Egypt

The Statue of Ibrahim Pasha (often referred to as Ibrahim Basha) is one of Cairo's most iconic landmarks, located in the heart of Opera Square in Downtown Cairo. It was commissioned by his son, Khedive Isma'il, to commemorate his father's legacy as a brilliant military commander. Ibrahim Pasha (1789–1848) was the eldest son of Muhammad Ali Pasha, the founder of modern Egypt. He is celebrated as one of the most successful military leaders in history, having led campaigns across Arabia, Greece, and Syria, nearly toppling the Ottoman Empire. Though he only officially ruled Egypt for four months before his death, his military prowess secured the dynasty's power.

A handcrafted jewelry box, inspired by ancient Egyptian moral art. The box features detailed Ancient Egyptian scenes of Nobels and hieroglyph Inscriptions. It can be used as These boxes are widely used as cultural home decor, jewelry storage, or unique souvenir gifts.

This piece is a hand-finished wood reliefs with gold leaf accents, featuring the Virgin Mary holding the Baby Jesus. 

This icon depicts Saint Mark the Evangelist, the founder of the Coptic Orthodox Church of Alexandria around AD 42.  and the first of its unbroken line of patriarchs. The artwork is created in the traditional Coptic style, characterized by large, wide eyes symbolizing spiritual insight and small mouths representing humility and silence.

The Meidum Geese is a celebrated 4,600-year-old painted plaster panel. It depicts six geese in a garden, as a part of a wall painting was found in the Mastaba of Nefermaat and his wife, Itet, at Meidum, from the Old Kingdom (4th Dynasty, c. 2600 BC). The geese were depicted below a scene. It was showing men trapping birds in a clap net and offering them to the tomb’s owner.

Includes hooks for hanging keys, used as Islamic wall decor or a functional entryway organizer.

The object is designed for functionality as a wall-mounted hook for hanging items, featuring an ancient Egyptian-inspired design.  

The artwork features an Egyptian Nubian boy from Aswan, a region in southern Egypt famous for its vibrant culture and history. The painting captures a young boy in traditional attire, set against a background of bold, colorful geometric triangles, which characterizes the houses of Aswan.

The mummy portraits are a collection of remarkably lifelike funerary paintings made in the 1st–3rd centuries AD, during Egypt's Roman Period. They are popularly known as the “Fayoum portraits” because it is there that the majority of these amazing artifacts have been discovered. Placed over the faces of the wrapped mummies of the deceased to preserve their features for eternity, they represent a unique cultural fusion combining Graeco-Roman naturalistic art with a purely Egyptian funerary purpose.

The necklace in the image is a piece of Ancient Egyptian jewelry, specifically featuring several Ankh amulets and lotus-inspired designs. The Ankh, often called the "Symbol of life," was a fundamental amulet in ancient Egyptian culture representing eternal life. Also includes lotus flower elements at the ends of the chain, a symbol associated with rebirth and the sun in Egyptian mythology.

The image showcases a decorative bust of Aphrodite (also known by her Roman name, Venus), the ancient Greek goddess of love and beauty. These busts are frequently inspired by classical or neoclassical works.

The item in the image is a Nefertiti cuff bracelet, featuring the iconic profile of the ancient Egyptian Queen Nefertiti. These bracelets are typically designed as open, adjustable bangles with two Nefertiti heads facing each other at the opening.

The jewelry shown is an Egyptian Revival necklace, a style that draws direct inspiration from the motifs and symbols of ancient Egyptian royalty. This specific piece features several iconic Egyptian symbols. Features an Eye of Horus (Wadjat eye) flanked by two uraei (cobras) and topped with a solar disc. Wadjet eye, a powerful ancient Egyptian symbol of protection, royal power, and good health.

This piece is an Ancient Egyptian Hathor bracelet, an adjustable wrap-around cuff. The design features two heads of Hathor, the ancient Egyptian goddess of love, beauty, music, and motherhood. These bracelets are popular modern Pharaonic-inspired fashion accessories.

This Coptic icon depicts Saint Philopater Mercurius, a famous 3rd-century Christian martyr widely known by his Arabic title, Abu Seifein (the "The Man of Two Swords"). Saint Mercurius (The Equestrian): He is shown riding a black horse, triumphantly holding two crossed swords above his head. One sword represents his earthly military rank, while the second is a divine sword given to him by the Archangel Michael (the figure in the upper right) to grant him victory over barbarian invaders.

The icon depicts the Virgin Mary holding the Christ child on her left arm, symbolizing holy motherhood and divine love. The work follows the traditional Coptic style, characterized by its spiritual symbolism and unique aesthetic often found in Egyptian Christian heritage.

These golden hands, along with the crook and flail, were part of the "external trappings" covering the Tutankhamun's mummy. These hands are crafted from solid, burnished gold, designed as individual, lifelike golden covers for the king's hands. The golden hands are decorated with intricately crafted wristlets or bracelets made of colored stones.

In around 3,100 BC, the ancient Egyptian kingdom was founded when the distinct regions of Upper and Lower Egypt were finally unified, and it is Narmer who is believed by many to be the one who completed this process of unification. Recording his great achievement on his now-famous palette, the king can be seen about to smite an enemy chief on one side, and on the other two fierce fantastical animals called serpopards are being brought under control in a beautiful symbol of the unification of the Two Lands.

 The image features an ornate mirror topped with a winged figure of Goddess Maat. Maat was a fundamental concept in the ancient Egyptians’ worldview, often personified as a goddess wearing an ostrich feather on her head. The mirror frame incorporates classic Egyptian architectural elements, such as columns topped with lotus-style capitals and a structured lintel.

This item is a vintage handcrafted Egyptian-style wall mirror frame, likely constructed from wood and decorated with intricate inlaid mother-of-pearl geometric patterns and mashrabiya lattice work. Features geometric mosaics, often referred to as Arabesque or Islamic art style. Designed to hold a mirror or act as a decorative picture frame. 

The seat has painted and inlaid decoration to imitate a leopard skin with its backbone in the center, the legs end in ducks’ heads. This folding wooden stool of ebony is inlaid with ivory to look as if it is covered with leopard skin. The paws hang from the corners, while the tail is in the middle of the right side.

Funerary boats are significant artifacts from Ancient Egypt. These models were placed in tombs to serve a dual purpose: providing the deceased with a means of transport for daily needs in the afterlife and facilitating the symbolic pilgrimage to Abydos, the cult center of Osiris. Typically crafted from native wood and coated in gesso before being painted, these vessels often feature a central canopied bier containing a mummy or sarcophagus. The hull is frequently adorned with protective symbols like the Wadjet eye, while the stern is equipped with a large steering oar to navigate the spiritual waters of the Duat.

A unique type featuring a longitudinal cleft in the stern to seat a single steering paddle. The 35 wooden model boats found in Tutankhamun's tomb are important in that they represent the last large group of model boats which has survived from Ancient Egypt and are the only complete group to have survived from the 18th Dynasty. They are, therefore, our main evidence 'in the round' for vessels of that period. They supplement the information provided by reliefs and paintings and supply important information on many aspects of Ancient Egyptian boat design and development of the period.

Models equipped with masts and square sails to navigate against the prevailing winds. The 35 wooden model boats found in Tutankhamun's tomb are important in that they represent the last large group of model boats which has survived from Ancient Egypt and are the only complete group to have survived from the 18th Dynasty. They are, therefore, our main evidence 'in the round' for vessels of that period. They supplement the information provided by reliefs and paintings and supply important information on many aspects of Ancient Egyptian boat design and development of the period.

Models equipped with masts and square sails to navigate against the prevailing winds. The 35 wooden model boats found in Tutankhamun's tomb are important in that they represent the last large group of model boats which has survived from Ancient Egypt and are the only complete group to have survived from the 18th Dynasty. They are, therefore, our main evidence 'in the round' for vessels of that period. They supplement the information provided by reliefs and paintings and supply important information on many aspects of Ancient Egyptian boat design and development of the period.

The Vulture Necklace belonged to Tutankhamun, who probably wore the necklace in his lifetime. The vulture represents the goddess Nekhbet, tutelary deity of Tutankhamun as King of Upper Egypt. In its talons the vulture is holding symbols called Shen. These stood for encirclement, or infinity, or eternity. They help to ensure the king will live forever

This winged scarab necklace shows the throne name of Tutankhamun, Neb-kheperu-Re, using powerful symbols. The central scarab Khepri lifts the sun, symbolizing creation, rebirth, and the daily renewal of the cosmos. Beneath it, plural strokes and the neb basket sign articulate royal authority and divine status. The wide wings connect the scarab to the sun god Re, surrounding the king’s name in a protective embrace. This piece celebrates Tutankhamun’s eternal authority and links him to cosmic renewal.

This necklace with a pectoral had once adorned the figure of Princess Mereret, the daughter of King Senusret III and sister of his successor Amenemhat III. It bears a cartouche containing the coronation name of Amenemhat III as decoration. Represented as two falcon-headed sphinxes, the king smites his enemies. Above, the vulture-goddess, Nekhbet, is shown spreading out her wings to protect the figure of the king and his name. “The frame of the pectoral naming Senwosret III imitates a shrine with a cavetto cornice supported by slender pillars with lotus capitals.

A stunning pectoral representing the rising sun, featuring a central scarab (representing the sun god Ra), flanked by baboons representing Thoth (God of wisdom). These baboons greet the rising sun, symbolizing rebirth. The pectoral served as a protective amulet for the pharaoh in the afterlife, highlighting his connection to solar rejuvenation.

The two bracelets of Psusennes I are each decorated with a winged scarab as their major feature. The scarab holds the sun-disc in its front legs, and the shen-sign of infinity with its rear legs. The cartouches of Psusennes I can also be seen, each surmounted by a sun-disc. Scarabs and the Wadjet eyes were the most popular forms of amulets to ward off evil from the time of the New Kingdom on. The wings of the scarab are set with stones of various colors but in a herringbone pattern. 

Mamluk soldiers were a unique military caste of slave warriors who eventually rose to become the rulers of several Muslim states, most notably in Egypt and Syria. Their rigorous training included horse riding, archery, and swordsmanship, as well as Islamic sciences and administrative skills. The Mamluks eventually overthrew their Ayyubid masters and established their own dynasty centered in Cairo. Mamluks were elite heavy cavalrymen known for their skill with the composite bow, lance, and curved sword.

Mamluk-style wooden minbars are renowned for their intricate geometric astral compositions, often featuring high-contrast inlays of ivory and bone against dark woods like ebony or walnut. These pulpits were typically commissioned by sultans or elite patrons to demonstrate piety and legitimacy. A typical minbar consists of a double door entryway opening to a staircase with seven steps, leading to a landing topped by an onion-shaped or bulbous dome.

The funerary mask of Tutankhamun, one of the most iconic artifacts of ancient Egypt, is of truly exceptional craftsmanship. The original to this faithful model is made of solid gold and inlaid with semi-precious stones such as lapis lazuli, quartz, green felspar, and obsidian, it also bears a protective spell from the Book of the Dead on its back. The vulture and cobra on the king’s brow symbolize Nekhbet and Wadjet, representing a unified Egypt under the young pharaoh’s rule.

The alabaster oil lamp was made in the form of an open lotus flower, is flanked by two ornamentations in which the god of the infinite, Heh, kneels on papyrus plants with his arms raised and holds a palm branch that frames the scene. When the lamp is lit, a transparent colored scene is created with Tutankhamun and his wife on one side and the kings' cartouches on the other. The effect is created when the wick is lit and scenes painted on a smaller cup inside the lamp become visible .

Yuya and his wife Tjuyu were the parents of Tiye, the great queen of the 18th Dynasty king Amenhotep III, one of ancient Egypt’s most successful rulers. Their tomb, discovered in the Valley of the Kings in 1905, was a phenomenal find, and included many of its original luxurious contents. The mummies of Yuya and Tjuyu themselves were found too, both wearing beautiful gilded masks made of cartonnage (layers of linen stiffened with gypsum or plaster).

Discovered in the tomb of Tutankhamun, this statuette depicts the god Qebehsenuef, one of the Four Sons of Horus. Each of them protected one of the four organs that were traditionally removed from the body and embalmed separately during the mummification process: the lungs, stomach, liver, and intestines. Qebehsenuef, who came to be canonically represented with the head of a jackal, was responsible for the stomach.

This statue reflects the power and richness of King Ramesses II. It originally stood outside the main temple of god Ptah at Memphis, guarding its sacred inner space. For many years, the statue was thought of as a god listening to the prayers of the devout and receiving their offerings. Two royal children, Prince Khaemwaset and Princess Bintanath are carved behind the king’s legs.

This bust depicts Serapis, a Graeco-Egyptian god uniting Greek and Egyptian religious traditions. He has a serene, idealized face, with a modius on his head symbolizing abundance and the underworld. His carefully modeled hair and beard reflect Greek sculptural style, while his calm expression conveys wisdom and authority. Worshiped as a god of resurrection and protection, Serapis embodies the fusion of Egyptian and Hellenistic religious ideas and was widely venerated across Egypt and the Mediterranean.

The statue embodies the symbolic relationship between God and the king, Amun by giving Tutankhamun the legitimacy of rule and divine protection. Amun, the "Hidden One," was the supreme King of the Gods in ancient Egypt, representing the invisible power of the air and wind. Originally a local deity of Thebes, he eventually merged with the sun god to become Amun-Ra. Often depicted wearing a crown with two tall plumes or as a ram, he was the divine patron of the Pharaohs and the heart of the Great Temple of Karnak.

Vessels like this were used to store precious oils, perfumes, and unguents. Fragrance was vital in ancient Egyptian culture, representing holiness and the "breath of life". These items were placed in the tomb to ensure the pharaoh had everything necessary for personal care and ritual in the afterlife. Containers are in the form of the hieroglyph “sema” meaning "union" and “Tawi” means the two Lands. The overall composition reproduces the emblem meaning "the union of the Two Lands often seen on the throne in statues of the pharaohs.

The gilded fetus coffins are two pairs of nested smaller anthropoid (human-shaped) inner coffins. these second coffins are entirely encased in gold foil. The lids depict the infants as wrapped mummies wearing blue and gold striped wigs. They feature broad collars with falcon-headed terminals and a gilded vulture with outspread wings protecting the abdomen. The figures' arms are crossed over their chests with fisted hands.

These nested sets—each consisting of a black-resined outer coffin and a gold-leafed inner coffin—contained the mummified remains of two daughters of king Tutankhamun. These caskets depicted the infants as mummified figures wearing blue and gold striped wigs and broad collars with falcon-headed terminals. The arms were crossed over the chest with fisted hands, while a gilded vulture with spread wings protected the abdomen. Inside each outer shell sat a second, smaller coffin entirely encased in gold foil. Interestingly, the inscriptions on both sets lacked personal names, referring to each occupant only as "The Osiris".

Tutankhamun is represented wearing the Hedjet (White Crown of Upper Egypt) in several gilded statues and reliefs found within his tomb, symbolizing his dominion over the southern region. The Hedjet is a tall, bulbous white crown, which in his case was often rendered in gilded wood or portrayed in artwork to signify his role as ruler of unified Egypt. The Hedjet represents Upper Egypt (the Nile valley south of Memphis). It is one of the oldest symbols of pharaonic power, with origins dating back to the Predynastic period.

More than 130 throwing sticks and staves were discovered in Tutankhamun's tomb, ranging from functional, curved bird-hunting weapons (similar to boomerangs) to ornate, ceremonial items crafted from ivory and gold. While some may have served as walking aids, many were intended for hunting in the afterlife, highlighting a blend of practical, symbolic, and ritual purposes. These sticks were primarily used for hunting fowl in marshes, a popular sport for Egyptian royalty.

Ottoman and Mamluk Islamic helmets, particularly from the 14th–16th centuries, are characterized by conical or domed, hand-forged steel bowls, often featuring intricate Qur'anic inscriptions and gold/silver inlay. Known for high-quality metalwork, they often included turban-shaped designs, nasal guards, cheek pieces, and mail for neck protection. They served not only as defense but also as symbols of status, power, and faith.

The Gilded Miniature Coffin found in the Treasury of Tutankhamun's tomb (KV62) is a remarkable anthropoid (human-shaped) container made of gilded wood. This small sarcophagus was part of a nested set of four coffins, designed like "Russian Dolls," with each smaller layer inscribed with the name of Queen Tiye, the Great Royal Wife of Amenhotep III and Tutankhamun's grandmother. Inside the innermost coffin sat a small wooden box containing a plaited lock of reddish-brown hair, which was scientifically confirmed belonging to Queen Tiye.

The horse-drawn chariot was one of the most technically sophisticated technologies in existence in the Bronze Age. Egyptian chariot makers were among the most accomplished of their time, and the chariots discovered in the tomb of Tutankhamun amply testify to this. Six were found, no two truly alike. Two of them, including the one wonderfully replicated here in this fabulous Konouz product, were highly decorated and not designed for rugged terrain: They were for grand royal processions intended to impress and project royal power.

Two daggers were found on Tutankhamun’s person, wrapped with him inside the mummy bandages. Exquisitely decorated and made of precious materials, they were clearly ceremonial. The blade of one of them is made of hardened gold, and the other is made of an even more valuable metal: iron. Tutankhamun lived during the Bronze Age, when iron was very rare. A 2016 analysis revealed something fascinating: it is not terrestrial iron, but from a meteorite.

The Statue of Hathor as a Cow Protecting Psamtik is a 26th Dynasty (circa 664–525 BC) Egyptian artifact from Saqqara. The statue depicts Hathor as a cow with a sun disk, uraeus, and two feathers, protecting Psamtik, who stands beneath her chin to symbolize protection, rebirth, and divine motherhood. The cow is depicted with a necklace, a menat counterweight, and a pendant bearing the name of Psamtik.

Walking sticks from the tomb of King Tutankhamun frequently featured handles carved with bound prisoners, representing Nubian or Asiatic captives. These artifacts, such as the ebony figure of a captive with arms bound behind his back, symbolized the Egyptian pharaoh's dominance over foreign enemies.

This image shows a gilded wooden statuette of the falcon god Sopdu, who was the "Lord of the East," a deity of war who watched over Egypt's eastern border regions and the scorching heat of the desert sun. The falcon is shown wearing the two tall feathers of his headdress, symbolizing his power and divine status. 

Sekhmet was a goddess of war, disease, and plagues. Her very name means ‘the Powerful,’ and she was appropriately depicted as a lion-headed woman. Sekhmet was far from being a purely negative deity. As the Eye of Re, she was the daughter of the sun god, and she was the protector of both him and the king, who was considered her son.

The Statuette of Ptah-Sokar-Osiris is a small, finely carved figure representing the composite god Ptah-Sokar-Osiris. Typically found in tombs, it served as a protective symbol and a focus for rituals of regeneration, linking the deceased to the cycles of creation, death, and rebirth. Its compact form allowed it to be easily included among other funerary objects, emphasizing the hope for eternal life.

Osiris was a supreme ancient Egyptian god of the underworld, fertility, agriculture, and resurrection. Mythologically, he was a king of Egypt murdered and dismembered by his brother, Set, then resurrected by his wife, Isis. He was depicted as a mummified king with green skin,symbolizing rebirth, holding a crook and flail.

This statuette represents Meretseger, the protective Theban cobra goddess, depicted as a coiled cobra with a female head. The figure embodies both vigilance and the desert’s dangers, reflecting her role as guardian of the royal tombs in the Valley of the Kings. Her poised, coiled form suggests readiness to strike, while the female features convey intelligence and divine authority.

The gilded wooden statue of the goddess Menkeret carrying King Tutankhamun is a funerary artifact, symbolizing the goddess lifting the mummified pharaoh into heaven. The statue portrays Menkeret supporting the king on her head, representing her role in protecting and transporting the king. Menkeret is a protective funerary deity and a personification of the nursing/supporting function for the deceased.

Several game boards were found in the tomb of Tutankhamun. In a design choice that seems practically modern, two of these, including this one masterfully replicated by Konouz, feature a different game on each side: By just flipping the board over, you could play another game. Also very clever was how ancient Egyptian craftsmen often equipped game boards with one or more drawers for the game pieces.

Isis is a major ancient Egyptian goddess of magic, fertility, motherhood, and healing, known as the "Mother of the Pharaohs" and wife of Osiris. She is famous for resurrecting her husband and protecting her son, Horus. Her worship spread to the Greco-Roman world, making her a supreme, universal deity.

This beautiful Konouz item is a faithful emulation of a cosmetic vase from the tomb of Tutankhamun fashioned in the form of an ibex, an animal associated with renewal in ancient Egyptian symbolism. The original once held perfumed oils. The left shoulder bears the king’s name within a cartouche crowned with a solar disk and feathers, affirming royal ownership. The original vessel illustrates the creativity of Egyptian artists and the association of cosmetic objects with renewal, and reflects the refined nature of courtly life during the reign of Tutankhamun.

The crook and flail (Heka and Nekhakha) of Tutankhamun are traditional symbols of ancient Egyptian kingship. Often shown crossed over the chest of the king, these emblems represented royal authority and the pharaoh’s role as both protector and provider for his people. The crook symbolized guidance and leadership, while the flail was associated with fertility and the power to rule. Examples of these ceremonial objects were discovered among the treasures of Tutankhamun’s tomb, reflecting the rich symbolism and craftsmanship of ancient Egyptian royal regalia.

One of the most stunning finds from the tomb of Tutankhamun, this cow head reveals the importance of the symbolism of the cow in ancient Egyptian religion. Often associated with birth, rebirth, creation, and fertility, the cow was a deeply appropriate way to depict goddesses connected with these fundamental concepts. The original to this faithful model is fashioned from wood and covered in gesso and gold leaf. With its inlaid eyes, long horns, and august demeanor, the sculpture radiates the serene majesty of cow goddesses.

The most striking feature of these sandals is the decoration on the insoles, which allowed the Pharaoh to symbolically "trample" his enemies with every step. The insoles depict four human figures representing traditional enemies of ancient Egypt—Asiatics and Nubians. These men are shown as bound prisoners, lying prostrate with their arms tied behind their backs. The sandals are also adorned with the "Nine Bows" motif, which represents the totality of Egypt's traditional enemies. On this specific pair, four bows are depicted under the toes and four under the heel, while the strap and thong represent the final, ninth bow.

This alabaster chest, found in the tomb of Tutankhamun, stands out for the delicacy of its carving and the richness of its symbols. Decorated with the royal cartouches of Tutankhamun, its surfaces display vegetal motifs, protective wings, and geometric patterns that evoke fertility, divine protection, and eternity. This object was not only a practical container but also a work imbued with ritual meaning, destined to accompany the pharaoh on his journey to the Afterlife.

The ancient Egyptians identified the spots on leopard skin with stars. The leopard itself was therefore the night sky—in other words, the underworld. With the golden color of Tutankhamun identifying him with the sun god, it is possible, then, that the whole represents Tutankhamun as the sun god reborn, victorious over death and the underworld.

The Seated Scribe statue is one of the most recognizable types of sculpture from ancient Egypt. It depicts a scribe seated cross-legged, holding a papyrus scroll as if ready to write, reflecting the important role of scribes in administration and record-keeping. Unlike idealized royal statues, the figure is often portrayed with naturalistic features, emphasizing realism and individuality. These statues highlight the high status of scribes, who were among the educated elite responsible for preserving knowledge and managing the affairs of the state.

Famously appearing on the Egyptian 200-pound note, this 5th-Dynasty (c. 2494–2345 BC) statue is a masterpiece of Old Kingdom sculpture. Although the identity of the official is unknown, by portraying himself as a scribe, he wished to exhibit the fact that he was one of the elite and literate few, intelligent, and indispensable to administration and culture, embodying the power of knowledge and the written word in pharaonic civilization.

Wealthy men like the official represented here, called Nesthoth, could commission statues carved from a rare hard stone like diorite. Since the Egyptians believed that after a person died their soul could inhabit a statue, commissioning such images for the temple allowed one to be perpetually present during temple processions and behold the image of the temple god. The slight tilt of Nesthoth’s head suggests the attitude of a pious man looking up at the divine procession.

The image depicts a Coptic icon of Saint George (also known as Mar Girgis) slaying a dragon while riding a white horse, dates back to the 18th-century. The Dragon symbolizes evil or the devil being vanquished by the saint's spear. The icon features traditional Coptic elements, including large expressive eyes and vibrant colors like gold, green, blue, and red.

The interior of the canopic chest of Tutankhamun was divided into four compartments, each containing a miniature coffin that held one of the king’s mummified internal organs wrapped in bandages. These coffinettes were decorated with inscriptions inside and with feather motifs and royal titles on the exterior. Each coffin represents the king in the form of Osiris, lord of the dead, holding the crook and flail—symbols of royal authority and eternal kingship.

This ornate object is an ancient Egyptian curved wooden chest (or casket) from the tomb of King Tutankhamun. These types of chests were used to store the king's personal belongings, such as jewelry, clothing, or cosmetic items.

The canopic chest of Tutankhamun is one of the finest masterpieces of ancient Egyptian craftsmanship. Its interior is divided into four cylindrical compartments, each of which contained a miniature gold coffinette holding the pharaoh’s embalmed viscera. Each compartment was sealed with a beautiful lid in the form of a bust of the young king. Carved in delicate raised relief, Isis, Nephthys, Neith, and Serqet, stand in the corners, arms outstretched in protection.

The Ottoman navy had an increasing presence in the Mediterranean in the sixteenth and seventeenth centuries, and it is not surprising that sailing ships became a popular motif in Iznik pottery. Although multiple lateen-rigged ships were the standard on jugs and tankards, on plates the design was normally a single, multi-masted ship, more European than Turkish in appearance, sailing on a schematic sea adorned with curious cloudlike shapes.

In ancient Egypt, coffins were far more than simple burial boxes; they were "chests of life" designed as a sacred vessel to protect the body and guide the soul into the afterlife. Their artistic value lies in their dual role as high-status status symbols and functional religious maps, evolving from simple rectangular wood boxes into elaborate, human-shaped masterpieces of sculpture and painting.

The three coffins of Tutankhamun rank among the finest and most impressive of all finds from his spectacular tomb. The three coffins were skillfully made to be just the right size to be nested within one another, thus offering Tutankhamun layers of protection, both physical and magical. The king’s depiction is clearly identifying him with Osiris, the king of the underworld. In death, the ancient Egyptians were identified with Osiris so they too could live on in the afterlife, just as he had.

The canopic chest of Tutankhamun is one of the finest masterpieces of ancient Egyptian craftsmanship. Its interior is divided into four cylindrical compartments, each of which contained a miniature gold coffinette holding the pharaoh’s embalmed viscera. Each compartment was sealed with a beautiful lid in the form of a bust of the young king. Carved in delicate raised relief, Isis, Nephthys, Neith, and Serqet, stand in the corners, arms outstretched in protection.

Nefertari was the main wife of pharaoh Ramesses II and her tomb with its vivid wall paintings is one of the most beautiful tombs in Egypt. This watercolor copy depicts the queen (left) being led by the goddess Isis (right). Noteworthy is that Nefertari’s husband, Ramesses II, is absent in these scenes, indicating the queen's high status that allowed her to directly interact with the deities without him; such depictions would not be possible for non-royal individuals.

A standing falcon-headed statue from ancient Egypt represents a divine figure combining a human body with the head of a falcon, most commonly associated with the god Horus. Such statues symbolize kingship, protection, and divine authority, reflecting the close relationship between the pharaoh and the gods. Typically shown standing in a formal pose and sometimes holding sacred symbols like the ankh or the was-scepter, these figures demonstrate the artistic conventions and religious beliefs of ancient Egyptian temple and funerary art.

The symbolism of the lion in Egypt has a very long history. Ever since the early centuries of the Ancient Egyptian History, the animal was associated with the sun. The sphinx, an image of Horus on the horizon, symbolized the divine nature of the king, who was the son of Re, the sun-God. 

The jackal-headed god Anubis figure is depicted striding on a high pedestal decorated with a palace facade. The deity is wearing a kilt and a vest decorated with a feather motif. He is adorned with a broad collar and bracelets as well as armlets on his upper arms. His two hands are extended slightly forward. The appearance of the god shows the canonical mixture of a canine head with a human body.

Ptah was an extremely important creator god, and he was the patron deity of craftsmen and of the great city of Memphis. In the myth in which he appears as the creator, Ptah planned creation in his heart, and brought everything into being by pronouncing them into existence with his tongue.

Ptah was an extremely important creator god, and he was the patron deity of craftsmen and of the great city of Memphis. In the myth in which he appears as the creator, Ptah planned creation in his heart, and brought everything into being by pronouncing them into existence with his tongue.

Finely sculpted protective recumbent lion on its lid with open mouth and protruding red tongue is acting as a guardian or a magical protector.  The lion was associated with powerful deities like Sekhmet (goddess of war) and Maahes (the lion-headed god of protection), further cementing the pharaoh's divine authority.

Isis was one of the most powerful and widely worshiped goddesses of ancient Egypt, eventually becoming a universal deity whose cult spread throughout the Greco-Roman world. Known as the "Great of Magic," she was the epitome of the devoted wife and mother, a master of healing, and a protector of both the living and the dead.

Cats were sacred to the goddess Bastet. Because of her protective role, figurines in the form of a seated cat were often worn as amulets. Pious visitors to temples purchased statues and statuettes of cats just like this one, and dedicated them as offerings to this popular and ancient goddess.

The sculpture depicts the head of Tutankhamun rising from an open lotus flower. Here, the king appears in the guise of the god Nefertem, the deity associated with creation and rebirth, emerging from the lotus flower. The image is a powerful symbol of the pharaoh’s eternal renewal and perpetual rebirth in the afterlife.

Osiris is one of the most significant deities in the ancient Egyptian pantheon, serving as the god of the afterlife, the underworld, and the dead, as well as a god of fertility and agriculture. He is best known for the central myth of his death at the hands of his brother Set and his subsequent resurrection by his wife, Isis. According to myth, he was the first king of Egypt, who brought civilization and agriculture to the people.

The original artifact was discovered by Howard Carter in 1922 in the Treasury of the royal tomb (KV62) in the Valley of the Kings.  The lower panels feature openwork decoration with gilded Ankh symbols (representing life) and Was scepters (representing power and dominion).  It is adorned with hand-painted, archaeologically correct Ancient Egyptian hieroglyphics and features gilded turned cast handles.

Thuya and her husband Yuya were the parents of Tiye, the great queen of the 18th Dynasty king Amenhotep III, one of ancient Egypt’s most successful rulers. Their tomb, discovered in the Valley of the Kings in 1905, was a phenomenal find, and included many of its original luxurious contents. The mummies of Yuya and Thuya themselves were found too, both wearing beautiful gilded masks made of cartonnage (layers of linen stiffened with gypsum or plaster).

The funerary mask of Tutankhamun, one of the most iconic artifacts of ancient Egypt, is of truly exceptional craftsmanship. The original to this faithful model is made of solid gold and inlaid with semi-precious stones, it also bears a protective spell from the Book of the Dead on its back. The vulture and cobra on the king’s brow symbolize Nekhbet and Wadjet, representing a unified Egypt under the young pharaoh’s rule.

Imsety is one of the four sons of Horus in ancient Egyptian mythology, specifically acting as the human-headed guardian of the liver within canopic jars. Associated with the south, he is protected by the goddess Isis and ensures the preservation of this essential organ for the afterlife.

The Funerary Figure of Qebehsenuef from the burial of Tutankhamun represents one of the Four Sons of Horus, protectors of the internal organs. Shown with a falcon head, Qebehsenuef was entrusted with safeguarding the intestines of the king and was under the protection of the goddess Selket. This figure formed part of the royal funerary equipment, ensuring divine protection and rebirth in the afterlife.

Discovered in the tomb of Tutankhamun, this statuette depicts the god Duamutef, one of the Four Sons of Horus. Each of them protected one of the four organs that were traditionally removed from the body and embalmed separately during the mummification process: the lungs, stomach, liver, and intestines. Duamutef, who came to be canonically represented with the head of a jackal, was responsible for the stomach.

This authentic museum reproduction of a Third Intermediate Period bronze statuette depicting an ancient Egyptian king kneeling and presenting an offering in sacred worship.  This exquisite bronze-cast statue captures every detail of the original artifact currently housed in the Egyptian Museum, believed to depict either King Sheshanq I or Osorkon I in spiritual devotion. The figure wears a traditional pleated kilt and the Red Crown of Lower Egypt.

This statuette depicts king Tutankhamun upon his funerary bed. The king is shown mummified in the Osiride royal form, with his hands crossed over his chest. Tutankhamun is lying on a splendidly decorated funerary bed decorated with two lion’s heads. The bed is engraved with funerary formula and prayer to accompany the king upon his spiritual journey, and acknowledgement that the piece had been made in dedication by Maya, Tutankhamun’s scribe and official, who commissioned this piece as a funerary tribute to the late king.

The cartouche-shaped box of Tutankhamun bears the king’s name in elegant hieroglyphs, crafted from ebony and stained ivory. Incised hieroglyphic texts, filled with blue paint on the lid’s rim and three bands on the body, record his extended titulary, emphasizing his authority at home and power abroad. Upon discovery, the box contained items including two crooks and two flails. This finely crafted object is a key archaeological find, offering valuable insights into the art, symbolism, and royal culture of ancient Egypt during Tutankhamun’s reign.

This handcrafted Egyptian luxury walking stick is a true testament to masterful artisanal woodworking. Carved from dense, high-quality beech wood, it features an ergonomic ball-shaped handle adorned with exquisite geometric inlays of iridescent mother-of-pearl. The use of the traditional mother-of-pearl inlaying technique highlights the intricate craftsmanship, while the sturdy construction ensures both durability and comfort. More than a mobility aid, this walking stick is a sophisticated statement piece, embodying elegance, heritage, and the refined artistry of Egyptian masters.

An antique Islamic wooden wall cabinet is a finely crafted decorative unit often found in homes and palaces of Egypt and the broader Islamic world. Made of carved and sometimes inlaid wood, these cabinets feature intricate geometric patterns, arabesques, and calligraphic motifs. Beyond their practical use for storing household items, they reflect the Islamic emphasis on artistry, craftsmanship, and the integration of functional furniture with ornamental beauty.

Mashrabiya windows are distinctive architectural elements in traditional houses of Cairo and other cities of Egypt during the Islamic period. Made of intricately carved wooden latticework, these projecting windows allowed residents—especially women—to observe the street while maintaining privacy. At the same time, their open geometric patterns helped regulate light and airflow, cooling the interior spaces and demonstrating the harmony between aesthetics and practical design in Islamic architecture.

The female statues carved on both sides of the entrance façade of the Egyptian Museum in Cairo Square symbolize Upper Egypt and Lower Egypt. Each figure represents one of the two traditional regions of the country, personified in a classical artistic manner.

This symbolic representation reflects the ancient Egyptian concept of the unity of the Two Lands, a central idea in Egyptian history since the unification traditionally attributed to Narmer. The statues also reflect a blend of classical European style and Egyptian symbolism, consistent with the architectural design of the museum by the French architect Marcel Dourgnon when the building was inaugurated in 1902.

This statuette most likely represents a combined form of the sun god Ra and the god of kingship Horus, called Ra-Horakhty “Ra-Horus-of-the-Horizon”. It is a faithful model of the figure decorating one of the ceremonial chariots discovered in the world-famous tomb of Tutankhamun. Set on the pole of the chariot, which connected the yoke with the body of the chariot itself, it solidified the identification of the king with the sun god.

It represents the monumental entrance built during the reign of Ramesses II. The model typically features the massive twin towers of the pylon connected by a central gateway, symbolizing the temple’s grand approach. In front of the entrance stand elements such as colossal statues of the king and an obelisk, while flagstaffs once rose from the façade to display ceremonial banners. Together these components illustrate the architectural grandeur and ceremonial function of the temple’s main gateway.

The “Minaret of Ibn-Tulun Mosque” in Cairo is a striking example of 9th-century Islamic architecture. Built as part of the mosque commissioned by Ahmad ibn-Tulun, the minaret features a spiral design reminiscent of Mesopotamian styles, blending functional purpose with ornamental elegance. Rising above the mosque complex, it served both as a visual landmark and a platform for the call to prayer, reflecting the innovative architectural vision of early medieval Egypt.

The Book of the Dead is an ancient Egyptian funerary text composed of spells, prayers, and illustrations meant to guide the deceased through the afterlife. Among its most famous scenes is the Judgement of Osiris, where the heart of the deceased is weighed against the feather of Ma’at, the goddess of truth and justice. Overseen by Osiris, this ritual determines the soul’s fate—granting eternal life if the heart is pure or condemning it if weighed down by sin. Richly illustrated on papyri and tomb walls, these depictions emphasize moral integrity, divine authority, and the Egyptian belief in a just afterlife.

The gilded bier of Tutankhamun is a heavy, lion-shaped wooden bed covered in gold leaf, found in the burial chamber. It served as the base for the king's nested coffins inside the stone sarcophagus, featuring lion heads at the front and tails at the back, along with curved supports to hold the outer coffin. Upon it There is a small model of King tut’s mummy covered by bondages .

The funerary mask of Tutankhamun, one of the most iconic artifacts of ancient Egypt, is of truly exceptional craftsmanship. The original to this faithful model is made of solid gold and inlaid with semi-precious stones such as lapis lazuli, quartz, green felspar, and obsidian, it also bears a protective spell from the Book of the Dead on its back. The vulture and cobra on the king’s brow symbolize Nekhbet and Wadjet, representing a unified Egypt under the young pharaoh’s rule.

Anubis ranks among the most well-known deities of ancient Egypt—both in antiquity and today. He was the god of mummification and the protector of cemeteries. His association with the necropolis likely arose from the behavior of wild canines that scavenged burial sites. The idea was that by appeasing the god who commanded these animals, he would safeguard the graves instead. The threat became the guardian.

The Mosque of Muhammad Ali, located within the historic Cairo Citadel, is one of the most prominent landmarks of Cairo. Commissioned by Muhammad Ali Pasha in the 19th century, the mosque was built in an Ottoman architectural style characterized by a large central dome and slender twin minarets. Overlooking the city from the citadel’s heights, it became both a place of worship and a symbol of the ruler’s power and his efforts to modernize Egypt.

“Mother-of-pearl inlay” is a traditional handmade art in Egypt in which small pieces of shimmering shell are carefully cut and inserted into wood to create intricate decorative patterns. Often combined with “Arabesque” designs and geometric motifs, this craft is widely used to decorate furniture, boxes, and musical instruments. The technique reflects the refined craftsmanship of Egyptian artisans and forms an important part of the decorative heritage of Islamic Art.

The ankh was one of the most important symbols in ancient Egypt, representing life, vitality, and eternal existence. Often depicted in the hands of gods and goddesses, it signified the divine gift of life granted to both gods and humans. The ankh frequently appears in religious scenes associated with deities such as Osiris, emphasizing the promise of rebirth and immortality.

The scarab beetle symbolized the sun’s power of rebirth and renewal. The scarab rolls a ball of an animal’s dung into its underground den. This was likened to the sun god setting below the horizon, seemingly going below the earth, into the underworld. The scarab beetle was thus pictured pushing the sun disk through the sky. The scarab’s eventual reemergence was paralleled with the sun god’s resurrection-sunrise.

The lotus flower was a powerful symbol in ancient Egyptian belief, representing creation, rebirth, and the rising sun. Because the flower closes at night and opens again in the morning, it became associated with renewal and regeneration. The lotus was also linked to the sun god Ra and was frequently depicted in art and decoration as a sign of life, purity, and divine creation.

The lotus flower was a powerful symbol in ancient Egyptian belief, representing creation, rebirth, and the rising sun. Because the flower closes at night and opens again in the morning, it became associated with renewal and regeneration. The lotus was also linked to the sun god Ra and was frequently depicted in art and decoration as a sign of life, purity, and divine creation.

In ancient Egyptian art, the symbols of the ankh, lotus, and scarab carried deep spiritual meaning. The ankh represented life and eternal existence, the lotus symbolized creation and rebirth as it rises and blooms each day, and the scarab was associated with transformation and renewal through its connection to the sun god Khepri. Together, these symbols expressed key ideas of life, regeneration, and eternal continuity in Egyptian belief.

The usekh collar of Tutankhamun is a broad ceremonial necklace composed of multiple rows of decorative elements arranged in a semicircular form. Such collars were important symbols of status and divine protection in ancient Egypt. Placed among the king’s funerary treasures, the collar emphasized royal splendor and was believed to provide magical protection for the pharaoh in the afterlife.

This pectoral necklace shows a scarab pushing the sun disk above the horizon, symbolising rebirth and renewal. Set on a solar boat and flanked by cobras, it conveys protection and royal authority. Chains with scarabs and uraei highlight eternity, while vultures honour Nekhbet, goddess of Upper Egypt. Compact but symbolic, the necklace unites solar theology, kingship, and cosmic order, reflecting Tutankhamun’s divine protection and his connection to the sun.

This pectoral features the throne name of Senwosret II, Khakheperre, in hieroglyphs. Falcons flank the cartouche, showing the sun god’s universal power, while protective cobras hold ankhs that confer life and legitimacy. Zigzag lines represent the primeval waters of creation, and the god Heh supports the name with signs of “millions of years,” expressing eternity.

The Bracelet with Amethyst Scarab of Tutankhamun is a delicate royal ornament centered on a finely carved amethyst scarab, a symbol of rebirth and transformation in ancient Egyptian belief. The scarab is mounted within a decorative framework and surrounded by small beads and gold elements forming the bracelet. Like many pieces from the treasure of Tutankhamun, it combines elegance with protective symbolism, reflecting the importance of amulets in royal adornment and funerary belief.

This item is a 26th Dynasty Egyptian gold and chalcedony necklace featuring a pendant of the goddess Sekhmet, Consists of 30 gold cowrie shell-shaped beads and a single blue chalcedony bead. Such jewelry was purposeful, offering apotropaic protection to the wearer in both life and death. 

This wadjet eye pectoral was found on the mummy of the king Tutankhamun, symbol of the entity of the body. The cobra goddess Wadjet wearing the Red Crown of Lower Egypt “Deshret”, while the vulture goddess Nekhbet wearing the White Crown of the Upper Egypt “Hedjet”. It is believed that this pectoral was a piece of jewelry that the king would have worn while still living.

The Heart-Scarab Pendant with Bennu Bird of Tutankhamun is a symbolic ornament centered on a heart-shaped scarab, associated with protection and rebirth in the afterlife. The pendant is inlaid with the image of the Bennu bird, a sacred symbol of renewal and resurrection. Found among the treasures of Tutankhamun, it reflects the strong connection between royal jewelry and funerary beliefs in ancient Egypt.

The Inlaid Amulet Pendants of Tutankhamun are small decorative amulets designed to hang as pendants from necklaces or collars. Finely inlaid with colorful materials, they depict protective and sacred symbols associated with rebirth, protection, and divine power. Found in the burial of Tutankhamun, these pendants illustrate the close relationship between adornment and magical protection in ancient Egyptian belief.

This winged scarab necklace shows the throne name of Tutankhamun, Neb-kheperu-Re, using powerful symbols. The central scarab Khepri lifts the sun, symbolizing creation, rebirth, and the daily renewal of the cosmos. Beneath it, plural strokes and the neb basket sign articulate royal authority and divine status. The wide wings connect the scarab to the sun god Re, surrounding the king’s name in a protective embrace. This piece celebrates Tutankhamun’s eternal authority and links him to cosmic renewal.

The pendant features a scarab beetle carved from yellow-green Libyan Desert Glass, which represents the sun god Khepri. The design incorporates the Eye of Horus for protection, solar and lunar symbols, and lotus/papyrus plants symbolizing the unification of Upper and Lower Egypt. 

The Uraeus Amulet of Tutankhamun represents the sacred rearing cobra, a symbol of royal authority and divine protection in ancient Egypt. Associated with the protective goddess Wadjet, the uraeus served as a powerful amulet guarding the king against enemies and evil forces.

The falcon’s wings are outstretched, carrying a solar disc on its head, and two shen-rings in each talon, topped with an ankh. Most likely, this piece represents Horus, the falcon-headed deity of power and kingship. The pectoral is a symbol of protection and divine power, and it showcases the exquisite craftsmanship and wealth of the New Kingdom period in ancient Egypt.

The falcon’s wings are outstretched, carrying a solar disc on its head, and two shen-rings in each talon, topped with an ankh. Most likely, this piece represents Horus, the falcon-headed deity of power and kingship. The pectoral is a symbol of protection and divine power, and it showcases the exquisite craftsmanship and wealth of the New Kingdom period in ancient Egypt.

“Mother-of-pearl inlay” is a traditional handmade art in Egypt in which small pieces of shimmering shell are carefully cut and inserted into wood to create intricate decorative patterns. Often combined with “Arabesque” designs and geometric motifs, this craft is widely used to decorate furniture, boxes, and musical instruments. The technique reflects the refined craftsmanship of Egyptian artisans and forms an important part of the decorative heritage of Islamic Art.

“Mother-of-pearl inlay” is a traditional handmade art in Egypt in which small pieces of shimmering shell are carefully cut and inserted into wood to create intricate decorative patterns. Often combined with “Arabesque” designs and geometric motifs, this craft is widely used to decorate furniture, boxes, and musical instruments. The technique reflects the refined craftsmanship of Egyptian artisans and forms an important part of the decorative heritage of Islamic Art.

“Mother-of-pearl inlay” is a traditional handmade art in Egypt in which small pieces of shimmering shell are carefully cut and inserted into wood to create intricate decorative patterns. Often combined with “Arabesque” designs and geometric motifs, this craft is widely used to decorate furniture, boxes, and musical instruments. The technique reflects the refined craftsmanship of Egyptian artisans and forms an important part of the decorative heritage of Islamic Art.

“Arabesque” refers to a style of ornamental decoration based on rhythmic, interlacing patterns of scrolling foliage, stems, and geometric forms. The term, derived from the European word meaning “in the Arab style,” is commonly used to describe a major decorative vocabulary of “Islamic Art”. Arabesque designs appear widely in architectural decoration, woodwork, metalwork, ceramics, textiles, and manuscript illumination, where their repeating patterns create a sense of harmony, infinity, and spiritual order.

The pottery sprinkler has a long neck that narrows toward the top to organize the system of releasing a scent. On the neck, white and blue designs are drawn under the glaze. Below the neck, a narrow line is ornamented with small plant leaves. The body includes semicircular decorations that are colored blue and are intersected by long leaf ornaments with a red line.

“Mother-of-pearl inlay” is a traditional handmade art in Egypt in which small pieces of shimmering shell are carefully cut and inserted into wood to create intricate decorative patterns. Often combined with “Arabesque” designs and geometric motifs, this craft is widely used to decorate furniture, boxes, and musical instruments. The technique reflects the refined craftsmanship of Egyptian artisans and forms an important part of the decorative heritage of Islamic Art.

This collar was found on the mummy of King Psusennes I and embodies royal authority and divine favour. The central clasp displays the king’s names, flanked by the gods Amun and Mut beneath a winged sun disk, reinforcing divine protection and legitimacy. Additional chains ending in lotus motifs act as a counterpoise at the back.

The Wadjet and Nekhbet collar of Tutankhamun symbolizes the unity and protection of the Two Lands of Egypt. It features the cobra goddess Wadjet of Lower Egypt and the vulture goddess Nekhbet of Upper Egypt. Together they act as divine guardians of the king, emphasizing his legitimate rule and offering magical protection in both life and the afterlife.

The bracelet of Ahhotep I is made of gold and lapis-lazuli in two semicircles. One side shows Geb, god of the earth, with the king kneeling before him, while the other depicts a falcon and jackal-headed figures of the Souls of Pe and Nekhen raising their arms in the ceremonial position. The queen played a major role during the war of liberation as testified by the many objects that her sons, Kamose and Ahmose, the kings that chased the Hyksos out of the country. donated to her grave goods.

Inspired from the famous ring of ancient Egyptian jewelry from the 19th Dynasty, it was commissioned by Ramesses II to honor his two favorite horses, "Mut is Satisfied" and "Victory at Thebes," which saved his life during the Battle of Kadesh against the Hittites.

The Duck Bracelet of Ramesses II is a decorative bracelet featuring a row of finely crafted ducks, symbolizing fertility and abundance. Made for Ramesses II, it showcases the detailed craftsmanship and symbolic motifs typical of New Kingdom royal jewelry. It is suggested that these bracelets were the actual ones worn by the king himself.

The statue is a significant artifact from ancient Egypt. In this statue, King Amenhotep III is represented seated on a throne with his arms placed on his legs, palms down. He wears a short kilt, the Nemes headdress with a fake beard, collar, and a bull’s tail which is visible between his legs. Amenhotep III ruled Egypt for thirty-eight years (c. 1391-1353) during what is largely considered the Golden Age of the 18th Dynasty. The wealth and success of his reign are reflected in art – over 1,000 statues of Amenhotep III were commissioned during his lifetime.

The throne of Tutankhamun is one of the most exquisite pieces of furniture from ancient Egypt. Contrasting with the dazzling—even imposing—effect of the throne of the Pharaoh of Egypt, its backrest features a tender scene of the young king and his queen, Ankhesenamun, in an intimate domestic moment in which she is rubbing ointment on him.

The Statue of “Kaemked” depicts a funerary priest portrayed in a calm, dignified stance, reflecting his important role in mortuary rituals. The pose of a kneeling man was rare for this period and is an example of the artist’s desire to introduce innovation, resulting in a work of originality and excellent quality. As a servant of the cult of the deceased, Kaemked was responsible for performing offerings and sacred ceremonies to sustain the spirit in the afterlife.

The mummy portraits are a collection of remarkably lifelike funerary paintings made in the 1st–3rd centuries AD, during Egypt's Roman Period. They are popularly known as the “Fayoum portraits” because it is there that the majority of these amazing artifacts have been discovered. Placed over the faces of the wrapped mummies of the deceased to preserve their features for eternity, they represent a unique cultural fusion combining Graeco-Roman naturalistic art with a purely Egyptian funerary purpose.

This bowl from the period of the Fatimid Caliphate is decorated in the distinctive luster technique, which produces a metallic sheen on the surface. At its center appears a winged horse, a mythical creature symbolizing power, movement, and imagination. Such bowls combined refined artistic decoration with everyday use, reflecting the high level of ceramic production during the Fatimid era.

The shabti of Yuya is a funerary figurine placed in the tomb to serve the deceased in the afterlife. According to ancient Egyptian belief, these figures would magically perform agricultural and labor tasks on behalf of their owner when called upon. Such shabtis ensured that Yuya could enjoy eternal life without the burden of work.

The vase originally contained precious perfumed or scented oils. It features two fecundity figures, who personify abundance and fertility, tying the papyrus (left) and the lotus (right) together, the whole echoing the form of the “Sema-Tawy” motif, symbol of the unification of Upper and Lower Egypt.

Shabtis, are among the most ubiquitous finds in ancient Egyptian tombs. They were also called shawabtis and ushabtis, depending on the time period. They were often represented with tools related to agriculture, like hoes and grain baskets. The reason was that the afterlife in ancient Egyptian religion, although an ideal setting, was still a place where work had to be done—including agricultural labor. Naturally, the deceased would have preferred to avoid this, so the shabtis stepped up instead.

Shabtis, are among the most ubiquitous finds in ancient Egyptian tombs. They were also called shawabtis and ushabtis, depending on the time period. They were often represented with tools related to agriculture, like hoes and grain baskets. The reason was that the afterlife in ancient Egyptian religion, although an ideal setting, was still a place where work had to be done—including agricultural labor. Naturally, the deceased would have preferred to avoid this, so the shabtis stepped up instead.

The shabti of Ramesses IV are funerary figurines from the 20th Dynasty of the New Kingdom, designed to act as surrogate workers for the pharaoh in the afterlife, specifically to perform agricultural tasks in the Field of Reeds. These shabtis are typically depicted wearing the royal Nemes headdress and holding agricultural tools, such as hoes, in their hands.

Two daggers were found on Tutankhamun’s person, wrapped with him inside the mummy bandages. Exquisitely decorated and made of precious materials, they were clearly ceremonial. The blade of one of them is made of hardened gold, and the other is made of an even more valuable metal: iron. Tutankhamun lived during the Bronze Age, when iron was very rare. A 2016 analysis revealed something fascinating: it is not terrestrial iron, but from a meteorite.

The ewer of Tutankhamun is an elegant vessel designed for pouring liquids such as water, wine, or perfumed oils. Carefully shaped with a graceful spout and handle, it reflects the refined craftsmanship of royal objects placed in the king’s tomb. Beyond its practical use, the ewer also formed part of the funerary equipment intended to provide the king with provisions and ritual offerings in the afterlife.

This miniature boat from the tomb of Tutankhamun rests upon a basin inscribed with the king’s name and may have held water or perfume. The bow and stern terminate in ibex heads; animals associated with renewal and regeneration. At the bow, a young woman holds a lotus flower, symbol of rebirth, while at the stern a dwarf steers the boat. Beneath the canopy, the screen walls appear to evoke a sarcophagus. In ancient Egyptian belief, the boat symbolized the journey of the sun and the soul from death to rebirth.

This statuette depicts Queen Ahmose-Nefertari, Great Royal Wife of Ahmose I and mother of Amenhotep I. She helped reunify Egypt and establish the 18th Dynasty. Long after her death, she was revered as a protective goddess at Deir el-Medina, home of the royal tomb builders. Votive figures like this reflect personal devotion and often bear the names of those dedicating them, highlighting her lasting authority, sanctity, and close connection to the community.

The canopic box of Yuya and Thuya was designed to house the canopic jars that contained the embalmed internal organs of the deceased. Carefully decorated with protective deities and sacred symbols, the box served as an important element of the burial equipment. It ensured the preservation and divine protection of the organs, which were essential for the deceased’s rebirth in the afterlife.

This gorgeous artifact, wonderfully replicated here by Konouz, speaks to the ancient Egyptians’ sense of aesthetics and artistic skill. Although in agreement on this artifact’s funerary purpose, Egyptologists differ on its precise use. It may have been used to contain the mummy of a sacred falcon. Alternatively, the Four Sons of Horus, the guardians of the four organs canonically removed during mummification, are depicted on the shrine’s sides, suggesting that it was instead for the mummified organs.

Anthropoid coffins were designed in human form to represent the deceased in an idealized manner. Decorated with sacred texts, protective deities, and symbolic motifs, these coffins served as magical containers for the body. They ensured protection and aided the priest’s rebirth and eternal life in the afterlife according to ancient Egyptian funerary beliefs.

The three coffins of Tutankhamun rank among the finest and most impressive of all finds from his spectacular tomb. The three coffins were skillfully made to be just the right size to be nested within one another, thus offering Tutankhamun layers of protection, both physical and magical. The king’s depiction is clearly identifying him with Osiris, the king of the underworld. In death, the ancient Egyptians were identified with Osiris so they too could live on in the afterlife, just as he had.

Discovered in 1939 by French archaeologist Pierre Montet in Tanis, in the north-eastern Delta, King Psusennes I’s tomb showed that Egypt’s craftsmen, metalsmiths, and jewelers were still at the peak of their crafts despite his rule during a troubled time in Egypt’s history. During the 21st Dynasty, at the beginning of the Third Intermediate Period, Egypt was divided, but despite this some of these kings clearly still had great wealth at their disposal.

The bed is designed to represent the concept of resurrection, with legs in the form of lion paws to protect the sovereign. It includes panels depicting Bes, the god who watches over newborns. The hieroglyphic texts inscribed on them suggest that these were not used by Tutankhamun in life, but after his death in funerary rituals that aided the deceased king in his journey from this life to the next.

Three splendid ritual couches, or funerary beds, were discovered in the tomb of Tutankhamun. The sides of each, beautifully rendered, take the shape of a different animal: a lion, a cow, and a hippopotamus. The hieroglyphic texts inscribed on them suggest that these were not used by Tutankhamun in life, but after his death in funerary rituals that aided the deceased king in his journey from this life to the next.

It was designed as a carrying chest, likely for ritual items used in ceremonies such as the "Opening of the Mouth". The chest is made of wood panels (red wood and ebony) and features ivory inlay decoration. It has four poles that slide through rings at the corners, allowing it to be carried on the shoulders of bearers.

This chair is an excellent example of the construction of ordinary chairs in Egypt; the back is curved and slopes slightly backwards; it is supported by three vertical slats; the seat is made of five carved slats fastened to the frame with mortise and tenon joints. It has been suggested that the king used it when he was a child.

The seat has painted and inlaid decoration to imitate a leopard skin with its backbone in the center, the legs end in ducks’ heads. This folding wooden stool of ebony is inlaid with ivory to look as if it is covered with leopard skin. The paws hang from the corners, while the tail is in the middle of the right side.

The perfume vase is the only burden on the head of the lion; it carries the vase in the same way as Egyptians peasants, who carry water jars on their heads. The vase is decorated with floral motifs and small squares decorated in blue and white pigments. At the foreleg of the lion a hieroglyphic sign called “sa”, which means “protection.” For this reason it is called a prophylactic (protector) lion.

The central cup is shaped like a lotus chalice, rising on a long stem, and is flanked by two smaller bud-like cups on sinuous stems, each with a leaf spreading out horizontally, as if they were floating on the surface of the water. The cups would once have contained wicks floating on oil, traces of which was preserved inside. The lotus shapes were commonly used in Egyptian art and symbolized rebirth and regeneration.

This 19th-century Islamic pottery ewer is a vessel designed for pouring water or other liquids, an important practice of purification in Islamic daily life and ritual. Characterized by a curved spout, a handle, and a rounded body, it reflects the elegance and practicality of traditional Islamic ceramic craftsmanship. the surfaces decorated in red, green, blue, turquoise and manganese with repeating floral sprays, the neck with two cartouches with white calligraphy reserved against blue ground.

This statue represents Ka-aper, a high-ranking lector priest, depicted in a confident striding pose with one foot advanced. His rounded body and assured stance convey wealth and social prominence. The carefully modelled face and deeply expressive eyes give the figure a strikingly lifelike presence, emphasising individuality and character. The vivid naturalism of the figure was so compelling that modern excavators associated it with a living village chief, earning the statue its enduring nickname, Sheikh el-Balad.

The daughter of Rameses II and his famous wife Queen Nefertari, Merytamun (“She Whom Amun Loves”) lived in the 13th millennium BC, during the New Kingdom. Her father honored her greatly, rededicating a stunningly beautiful existing colossal statue of a queen to her. It is this statue, located in Akhmim, that is faithfully emulated here by Konouz. Although the colossal statue was originally made for a late 18th Dynasty queen, possibly Tey, the wife of King Ay, its rededication to Merytamun by Rameses II was a great honor, revealing his love for his dear daughter.

These statues depict Prince Rahotep, son of King Sneferu, and his wife Nofret, dating to the early 4th Dynasty. Rahotep is painted in the traditional reddish-brown tone for men, while Nofret appears in the pale-yellow color conventionally used for women. The vivid preservation of color and the lifelike inlaid eyes make these figures among the most celebrated masterpieces of ancient Egyptian art.

Sekhmet was a goddess of war, disease, and plagues. Her very name means ‘the Powerful,’ and she was appropriately depicted as a lion-headed woman. Sekhmet was far from being a purely negative deity. As the Eye of Re, she was the daughter of the sun god, and she was the protector of both him and the king, who was considered her son.

Thutmose III was one of the greatest of all warrior pharaohs. He was a brilliant tactician, and under his rule in the 15th century BC, Egypt’s borders expanded to farther than they ever had before. Thutmose III was also a prolific builder, and great monuments were erected under his wise rule. He was also a patron of the arts, and his reign saw the production of beautiful statuary like the one that this Konouz product is emulating.

Menkaure in the center, accompanied by Hathor on his right, standing with her hands at her sides. The goddess Hathor, to his right, holds his hand, identifiable by the cow’s horns and sun-disc that surmount her wig. The personification of the Theban Nome stands to his left, presented as a short man with his left leg advancing forward, and his arms down by his sides.

Food, drink, and other necessities were considered essential for the soul’s survival in the afterlife. A statue of an offering bearer like this one was believed to forever supply the deceased tomb owner with offerings for all eternity. This is why offering bearers are common in ancient Egyptian tomb art. The original artifact emulated by this statuette was discovered in the tomb of the High Steward Meketre. Holding a live duck in her right hand, the offering bearer is balancing a basket on head, just as Egyptians do today.

The Netjer-Ankh cobra of Tutankhamun represents the sacred royal uraeus, the protective serpent worn on the king’s regalia. Symbolizing divine authority and protection, the cobra embodies the power of the goddess Wadjet, guardian of Lower Egypt. Such figures served both as royal insignia and as magical protectors, believed to ward off enemies and safeguard the king in life and the afterlife.

The Wooden Hawk of Tutankhamun is a gilded figure representing the sky god Ra-horakhty as a falcon wearing a sun disk. It was likely mounted on a chariot as a symbol of divine protection and royal power.