyrhynchus fish emerged from the wounds of Osiris himself. Whatever the truth in these matters might be, the Oxyrhynchus fish was inextricably associated with the god Osiris and revered by the ancient Egyptians. That reverence explains why this fish wears as attributes the sun disc and cow horns, associating it with Isis in her role as the reviver of her husband Osiris.   « Less

Origin: Egypt Circa: 1293 BC to 1185 BC Dimensions: 14.5" (36.8cm) high x 27.7" (70.4cm) wide Collection: Egyptian Style: 19th Dynasty Medium: Limestone Seti's father,  More »

Origin: Egypt Circa: 1293 BC to 1185 BC Dimensions: 14.5" (36.8cm) high x 27.7" (70.4cm) wide Collection: Egyptian Style: 19th Dynasty Medium: Limestone Seti's father, Ramesses II, began the 19 Dynasty during Egypt's New Kingdom period. His brief two-year reign allowed his son to take the throne and formally begin one of the most important periods in all Egyptian history. Seti instituted massive building and restoration projects throughout Egypt. These monuments are covered with relief sculpture of exquisite style. Seti's was the father of Ramesses II, who built the great complex at Abu Simbel and is believed to have been pharaoh at the time of the Hebrew exodus from Egypt. This scene is simple, yet profound. Here, a dignified male figure, identified as Seti I, piously extends his offering of incense toward an unseen deity, immediately taking his place beside those who have performed this act in the past and those who will do so in the future. The pharaoh is depicted in a composite pose so characteristic of Egyptian art: his face is shown in profile while his torso is shown from the front. Rather than disrupt the flow of the figure, Egyptian artists used this arrangement to present the fullest or most typical features of each part of the human body. A delicately carved incense burner, which terminates in the head of a hawk, is held in the left hand. The right arm is positioned lower than the left as indicated by the curve of the right shoulder. Perhaps Seti I is actually making a double sacrifice. Might he possibly be pouring sacred water or oil from his unseen arm? He wears a wonderfully carved striped cloth nemes headdress flanked by two large uraei cobras, indicative of his royal stature.   « Less

Origin: Egypt Circa: 1070 AD to 712 AD Dimensions: 3.5" (8.9cm) high Collection: Egyptian Style: Third Intermediate Period Medium: Faience The first examples of amulets  More »

Origin: Egypt Circa: 1070 AD to 712 AD Dimensions: 3.5" (8.9cm) high Collection: Egyptian Style: Third Intermediate Period Medium: Faience The first examples of amulets appeared in Ancient Egypt as early as 4000 B.C. Believed to possess magical powers that protected the wearer or bestowed upon the properties they symbolized, amulets were worn both by the living as well as the dead. Throughout their evolution, talismans were crafted from a variety of materials including precious metals such as gold and silver, semiprecious stone like jasper and carnelian, as well as other more affordable glazed compositions such as faience. The particular powers of an individual amulet were based upon its specific shape, although the material and even the color of the charm could affect its magical abilities. While many of the amulets created to be worn by the living could also be worn after death, there also existed a specific group of charms that were made specifically to be placed upon the mummified remains of the deceased. All together, amulets represent an important class of Ancient Egyptian art that furthers our understanding of their complex religious beliefs.   « Less

Egyptian Wooden Mummy Bed - X.0455 Origin: Egypt Circa: 664 BC to 332 BC Collection: Egyptian Style: Late Kingdom Medium: Painted Wood

Egyptian Wooden Mummy Bed - X.0455 Origin: Egypt Circa: 664 BC to 332 BC Collection: Egyptian Style: Late Kingdom Medium: Painted Wood   « Less