Museum-Scale Replicas

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.

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).

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).

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 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 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 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.

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.

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 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 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 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.

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.

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.

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.

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 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 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.

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.

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.

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.

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.

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.

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.

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.

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 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.

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 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 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.”

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 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.

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 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.

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.

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.

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.

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.

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.

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.

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.

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.

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 .

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 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.

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.

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.

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.

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.

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.

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.

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.

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 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.

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".

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.

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 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.

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.

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.

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. 

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.

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.

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.

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.

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.

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.

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.

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 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.

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.

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.

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 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 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 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.

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 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.

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.

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.

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 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.

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.

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.

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 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 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.

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.

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.

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.

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.

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.

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 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.

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.

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.

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.

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 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.

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.

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 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.

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.

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.

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 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.

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.

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 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 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.