Egypt

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.

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.

The Ba-bird amulet from the burial of Tutankhamun represents the Ba, the spiritual aspect of a person’s soul. Usually depicted as a human-headed bird, the Ba was believed to leave the tomb and return to the body, ensuring life after death. Such amulets were placed among the king’s funerary equipment to assist the Ba in its movement between the earthly world and the afterlife, securing eternal existence.

The ancient Egyptians aspired to a successful rebirth into a blessed afterlife, in the image of the god Osiris. Because he was resurrected thanks to his wife Isis and her sister Nephthys, they were often depicted at the two ends of coffins and sarcophagi. The deceased, thus identified with Osiris, was expected to be reborn into the afterlife as well. The figures of Isis and Nephthys in mourning in the moments before the resurrection of Osiris do not merely represent the inevitability of death, but the promise of the triumph of life over death.

This Ba-bird statuette from the tomb of Yuya depicts the soul as a human-headed hawk, combining personal identity with the power of flight. The carefully modelled face, framed by a short wig and beard, contrasts with the vividly patterned wings, which emphasize movement and renewal. A heart amulet hangs at the bird’s neck, an uncommon feature that reflects Yuya’s high status. In front of the claws is an offering table in the form of the hetep sign, topped with loaves. Together, these elements express the Ba’s freedom to move between worlds while receiving nourishment essential for eternal life.

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 bust of Hermes represents the swift messenger of the Olympian gods in Greek mythology. Often depicted with youthful features and a calm expression, Hermes symbolizes intelligence, movement, and communication. Such sculptures celebrate the deity associated with travel, trade, and the transmission of divine messages between gods and humans.

The bust of Madame du Barry portrays the celebrated court figure known for her elegance and influence at the court of Louis XV. Rendered with refined detail and graceful features, the sculpture reflects the taste and sophistication of the late 18th-century French aristocracy, capturing both the charm and prestige associated with Madame du Barry.

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.

The wall paintings of the tomb of Nebamun, from the prosperous reign of the 18th Dynasty king Amenhotep III (c. 1390–1352 BC), are among the most beautiful examples of ancient Egyptian art. Nebamun is aboard a papyrus skiff, with his wife and daughter, engaged in a favorite pastime of the ancient Egyptians: Hunting birds with a throwstick among the lush papyrus thickets along the Nile. Even in Nebamun’s lifetime, this was already a very ancient motif that carried a deeper meaning: The victory of Order over Chaos.

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.

This is a famous scene known as the "Musicians of Amun," showing three female musicians from ancient Egypt playing flute, a lute, and a harp. Music held a central role in ancient Egyptian culture, specifically during religious rituals and festivals instruments. The scene is a reproduction of a mural from the Tomb of Nakht in Thebes, dating back to the 18th Dynasty.

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 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.

An Egyptian royal coffin was designed to protect and honor the pharaoh in the afterlife. Often anthropoid in shape, it bore idealized royal features and was richly decorated with sacred texts, protective deities, and symbols of rebirth. More than a burial container, the coffin served as a magical safeguard, ensuring the king’s transformation and eternal union with the gods.

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.

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.

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.

The statuettes show a woman, often kneeling, engaged in the laborious task of brewing. She is usually depicted kneading dough in a strainer over a large jar. The figures are characterized by a sense of realism and movement, showing muscular arms and a full face. They are typically depicted wearing a simple, medium-length white skirt or kilt, and sometimes a wig. These figures represent the daily life and essential role of women in producing staple food and drink in ancient Egyptian society.

Akhenaten is sometimes described in popular culture as the first monotheist in history, that is, the first to believe in one God. Whether this is truly accurate remains uncertain, as many aspects of his reign are still debated. He raised the solar deity, Aten, above all others, founded a new capital, changed the art style, and closed the temples of the god Amun. He also placed himself as the exclusive intermediary between Aten and humanity. For these reasons, Akhenaten remains one of ancient Egypt’s most fascinating and controversial figures.

The colossal Osirian statues of Akhenaten are a series of radical, stylized sculptures created during the early reign of Pharaoh Amenhotep IV (later Akhenaten) for the Temple of the Aten at East Karnak. Dating to approximately 1353–1336 BC, these statues represent a significant departure from traditional Egyptian artistic conventions, showcasing the unique "Amarna style".

The ram with a lotus-shaped manger ceramic model is a small symbolic piece that combines animal imagery with sacred plant motifs. The ram, often associated with strength and fertility, is shown feeding from a manger formed as a blooming lotus, a symbol of renewal and rebirth. Such models reflect themes of sustenance and regeneration, and were likely used in ritual or funerary contexts to express hopes for continuous life and abundance.

Three beds were discovered in the tomb of Tutankhamun that were different from his other beds: The texts on them make it clear that these were for the use of the deceased king, probably for rituals relating to rebirth into the afterlife. The two sides of each of these funerary beds were made in the shape of an animal, one of these being lionesses. This Konouz product faithfully emulates one of the two heads of the lionesses who are believed by most to depict the goddess Isis-Mehtet.

The ram-headed sphinx of Karnak is a powerful guardian figure that combines the body of a lion with the head of a ram, symbolizing strength and divine protection. These sphinxes line the processional avenues of the great temple complex and are closely associated with the god Amun, whose sacred animal was the ram. They once formed an impressive ceremonial pathway, emphasizing royal authority and the sacred character of the site.

The Ankh–Was–Djed–Heh symbol is an extended combination of sacred Egyptian signs representing key aspects of existence and eternity. It unites the ankh (life), the was scepter (power), the djed pillar (stability), and the heh sign, which signifies infinity and everlasting time. Together, this composite symbol conveys a powerful wish for eternal life, strength, stability, and endless duration, often appearing in religious and funerary contexts as a protective and auspicious motif.

Crocodiles were linked to water, vegetation, and fertility, so the god Sobek was associated with the Nile flood and creation. Emerging from the depths, he evoked the sun god’s rise from the primordial waters. Sobek was thus connected to Ra and Ra-Horakhty, often shown as falcon-headed. This fusion produced the striking image of a falcon-headed crocodile, symbolizing creation, and a testament to the complexities of ancient Egyptian theology.

The ancient Egyptians had an ambivalent attitude toward hippopotami. This statuette’s blue color and the birds and plants painted on it show the associations with the lush, aquatic, and life-giving environment of the banks of the Nile. Hippopotami are powerful and highly aggressive creatures however, and they represented a constant danger to riverine navigation. Male hippopotami were therefore associated with chaos and destruction, while females had a positive association, and protected the home.

The baboon held a highly symbolic and multifaceted role in ancient Egyptian religion and art. It was one of the primary animals symbolic of Thoth, the god of wisdom, writing, and the moon. Another lunar deity, Khonsu, the son of Amun, was also sometimes represented as a baboon.

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 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.

A statue of the goddess **Taweret** depicts her as a composite figure with the body of a pregnant hippopotamus, limbs of a lion, and features of a crocodile. She is often shown standing upright, symbolizing strength and protection. Revered as a guardian of childbirth and fertility, Taweret’s statues were commonly placed in homes to safeguard mothers and infants and to ward off harmful forces.

A statue of the god Bes is easily recognized by his dwarf-like figure, exaggerated facial features, and frontal pose, which is unusual in Egyptian art. Unlike most deities, Bes is shown facing forward, often with a fierce expression meant to ward off evil spirits. He was closely associated with protection of the household, childbirth, and music, making his statues popular in homes as well as temples.

One of the most famous artifacts discovered in the tomb of Tutankhamun, Anubis is shown in one of his most ancient forms: As a jackal lying on top of a shrine. Anubis was the god of mummification and the protector of cemeteries and tombs. The shrine is decorated with pairs of alternating djed-pillars—symbols of stability—and protective Isis-knots.

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 baboon held a highly symbolic and multifaceted role in ancient Egyptian religion and art. It was one of the primary animals symbolic of Thoth, the god of wisdom, writing, and the moon. Another lunar deity, Khonsu, the son of Amun, was also sometimes represented as a baboon.

One of the most inspiring and powerful figures in the ancient Egyptian natural environment was the high-flying and powerful bird of prey that was the falcon. It was appropriately adopted as a symbol of Horus, the god of kingship, from very early on. Horus, here represented as a falcon, is wearing the Double Crown. This combination of the White Crown Upper Egypt and the Red Crown of Lower Egypt symbolized his rule over a united and prosperous Egypt.

The ibis bird was associated with Thoth, the god of knowledge and writing. He was a lunar deity as well, and this association of the ibis with the moon may have stemmed from the crescent-shaped beak of the ibis.

The Apis bull was associated with the creator god Ptah and with the rituals for the king. His main place of worship was Memphis. After the death of the Apis bull he was mummified and buried in a special cemetery. Figures of Apis bulls were donated during the Late and Greco-Roman periods into temples. This bronze figure displays the bull on a base. He has a sun-disk between his horns combined with a uraeus (cobra serpent). The carving on its body displays a collar, a winged sun-disk on the shoulders, and a cloth with a hatched pattern on the back.

Maat was a fundamental concept in the ancient Egyptians’ worldview, often personified as a goddess wearing an ostrich feather on her head. “Maat” meant truth, justice, and order, but also the divine natural order of things as established by the creator deity at the very beginning. As a gift from the creator god to humanity, Maat was considered his daughter in ancient Egyptian theology.

The ancient Egyptians had an ambivalent attitude toward hippopotami. This statuette’s blue color and the birds and plants painted on it show the associations with the lush, aquatic, and life-giving environment of the banks of the Nile. Hippopotami are powerful and highly aggressive creatures however, and they represented a constant danger to riverine navigation. Male hippopotami were therefore associated with chaos and destruction, while females had a positive association, and protected the home.

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 Scarab of Karnak is a monumental granite statue of a scarab beetle located in the Karnak Temple Complex in Luxor, stands near the Sacred Lake and is one of the largest and best-preserved examples of its kind. The statue's base is adorned with hieroglyphs that refer to Khepri who rises from the earth and commemorates the reign of Amenhotep III.

During the Greco-Roman period, the Egyptian goddess Isis transformed from a local deity into a major, universal, and widely worshipped figure throughout the Mediterranean world, valued for her roles as a nurturing mother, sorceress, and protector of sailors. Isis, depicted standing and dressed in a draped garment wearing a characteristic crown featuring a solar disk flanked by cow horns.

Asclepius, the Greek god of medicine, is typically shown as a mature, bearded man with a calm, paternal expression. He stands in a relaxed pose, often leaning on his staff—the Rod of Asclepius—around which a serpent coils, symbolizing healing and rejuvenation. Draped in a himation over one shoulder, his chest and right arm remain exposed. Some statues include Telesphoros, the deity of recovery. Large-scale representations suggest display in sanctuaries or public spaces, reflecting Asclepius’ role as both a protector of health and a spiritual guide in the Hellenistic and Roman world.

This standing statue of Alexander the Great shows him in a natural, poised pose, wearing a short tunic with a cloak draped over one shoulder. His hair and confident looking face highlight his heroic and kingly qualities. The statue emphasizes Alexander’s idealized qualities—heroism, intellect, and authority—reflecting Hellenistic ideals of leadership. Such depictions celebrated his military and cultural achievements, projecting both his mortal presence and quasi-divine status, and were widely replicated across the Mediterranean as symbols of power and unity.

This ceremonial chair testifies to the heights of skill reached by the ancient Egyptian craftsmen. It is made to look like a folding chair, but it was designed to not be closed. It is the workmanship of artifacts like these that have rightfully transformed Tutankhamun, a king who died at only around 18–20 years of age, into a household name.

Although it is the smallest of the famous three pyramids of Giza, the pyramid of Menkaure (c. 2532–2503 BC) is still a gigantic monument. The length of one of its sides is 105.5 meters (346 feet), and it rises to an impressive height of around 65 meters (213 feet). Its dimensions were likely dictated, at least to some extent, by the restricted space still available at the Giza Plateau.

With a height rising to a soaring 143.5 meters (470 feet), Khafre’s pyramid is not only the second largest in Giza, but the second largest ever. Its top portion has preserved its original casing stones of fine white limestone from Tura. These polished blocks once gave ancient Egypt’s pyramids a brilliant appearance, and the ones still in place on Khafre’s pyramid give us a tantalizing sense of what these magnificent structures once looked like.

With its astonishing original height of 146.5 meters (481 feet), this structure, built in the 26th century BC, was the tallest in the world for around 3,800 years! It is also the oldest and only surviving member of the original Seven Wonders of the Ancient World. Built as a tomb for the 4th-Dynasty king Khufu (c. 2589–2566 BC), it stands as an enduring testament to the greatness of ancient Egyptian civilization and to the boundless potential of humanity.

Standing around 20.5 meters (67 feet) tall, the original obelisk that this faithful model is emulating is the only substantial monument that has remained standing from the great ancient city of Heliopolis. This was the cult center of the sun god, one of the most ancient and revered of all places in ancient Egypt. Erected by the great 12th-Dynasty king Senwosret I (c. 1956–1911 BC), in the Middle Kingdom, this was the oldest obelisk of such colossal size.

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.

The bust of Nefertiti is one of the most celebrated masterpieces of ancient Egyptian art. It portrays Queen Nefertiti, wife of King Akhenaten (c. 1352–1336 BC), with exquisite grace and symmetry. The original to this faithful model, crafted in painted limestone, it is a testament to the superlative talent of ancient Egyptian artists.

The gilded bed of Tutankhamun is one of the finest examples of royal furniture from ancient Egypt. Crafted from wood and covered in gold leaf, it features elegant carvings and protective divine figures, reflecting both luxury and religious symbolism. The bed was likely used in the afterlife, emphasizing the king’s comfort and eternal protection, while showcasing the exceptional skill of Egyptian artisans during the New Kingdom.

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 mannequin is a torso-only figure, with arms and legs intentionally absent, reflecting its practical use by attendants and tailors to fit and display his clothing and ceremonial attire. This fascinating artifact provides a rare glimpse into the preparation and care of the pharaoh’s wardrobe, revealing the sophistication of royal attire and shedding light on the daily practices behind Egypt’s ceremonial and courtly life.

Serqet (also spelled Serket, Selqet, and Selkis) was the goddess responsible for scorpions. As such, she was frequently invoked for protection against scorpion stings. She was also the one appealed to for healing when a scorpion sting did occur. Scorpion stings can cause difficulty in breathing, and it is not a coincidence that Serqet’s very name translates into “She Who Causses to Breathe.”

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.

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.

A pair of splendid gilded statues were found standing next to a wall in the tomb of Tutankhamun, facing each other. Guarding what appeared to be a solid blank wall, this turned out to be the sealed entrance into the burial chamber. The two statues are largely identical, the main difference being their headdresses. These statues are not merely guardians though: They represent Tutankhamun himself. The text on one of the statues also identifies it as the king’s ka—his divine life force.

In this gracefully animated statuette, Tutankhamun is standing on a raft made of papyrus stems, about to strike with his harpoon. This is deliberately referencing the mythological episode in which Horus, the god of kingship and, by extension, Order, harpooned his enemy, the god Seth. Thus identified with Horus, Tutankhamun is portrayed as the upholder of Order in the eternal struggle between Good and Evil.

This ceremonial chair testifies to the heights of skill reached by the ancient Egyptian craftsmen. It is made to look like a folding chair, but it was designed to not be closed. It is the workmanship of artifacts like these that have rightfully transformed Tutankhamun, a king who died at only around 18–20 years of age, into a household name.

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 breathtakingly beautiful casket discovered in the tomb of Tutankhamun, wonderfully replicated here by Konouz, is covered with hieroglyphs. The one resembling a cross is the ankh-hieroglyph, symbolizing life, while the other one represents the was-scepter, signifying power or dominion. The two are written above a third hieroglyph, representing a basket, signifying “all.” The whole casket is thus covered with well-wishes for the pharaoh, wishing him “all life and power.”

This ornate chest, with its vaulted lid and vividly colored, animated painted scenes, is renowned for its exceptional artistic quality and meticulous attention to detail. Its decoration portrays Tutankhamun triumphing over foreign armies and wild animals, symbols of chaos. Thus embodying Maat, the ancient Egyptian concept of cosmic order and justice, the king is shown fulfilling his essential role as protector of Egypt against all threats.

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 cup is shaped as a lotus flower in full bloom, closely associated with solar rebirth, as it evokes the daily emergence of the sun from the primeval waters. Around the rim runs an inscription expressing wishes for the king to live millions of years and to behold happiness. The handles are formed as lotus blossoms supporting the god Heh, personification of eternity, who holds palm ribs symbolising countless years, combined with signs of infinity and life.

Perfume bottles were used to store precious scented oils and unguents, substances essential to daily life and ritual practice. Their forms often incorporated symbolic motifs like lotus flowers, papyrus plants, or fecundity figures associated with fertility, abundance, and regeneration. Such imagery emphasized the life-giving qualities of fragrance and its connection to purity and renewal. Aside from personal use, perfumed oils were offered to deities, and placed in tombs to ensure comfort and rebirth in the afterlife.

This cosmetic jar, wonderfully replicated here by Konouz, was used to store perfumes or unguents. The finely sculpted protective recumbent lion on its lid with open mouth and protruding red tongue is acting as a guardian. The delicate scenes of lions and dogs hunting bulls and gazelles, again symbolize protection, as do the heads of Egypt’s traditional enemies at the bottom of the jar, which also convey royal authority and dominion over foreign lands.

Headrests were used in ancient Egypt in place of pillows to support the head during sleep. Their raised, curved form kept the head elevated, allowing air to circulate in the hot climate. Beyond daily use, headrests held protective and symbolic meaning, guarding the sleeper during the night. They were also placed in burials, where they ensured the protection, renewal, and rebirth of the deceased in the afterlife.

There is a clever instance of ancient Egyptian wordplay to be found in this mirror-case that is shaped like the ankh-hieroglyph, symbol of life, since “ankh” was also one of their words for “mirror”. The lid is decorated with Tutankhamun’s Throne Name, Nebkheperure, above a lotus flower, solar symbol of rebirth, and flanked by two cobras with solar disks.

The sekhem scepter is a ritual symbol of power and authority in ancient Egypt. Its flat, paddle-like form mounted on a papyrus-style handle conveyed strength and control, qualities embedded in the meaning of the word sekhem, “the powerful.” Closely associated with Osiris and the underworld, it later became an emblem of Anubis in funerary contexts. The scepter was also used in temple and mortuary rituals, where it was waved over offerings during recitations to consecrate them. Through its form and ceremonial function, the sekhem embodied the exercise of divine and ritual power.

The Great Temple of Abu Simbel, in Nubia near Egypt’s southern border, is among the most awe-inspiring monuments of Egypt. It was cut into the living rock by King Ramesses II around 1264 BC. The temple is most well known for the four imposing seated colossal statues that dominate its façade. One of these collapsed because of an ancient earthquake, and its fragments can still be seen on the ground.

King Akhenaten instituted many changes during his reign, most prominently in religion. These proved unpopular, and there was a return to normalcy soon after his death. Akhenaten’s reign and the period right after it are known as the Amarna Period. Akhenaten may have been Tutankhamun’s father, and he had at least six daughters. This probably depicts one of the youngest of these daughters, dated based on style to soon after Akhenaten’s death. Made during a time of political turmoil, it embodies a sense of calm and family, perhaps betraying nostalgia for more peaceful days.

The female pharaoh Hatshepsut (c. 1473–1458 BC) was one of the most successful rulers of all ancient Egyptian history. Her most famous monument is her breathtaking funerary temple in Deir al-Bahari, on the west bank of Luxor, where this red granite sphinx was discovered. One of a series that flanked the processional way to the temple, it guarded both it and the processions that walked along it during religious festivals.

Life and death, Order and Chaos, and Good and Evil: Contrasting opposites feature prominently in ancient Egyptian religion. Horus, the falcon-headed deity in this statuette, was the god of kingship, who thus represented Order. The other deity crowning King Rameses III is Horus’ enemy Seth, a chaotic god of violence who helped the sun god defeat the forces of Chaos. It also symbolizes how a good king was expected to act like both the wise Horus, and, when protecting Egypt, like the powerful Seth.

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.

To preserve the body of the deceased, the ancient Egyptians removed some of the larger organs and embalmed them separately. The standard eventually became to place four major organs in separate jars like these, called “canopic jars.” Each was under the protection of one of the Four Sons of Horus, and its lid had the form of the characteristic head of the god associated with it. Imsety (human) was responsible for the liver, Hapy (baboon) for the lungs, Duamutef (jackal) for the stomach, and Qebehsenuef (falcon) for the intestines.

To preserve the body of the deceased, the ancient Egyptians removed some of the larger organs and embalmed them separately. The standard eventually became to place four major organs in separate jars like these, called “canopic jars.” Each was under the protection of one of the Four Sons of Horus, and its lid had the form of the characteristic head of the god associated with it. Imsety (human) was responsible for the liver, Hapy (baboon) for the lungs, Duamutef (jackal) for the stomach, and Qebehsenuef (falcon) for the intestines.

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 mannequin is a torso-only figure, with arms and legs intentionally absent, reflecting its practical use by attendants and tailors to fit and display his clothing and ceremonial attire. This fascinating artifact provides a rare glimpse into the preparation and care of the pharaoh’s wardrobe, revealing the sophistication of royal attire and shedding light on the daily practices behind Egypt’s ceremonial and courtly life.

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 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.

This ornate chest, with its vaulted lid and vividly colored, animated painted scenes, is renowned for its exceptional artistic quality and meticulous attention to detail. Its decoration portrays Tutankhamun triumphing over foreign armies and wild animals, symbols of chaos. Thus embodying Maat, the ancient Egyptian concept of cosmic order and justice, the king is shown fulfilling his essential role as protector of Egypt against all threats.