r/ExploreLuxor

Heart Amulet

1069–715 BCE
Egypt, Third Intermediate (1069–715 BCE) or later

Medium
Deep turquoise-blue faience

Measurements
Overall: 3 x 2.1 x 1 cm (1 3/16 x 13/16 x 3/8 in.)

Credit Line
Gift of the John Huntington Art and Polytechnic Trust 1914.780

Location
Not on view

Provenance
Purchased in Egypt by Lucy Olcott Perkins through Henry W. Kent

Citations
Berman, Lawrence M., and Kenneth J. Bohač. Catalogue of Egyptian Art: The Cleveland Museum of Art. Cleveland, OH: Cleveland Museum of Art, 1999 Reproduced: p. 515; Mentioned: p. 515-6

Cite this Artwork-
Heart Amulet, 1069–715 BCE. Egypt, Third Intermediate (1069–715 BCE) or later. Deep turquoise-blue faience; overall: 3 x 2.1 x 1 cm (1 3/16 x 13/16 x 3/8 in.). The Cleveland Museum of Art, Gift of the John Huntington Art and Polytechnic Trust, 1914.780

The Cleveland Museum of Art

https://www.clevelandart.org/art/1914.78

Heart Amulet, 1069–715 BCE. Third Intermediate (1069–715 BCE) or later. Deep turquoise-blue faience; overall. The Cleveland Museum of Art.

Heart Amulet Surmounted by a Ram's Head
664–525 B.C.E. or later

Caption
Heart Amulet Surmounted by a Ram's Head, 664–525 B.C.E. or later. Faience, 2 1/4 x 15/16 in. (5.8 x 2.4 cm). Brooklyn Museum, Charles Edwin Wilbour Fund, 37.887E. (Photo: Brooklyn Museum)

Gallery
Not on view

Collection
Egyptian, Classical, Ancient Near Eastern Art

Key information

Title
Heart Amulet Surmounted by a Ram's Head

Date
664–525 B.C.E. or later

Dynasty
Dynasty 26, or later

Period
Late Period

Geography
Place made: Egypt

Medium
Faience

Classification
Accessory

Dimensions 2 1/4 x 15/16 in. (5.8 x 2.4 cm)

Credit Line
Charles Edwin Wilbour Fund

Accession Number
37.887E

Catalogue description
Light green faience heart amulet surmounted by a ram's head crowned with a sun-disk and a uraeus. The details of the heart are given in incised lines. There is a loop behind the sun-disk.

Condition:
The piece is complete except for small chips on the sun disk, left horn, and lower part of the heart. the color has faded to white on the shoulder of the heart.

Have information?
Have information about an artwork? Contact us at
bkmcollections@brooklynmuseum.org.

The Brooklyn Museum

https://www.brooklynmuseum.org/objects/117478

Heart Amulet Surmounted by a Ram's Head, 664–525 B.C.E. or later, Dynasty 26, or later, Late Period, Faience, The Brooklyn Museum

Model group; boat; figure

Object Type
model group
boat
figure

Museum number
EA41574
Description
Wooden model of sailing-boat: the hull is rather narrow, with moderate sheer; bow lower and more narrow than stern, which has notch for steering-oar; exterior devoid of paint. Deck flush and not cambered, so that raised gunwales are absent; painted white with deck-plan and outer edges in red. The painted centre-strip runs the full length of the vessel; the fore-deck is marked only by a normal painted thwart, but the after-deck is marked by an exceptionally broad painted band. There are seven white rectangles on each side; the midships pair are separated by the usual mast-space. The point of the fore-deck is painted black. In the after part of the vessel is an open-sided cabin, consisting of a rounded top supported on either side by four posts, the latter strengthened each side with a single cross-piece tied to them about half-way up. The rounded roof is yellow edged with black to represent leather strips which have white markings edged with black to indicate the lashings which hold them in place; the roof of the cabin is also decorated on each side with two paintings of round-topped shields, alternately white with black markings and black with white markings. The cabin is open to the stern. Immediately abaft the cabin stands a steering-post which has been trimmed roughly to an octagonal section but has no groove on top. To it was lashed the butt of the steering-oar, which was also lashed to the notch on the stern; the present lashings are modern. The tiller was broken off, only the stump remaining. In the bows stands the pilot with right arm extended and left hanging down. Between mast and cabin stand three sailors hauling on the rigging, while forward of the mast are two other members of the crew facing aft and heaving on quant-poles as if to push the boat off a sandbank; they are leaning forward with almost straight bodies, one arm and shoulder pressing on the quants while their disengaged arms are supposed to be pressing on the deck to obtain greater leverage; actually the hands do not quite touch the deck. The human figures on board have red bodies, white skirts, and short black wigs; it is noticeable that both the men working the rigging and those pushing on the quants have their legs well separated so as to get a good purchase on the deck. The helmsman sits in the stern, left arm at 45 degree with the body, right arm straight in front to grasp the tiller, which is missing; the stump is sticking out of the hole in the shaft of the steering-oar. In the cabin squats the figure of the owner of the boat; he has his right arm forward at an angle of about 45 degrees and his left arm slightly forward. Behind him are two round-topped travelling trunks placed one on top of the other and painted red and yellow. All the standing sailors except the pilot, as well as the owner, still have the remains of the original fabric skirts. No facial features carved except noses; eyes are painted on. Arms are pegged to shoulders and cut off straight at ends; hands are not shaped.

Cultures/periods
12th Dynasty

Findspot
Found/Acquired: Beni Hasan, Tomb 723
Africa: Egypt: Minya, el- (Governorate): Beni Hasan

Materials
wood

Type series
Reisner Type II

Technique
painted

Dimensions
Height: 53 centimetres
Length: 69.80 centimetres
Length: 87 centimetres
Depth: 31 centimetres

Curator's comments
As received by the Museum the mast and rigging were in disorder, but photographs taken by the excavator on the site show that the mast, yards and rigging, and the rolled-up sail originally rested in part on the cabin top and in part on the figures of the crew. The spars are slight twigs with much of the original bark and the minimum of trimming, and the samecomment applies to two quant-poles on which men are shown as pushing; these were 'in situ' when the boat was found.

The boat comes from the tomb of Sobkhetepi (no. 723), and was found lying on top of the outer wooden coffin (1905,0516.1), J. Garstang, 'The Burial Customs of Ancient Egypt' (London, 1907), fig. 170, together with a second boat (1905,0516.5.a), a model granary (1905,0516.3), a model of brewing, baking and butchering (1905,0516.6), and a wooden figure of a serving-girl with a basket on her head (not in the collection).

Bibliography:
J. Garstang, 'The Burial Customs of Ancient Egypt' (London, 1907), 237.

Bibliographic references
Glanville 1972 / Catalogue of Egyptian Antiquities in the British Museum II: Wooden Model Boats (12)

Location
Not on display

Exhibition history
Exhibited:
2005-2006 5 Nov-15 Mar, Valencia, Art Galore

Condition
Apart from the broken tiller and the decayed raffle of sail and cordage, the model is in exceptionally good condition.

Acquisition name
Purchased from: F G Hilton Price

Acquisition date
1905

Department
Egypt and Sudan

BM/Big number
EA41574

Registration number
1905,0516.4

Conservation
Treatment: 26 Sep 2005
Treatment: 14 Oct 2005
Treatment: 27 Jan 1997
Treatment: 24 Apr 2006

The British Museum

https://www.britishmuseum.org/collection/object/Y_EA41574

Model group; boat; figure, 12th Dynasty, The British Museum

Heart Amulet
New Kingdom, Ramesside
ca. 1295–1070 B.C.

Not on view

For the ancient Egyptians, the heart (ib) was the source of intelligence, feelings, and actions. A person's memory was also housed in the heart and so at the judgment ceremony (Weighing of the Heart) in the afterlife, the heart was able to speak on behalf of the deceased, accounting to Osiris for a lifetime of deeds. Therefore, heart amulets were only used on the mummy to protect the owner's organ and to ensure that his heart gave a positive response at judgment.

Overview

Title: Heart Amulet

Period: New Kingdom, Ramesside

Date: ca. 1295–1070 B.C.

Geography: From Egypt

Medium: Red jasper

Dimensions: H. 2.9 × W. 2.3 × D. 1.5 cm (1 1/8 × 7/8 × 9/16 in.)

Credit Line: Gift of Helen Miller Gould, 1910

Object Number: 10.130.1795

Curatorial Department: Egyptian Art

Provenance
1883-1907, purchased by Reverend Chauncey Murch (1856-1907) [1]; 1907, inherited by Amelia Sophronia Murch, née Canfield; 1910, purchased by the Metropolitan Museum of Art with funds provided by Helen Miller Gould.

[1] Collected while Murch was a Presbyterian missionary in Luxor, Egypt, frequently from Mohammed Mohassib (1843-1928).

The Metropolitan Museum of Art

https://www.metmuseum.org/art/collection/search/545420

Heart Amulet, New Kingdom Ramesside, ca. 1295–1070 B.C., Jasper, The Metropolitan Museum of Art

Statuette of the Goddess Thoëris (or Taweret)

Object Number
BSAe III 01513

Cultural area
Egypt

Epoch
Late Period (Egypt)

Basic information
Limestone, H. 11.4 cm Late period, 26. Dynasty, 664–525 BC Inv. BSAe III 01513

Provenance
Depositum Museum of Cultures, Basel. Until 2005 Museum of Cultures, Basel. 1903 Donation by Rudolf Nötzlin-Werthemann (1840–1911) to the Ethnology Museum, Basel. Acquired at the Museum Bulaq, Cairo.

Description
The largely intact limestone statuette of the patron goddess Thoëris is of fine quality. She is a mixed creature of hippo, lion and crocodile. With her short hippo legs, Thoëris stands on a rectangular base plate, which is damaged at the left corner. The mouth of the hippopotamus head is half open and makes the carefully executed teeth visible with the large canines and the small incisors. Nostrs and eye ams are plastically highlighted. A strand wig connects the head with the pregnant hippo body. Its back is formed by a crocodile's back. The human arms, which end in lion pranks, are slightly bent and led forward to the pregnant body. The equally human breasts hang down heavily. Their urtal mixed shape is composed of pregnant hippo, lion and crocodile, all powerful animals that could be dangerous to humans on the Nile. In magic, on the other hand, they opposed its protection. Especially the pregnant hippopotamus, which protects its young, was rated positively as a donor of fertility and food.

Bibliography
H. Schlögl (ed.), gift of the Nile. Egyptian works of art from Swiss ownership (Basel 1978) 90, No. 306.

Antikenmuseum Basel

https://antikenmuseumbasel.zetcom.net/en/collection/item/74657/

Statuette of the Goddess Thoëris (or Taweret), Dynasty 26 Late period 664–525 BC, Limestone, Antikenmuseum Basel

Heart Amulet

Accession Number
AB7

Current Location
House of Death (ground floor), Amulets case, Shelf 2

Object Type
Jewellery, Amulet

Periods
Third Intermediate Period to Late Period

Material
Stone/minerals (Jasper)

Provenance
Egypt

Weight (grams)
4 grams.

Number of Elements
1

Measurements
Height: 25mm | Width: 16mm | Depth: 6mm

Description
A red jasper heart amulet. This appears to be a cornice heart amulet (Sousa 2011, 17–20), which dates at the earliest to the Twenty-first Dynasty, though most are Late Period. It was a gift from University of Wales, Aberystwyth. To the Egyptians the heart was the most important organ of the body, the seat of intelligence and feeling. It was the heart that was weighed on the balance in the afterlife to judge whether or not a person should live again. Only two heart amulets are known before the New Kingdom, but once established this amulet was so important that it appeared on every mummy. Red stones were most commonly used. Four chapters of the Book of the Dead were concerned with not taking a man's heart away. Spell 26 is the 'Spell for giving the deceased's heart to him in the realm of the dead'. Spell 29B is for a heart amulet of carnelian. Spell 30B of the Book of the Dead is for the heart amulet. The importance of the heart is made clear in Chapter 30B of the Book of the Dead; a plea for the heart not to oppose the deceased before the tribunal. The heart was the essence of the person, their seat of intellect and emotion. Indeed, the weighing of the heart scene was associated with Spell 30B before it became associated with Spell 125 (Gee 2009, 4–5). However, Sousa (2011) associates the cornice heart amulet with the child deities, such as Harpocrates, who were particularly popular in the Late Period. He further suggests that such amulets may well have been worn during life.

Bibliography
Andrews, Carol 1994. Amulets of ancient Egypt. London: The British Museum Press.

Gee, John 2009. Of heart scarabs and balance weights: a new interpretation of Book of the Dead 30B. Journal of the Society for the Study of Egyptian Antiquities 36, 1–15.

Naguib, Saphinaz-Amal 1994. Interpreting abstract concepts: towards an attempt to classify the ancient Egyptian notion of person. Discussions in Egyptology 29, 99–124.

Piankoff, Alexandre 1930. Le "cœur" dans les textes égyptiens depuis l'Ancien jusqu'à la fin du Nouvel Empire. Paris: Paul Geuthner.

Sousa, Rogério 2007. The meaning of the heart amulets in Egyptian art. Journal of the American Research Center in Egypt 43, 59–70.

Sousa, Rogério 2011. The heart of wisdom: studies on the heart amulet in ancient Egypt. BAR International Series 2211. Oxford: Archaeopress.

Object History

Previous Owner
Aberystwyth University

Acquisition
Gift, Aberystwyth University (24 Mar 1997)

The Egyptian Centre

https://egyptcentre.abasetcollections.com/Objects/Details/959?SavedSelections=$Search-Heart$Page-1

Heart Amulet, Third Intermediate Period to Late Period, Jasper, The Egyptian Centre

Last modified: 27 Mar 2026

Inner Coffin Lid of Iawttayesheret

PLACE CREATED Egypt, Africa

CULTURE Egyptian

PERIOD Late Period, Dynasty 25

DATE 722-655 BCE

MEDIUM Wood, gesso, pigment

CREDIT LINE Charlotte Lichirie Collection of Egyptian Art

DIMENSIONS 66 15/16 x 11 13/16 x 21 1/16 in. (170 x 30 x 53.5 cm)

OBJECT NUMBER 1999.001.008 D

Label Text
This nested set of coffins belonged to a woman named Iawttayesheret. The daughter of Padikhnum and Tadiaset, Iawttayesheret was the Great Follower of the Divine Adoratirce of Amun, and almost certainly resided in Thebes. Both her titles and the high quality of her coffins indicated that Iawttayesheret was a woman of some stature.

Exhibition History
MCCM Permanent Collection Galleries, July 18, 1999 - January 17, 2000
MCCM Permanent Collection Reinstallation, October 6, 2001 - Present

Published References
Peter Lacovara, "The New Galleries of Egyptian and Near Eastern Art at the Michael C. Carlos Museum". Minerva, The International Review of Ancient Art and Archaeology. September/October 2001. p. 9-16.

Peter Lacovara & Betsy Teasley Trope. The Realm of Osiris. Atlanta: Michael C. Carlos Museum (2001): 53-55.

MCCM website, Spring 2008-, http://www.carlos.emory.edu/egyptian-nubian

TERMS coffinspainting (image-making)

PROVENANCE
Ex coll. Niagara Falls Museum, Niagara Falls, Canada. Purchased by MCCM from William Jamieson (1954-2011) [Golden Chariot Productions], Toronto, Canada.

STATUS On view

COLLECTIONS Ancient Egyptian, Nubian, and Near Eastern Art

The Michael C. Carlos Museum at Emory University

https://collections.carlos.emory.edu/objects/19003/inner-coffin-lid-of-iawttayesheret?ctx=eff06a3bb76ef48e4929ad09adf03f94d9d5a566&idx=138

Inner Coffin Lid of Iawttayesheret, Dynasty 25 722-655 BCE late period,Wood guesso pigment, The Michael C. Carlos Museum at Emory University

Inner Coffin of Nephthys
Middle Kingdom
ca. 1961–1878 B.C.

On view at The Met Fifth Avenue in Gallery 112

The mummy of Nephthys (11.150.15c) was buried in a coffin set that included an outer rectangular wooden coffin (11.150.15a) and an inner mummy-shaped coffin made out of cartonnage (layers of linen with plaster). The inner coffin features a gilded face and a broad collar. In addition, a small necklace was incorporated into the neck area of this coffin.

Overview ‎
Title: Inner Coffin of Nephthys

Period: Middle Kingdom

Dynasty: Dynasty 12

Reign: reigns of Senwosret I to Senwosret II

Date: ca. 1961–1878 B.C.

Geography: From Egypt, Middle Egypt, Meir, Khashaba excavations, 1910–11

Medium: Painted cartonnage, wood, gold leaf, Egyptian blue, calcite, carnelian, beryl, silver wire, faience

Dimensions: L. 179.5 cm (70 11/16 in.)

Credit Line: Rogers Fund, 1911

Object Number: 11.150.15b

Curatorial Department: Egyptian Art

Provenance
Excavated by Ahmed Kamal in excavations sponsored by Sayyid Khashaba at Meir, 1910. Received by Khashaba in the division of finds. Purchased from Khashaba by the Metropolitan Museum, 1911.

References
Hayes, William C. 1953. Scepter of Egypt I: A Background for the Study of the Egyptian Antiquities in The Metropolitan Museum of Art: From the Earliest Times to the End of the Middle Kingdom. Cambridge, Mass.: Metropolitan Museum of Art, p. 311.

Fischer, Henry G. 1964. "Two Royal Monuments of the Middle Kingdom Restored." In The Metropolitan Museum of Art Bulletin, new ser., vol. 22, no. 7 (March), p. 245, n. 1.

The Metropolitan Museum of Art

https://www.metmuseum.org/art/collection/search/558155

Inner Coffin of Nephthys, Dynasty 12 Middle Kingdom ca. 1961–1878 B.C., Painted cartonnage, wood, gold leaf, Egyptian blue, calcite, carnelian, beryl, silver wire, faience, The Metropolitan Museum of Art

Blue wide footed chalice

Object number
ECM.1581-2010

Object type
container

Identification

Description
chalice - lotus

Comments
Web images used with permission of The Barber Institute

Other number
76

DescriptioDimensions
Height: 8.0cm

Material
Faience

Physical description
Blue faience chalice, delicate stemmed foot with frond decoration in relief, broad shallow bowl in the form of a white lotus, lobed, and with vertical incised decoration

History and association

Associated person
Myers, William Joseph, 1858 - 1899 (Compiler)

Field collectionCollection place
Egypt

Eton College Museum

https://catalogue.etoncollege.com/object-ecm-1581-2010

Blue faience wide footed chalice, undated, Eton College Museum

Mummy of a woman named Nephthys
Middle Kingdom
ca. 1961–1878 B.C.

On view at The Met Fifth Avenue in Gallery 112.

The mummified body of a woman named Nephthys is still inside the ancient linen wrappings and is resting inside her mummy-shaped coffin. CT scans show that she was an adult and that her arms are extended with her hands resting at her upper inner thighs. Her mummified body was buried in a coffin set that included an outer rectangular wooden coffin (11.150.15a) and an inner mummy-shaped coffin (11.150.15b) made out of cartonnage (layers of linen with plaster). On the outer coffin is her name and her title "mayor’s daughter," but both are a later addition, indicating that this coffin was originally made for another person.

Overview
Title: Mummy of a woman named Nephthys

Period: Middle Kingdom

Dynasty: Dynasty 12

Reign: reigns of Senwosret I to Senwosret II

Date: ca. 1961–1878 B.C.

Geography: From Egypt, Middle Egypt, Meir, Khashaba excavations, 1910–11

Medium: Mummified human body, linen, mummification material

Dimensions: l. 165.2 cm (65 1/16 in)

Credit Line: Rogers Fund, 1911

Object Number: 11.150.15c

Curatorial Department: Egyptian Art

Provenance
Excavated by Ahmed Kamal in excavations sponsored by Sayyid Khashaba at Meir, 1910. Received by Khashaba in the division of finds. Purchased from Khashaba by the Metropolitan Museum, 1911.

References
Fischer, Henry G. 1964. "Two Royal Monuments of the Middle Kingdom Restored." In The Metropolitan Museum of Art Bulletin, new ser., vol. 22, no. 7 (March), p. 245, n. 1.

Mininberg, David T. 2001. "The Museum's Mummies: an Inside View." In Neurosurgery, 49, no. 1 (July), pp. 192–9 (The number given in the article is incorrect, it is not 11.50.15, but 11.150.15c.).

Thompson, Randall C., Adel H. Allam, Guido P. Lombardi, L. Samuel Wann, M. Linda Sutherland, James D. Sutherland, Muhammad Al-Tohamy Soliman, Bruno Frohlich, David Mininberg, Janet M. Monge, Clide M. Vallodolid, Samantha L. Cox, Gomaa Abd el-Maksoud, Ibrahim Badr, Michael I. Miyamoto, Abd el-Halim Nur el-din, Jagat Narula, Caleb E. Finch, and Gregory S. Thomas 2013. "Atherosclerosis across 4000 years of human history: the Horus study of four ancient populations." In The Lancet, March 10, p. 4.

The Metropolitan Museum of Art

https://www.metmuseum.org/art/collection/search/590748

Mmummy of a woman named Nephthys, Middle Kingdom 12th Dynasty ca. 1961–1878 B.C., Mummified human body, linen, mummification material, The Metropolitan Museum of Art

Stele of Djedasetiufankh

945–715 BCE
Egypt, probably Thebes, Third Intermediate (1069–715 BCE), Dynasty 22

Medium
Painted wood

Measurements
Overall: 25.9 x 25.2 x 2 cm (10 3/16 x 9 15/16 x 13/16 in.)

Credit Line
The Charles W. Harkness Endowment Fund 1921.1028

Location
Not on view

Provenance
Probably Thebes. Formerly in the collection of William Amhurst Tyssen-Amherst, 1st Baron Amherst of Hackney, Didlington Hall, Norfolk; sold: Amherst Sale, lot 402, p. 41. Purchased through Howard Carter

Citations
Berman, Lawrence M., and Kenneth J. Bohač. Catalogue of Egyptian Art: The Cleveland Museum of Art. Cleveland, OH: Cleveland Museum of Art, 1999 Reproduced: p. 260; Mentioned: p. 260-261

Exhibition History
Cleveland, State Theatre, 28 September-16 October 1922, publicity campaign

Cite this Page
{{cite web|title=Stele of Djedasetiufankh|url=https://www.clevelandart.org/art/1921.1028|author=|year=945–715 BCE|access-date=02 July 2026|publisher=Cleveland Museum of Art}}

The Cleveland Museum of Art

https://www.clevelandart.org/art/1921.1028

Stele of Djedasetiufankh, 945–715 BCE Dynasty 22, Wood and pigment, The Cleveland Museum of Art

Fragment of the Book of the Dead of Paheby

PLACE FOUND Egypt, Africa

CULTURE Egyptian

PERIOD,Ptolemaic Period

DATE 305-30 BCE

MEDIUM Papyrus, pigment

CREDIT LINE Collected by William A. Shelton, funded by John A. Mange

DIMENSIONS 7 15/16 x 11 3/16 in. (20.2 x 28.4 cm)

OBJECT NUMBER 1921.090.001 A

Label Text
This fragment of papyrus is only a small section of a longer roll containing excerpts from the "Book of the Dead." The spells and illustrations in the "Book of the Dead" were intended to guide the deceased on the perilous journey into the afterlife. An individual typically selected a few of the nearly two hundred spells to be inscribed on papyrus and placed in the tomb close to the body.

In this case, the owner of the papyrus, Paheby, son of Ankhpakhered and Takhebyt, has chosen chapters 1 and 72, along with others now lost. The text is written in vertical columns to be read from right to left. The initial spell associates Paheby with Osiris, requesting that he become like the god and that he receive the same life-giving offerings as the god. The desired result is that like the deity, Paheby will be resurrected. Chapter 72, entitled "Spell for going out into the day and opening up the tomb," guarantees that Paheby will be provided with a tomb and all of the offerings that traditionally sustained the deceased.

Above the text is a depiction of Paheby's funeral procession en route to the tomb. The central element in the scene is the round-topped chest holding the canopic jars in which Paheby's embalmed viscera rest. A priest drags the chest, followed by a group of female mourners, two of whom raise their palms in characteristic gesture of grief.

Exhibition History
MCCM Permanent Collection Galleries, May 11, 1993 - April 2000
MCCM Permanent Collection Reinstallation, October 6, 2001 - 2006

Published References
C.A. Keller, "A Late Book of the Dead in the Emory University Museum," Bulletin of the Egyptological Seminar 6 (1985): 55-67.

Bonna Wescoat and Monique Seefrie, "Emory University Museum of Art and Archaeology Reopens," Archaeology 38, no. 3 (1985): 60-63.

Helen C. Smith, "A Walk Through Time," Atlanta Weekly, June 8, 1986.

Michael C. Carlos Museum Handbook (Atlanta: Michael C. Carlos Museum, 1996), 24.

Peter Lacovara and Betsy Teasley Trope, The Realm of Osiris (Atlanta: Michael C. Carlos Museum, 2001), 15.

TERMS liturgical textspapyri (manuscripts)religious texts

PROVENANCE
Acquired for Emory University Museum by William Shelton (1875-1959), ca. 1920.

STATUS Not on view

COLLECTIONS Ancient Egyptian, Nubian, and Near Eastern Art

The Michael C. Carlos Museum at Emory University

https://collections.carlos.emory.edu/objects/14632/fragment-of-the-book-of-the-dead-of-paheby?ctx=5b5f9bf47e5531b486666eac73ee4306776a7289&idx=10

Fragment of the Book of the Dead of Paheby, Ptolemaic period, 305-30 BCE, Papyrus and pigment, The Michael C. Carlos Museum at Emory University

Bust of Ankh-Hor

525–404 BCE
Egypt, Late period (715–332 BCE), Dynasty 27

Medium
Basalt

Measurements
Overall: 21.5 x 15 cm (8 7/16 x 5 7/8 in.)

Credit Line
Gift of the John Huntington Art and Polytechnic Trust 1914.662

Location
107 Egyptian

Did You Know?
The black volcanic basalt stone imparts a sleek appearance to this revered temple statue.

Description
This bust of Ankh-Hor comprises the top portion of a temple statue. From the position of the arms, it is evident that it originally belonged to a striding figure holding a naos, or shrine, containing the image of a deity. His high-waisted wraparound robe, fashionable during the Persian period (Dynasty 27) when this figure was carved, would have reached to his ankles.

Provenance
Purchased from Khawam Brothers, Cairo, by Lucy Olcott Perkins through Henry W. Kent

Citations
Bianchi, Robert Steven. "Collecting and Collectors, Egyptian Style." The Bulletin of the Cleveland Museum of Art 79, no. 5 (1992): 144-51. Reproduced: p. 145; Mentioned: p. 145, 148 www.jstor.org

Berman, Lawrence M., and Kenneth J. Bohač. Catalogue of Egyptian Art: The Cleveland Museum of Art. Cleveland, OH: Cleveland Museum of Art, 1999 Reproduced and Mentioned: p. 424

Exhibition History
Egyptian Sculpture of the Late Period. The Brooklyn Museum, Brooklyn, NY (organizer) (October 18, 1960-January 9, 1961).
CMA 1916, no. 83, p. 213, pl. 339; Brooklyn 1960-61, no. 63

Cite this Page
{{cite web|title=Bust of Ankh-Hor|url=https://www.clevelandart.org/art/1914.662|author=|year=525–404 BCE|access-date=30 June 2026|publisher=Cleveland Museum of Art}}

The Cleveland Museum of Art

https://www.clevelandart.org/art/1914.662

Bust of Ankh-Hor, 525–404 BCE**,Late period (715–332 BCE), Dynasty 27,Basalt,**The Cleveland Museum of Art

Cippus

Object Type
cippus

Museum number
EA36250

Description
Black steatite cippus; standards on either side of Harpocrates; eight registers of Gods and text in the field; other surfaces covered with rows of Hieroglyphic text; two fragments re-joined.

Cultures/periods
Late Period
Ptolemaic (early)

Findspot
Found/Acquired: Egypt
Africa: Egypt

Materials
steatite

Dimensions
Height: 19.50 centimetres
Weight: 1.83 kilograms
Width: 13 centimetres
Depth: 6.10 centimetres

Inscriptions
Inscription type: inscription
Inscription position: all surfaces
Inscription script: hieroglyphic

Curator's comments

Bibliography:
G. Pinch, Magic in Ancient Egypt (London 1994), fig.7.

H. Sternberg-El Hotabi, Untersuchungen zur Überlieferungsgeschichte der Horusstelen, ÄA 62, p. 55.

D. Antoine and M. Vandenbeusch, Egyptian mummies. Exploring ancient lives, Sydney 2016, p. 107.

Quack, J.F. 2022. Altägyptische Amulette und ihre Handhabung. Orientalische Religionen in der Antike 31. Tübingen, pp. 228, 241.

Bibliographic references
Taylor 2010 / Journey through the afterlife: Ancient Egyptian Book of the Dead (no. 10)

Location
Not on display

Exhibition history
2010 4th Nov-2011 6th March, Round Reading Room BM, Book of the Dead

2016-2017 10 Oct-30 Apr, Sydney, Powerhouse Museum, Ancient Lives

2017 16 Jun-18 Oct, Hong Kong Science Museum, Ancient Lives

2017-2018 14 Nov-20 Feb, Taiwan, National Palace Museum, Ancient Lives

2018 16 Mar-22 Jul, Brisbane, Queensland Museum of Art, Ancient Lives

2019-2020 14 Sept- 28 Jun, Montreal, Museum of Fine Arts, Ancient Lives EXTENDED DUE TO COVID19

2020-2021, 19 Sept - 21 Mar, Toronto, Royal Ontario Museum, Ancient Lives

2021-2022 9 Oct - 10 Jan, Tokyo, Museum of Science and Nature, Mummies of Ancient Egypt: rediscovering six lives (Egyptian Mummies 2)

2022 5 Feb- 8 May, Kobe City Museum, Mummies of Ancient Egypt: rediscovering six lives (Egyptian Mummies 2)

2022 14 Jul - 26 Oct, Madrid, CaixaForum, Mummies of Ancient Egypt: rediscovering six lives (Egyptian Mummies 2)

2022-2023 1 Dec – 19 Mar, Barcelona, CaixaForum, Mummies of Ancient Egypt: rediscovering six lives (Egyptian Mummies 2)

2023 25 Apr - 2 Sep, Seville, CaixaForum, Mummies of Ancient Egypt: rediscovering six lives (Egyptian Mummies 2)

2023-2024 6 Oct – 21 Jan, Valencia, CaixaForum, Mummies of Ancient Egypt: rediscovering six lives (Egyptian Mummies 2)

2024 27 Feb - 5 Jun, Zaragoza, CaixaForum, Mummies of Ancient Egypt: rediscovering six lives (Egyptian Mummies 2)

Condition
fair (repaired)

Subjects
ancient egyptian deity

Associated names
Representation of: Harpocrates
Representation of: Bes
Representation of: Serqet
Representation of: Pataikos
Representation of: Taweret
Representation of: Neith
Representation of: Sokar
Representation of: Sobek

Department
Egypt and Sudan

BM/Big number
EA36250

Registration number
OC.350

Conservation
Treatment: 10 Jun 1999

The British Museum

https://www.britishmuseum.org/collection/object/Y\_EA36250

Cippus, Late Period - Ptolemaic, Steatite, The British Museum

Corn Osiris Mask

PLACE CREATED Egypt, Africa
CULTURE Egyptian
PERIOD Late Period
DATE 722-332 BCE
MEDIUM Wax, Egyptian blue pigment, gold leaf, carbon black
CREDIT LINE Ex Brummer Collection, donated by the Brummer-Laszlo Family
DIMENSIONS 8 7/8 x 4 5/16 x 2 3/4" (22.5 x 11 x 7 cm)
OBJECT NUMBER 1998.013.009 A/C

Label Text
On special feast days, figurines of the god Osiris, would be filled with mud and grain that would sprout, emphasizing the role of Osiris in bringing forth life from the earth. These evolved into a modeled figure known as a "corn Osiris." Such figures were sometimes fitted with wax masks with the face of Osiris. The wax itself was thought to have magical properties of transformation, and the gold symbolized the god's flesh. The hair on this example is colored with Egyptian blue to imitate lapis lazuli, the hair of the gods. These figures were placed in falcon-headed coffins and buried as votive offerings on feast days in cemeteries and sacred sites.

Exhibition History
MCCM Permanent Collection Reinstallation, October 6, 2001 - Present

Published References
Peter Lacovara, "The New Galleries of Egyptian and Near Eastern Art at the Michael C. Carlos Museum," Minerva 12 (2001), 9-16.
Peter Lacovara and Betsy Teasley Trope, The Realm of Osiris (Atlanta: Michael C. Carlos Museum, 2001), 17.

TERMS masks (costume)

PROVENANCE
Ex coll. Ernest Brummer (1891-1964), New York, New York, from at least 1964. Ex coll. Ella Brummer (1900-1999), New York, New York.

STATUS On view

COLLECTIONS Ancient Egyptian, Nubian, and Near Eastern Art

The Michael C. Carlos Museum at Emory University

https://collections.carlos.emory.edu/objects/19481/corn-osiris-mask?ctx=20679d3485ff5c32d36ea75feb33f316cbae4b49&idx=128

Corn Osiris Mask, Wax, Egyptian blue pigment, gold leaf, carbon black, The Michael C. Carlos Museum at Emory University

Mummy Portrait of a Bearded Man
A.D. 220–250
Attributed to the Brooklyn Painter (Romano-Egyptian, active mid-3rd century A.D.)
On view at Getty Villa, Gallery 210, Roman Egypt
View full record details
Romano-Egyptian funerary portrait of a man painted in tempera (pigments suspended in animal glue) on a cedar of Lebanon panel. A rare import to Egypt, cedar of Lebanon was used for the construction of elite funerary and devotional equipment. Carbon-14 analysis provides a date of 196-55 B.C. for the wood, several centuries earlier than the stylistic dating of the panel at A.D. 225-250. This chronological inconsistency may have resulted from the wood having been removed from an earlier tomb and reused centuries later. The recycling of rare and costly materials is not uncommon in Roman Egypt, where wood – especially cedar of Lebanon – was highly valued.
The man wears a white tunic with blue clavi (woven stripes). In his right hand he holds a small glass, probably containing red wine, in his left hand (missing its thumb) a folded wreath of rose petals, possibly indicating affiliation with the cult of Isis. Although this portrait is without provenience, many of its features, including the diagonal clipping of the top corners to aid insertion into the mummy wrappings, are commensurate with panels from Er-Rubayat as are the heavy application of pigment modeled from areas of flat paint and the linear style of the facial features. Specific portraits of observable similarity are in the collections of The Brooklyn Museum (41.848), National Museums Scotland (1902.70) and The National Museum of Ireland (Dublin 1902.4), all from Er-Rubayat.
The tempera was applied atop a white gesso ground. Madder (an organic red pigment) was used for the rose petals, red wine, and the flush of the cheeks. Indigo (an organic plant dye) was mixed with madder to make the purple stripes on his collar and the dark blue of the clavi (woven stripes). Indigo was also mixed with the yellow pigment orpiment for the green foliage below the rose garland. There is considerable paint loss at the top right and bottom left of the panel. Parts of the face, notably the center of the forehead, right ear lobe, and the lower lip have been retouched

Caption Information
Attributed to the Brooklyn Painter (Romano-Egyptian, active mid-3rd century A.D.)
Mummy Portrait of a Bearded Man, A.D. 220–250
Tempera on wood
Object: 34 × 25 cm (13 3/8 × 9 13/16 in.)
The J. Paul Getty Museum, Villa Collection, Malibu, California, 79.AP.142

Full Artwork Details
Title:
Mummy Portrait of a Bearded Man
Artist/Maker:
Attributed to the Brooklyn Painter (Romano-Egyptian, active mid-3rd century A.D.)
Date:
A.D. 220–250
Medium:
Tempera on wood
Dimensions:
Object: 34 × 25 cm (13 3/8 × 9 13/16 in.)
Place:
Egypt (Place Created)
Culture:
Romano-Egyptian
Object Number:
79.AP.142
Alternate Titles:
Mummy Portrait of a Man (Alternate Title)
Department:
Antiquities
Classification:
Painting
Object Type:
Panel
Resources
Explore this portrait and others in the exhibit "Faces of Roman Egypt" on Google Arts & Culture

Provenance
Nicolas Koutoulakis1910 - 1996(Geneva, Switzerland)
sold to the J. Paul Getty Museum, 1979.

Bibliography
Show information

Frel, Jirí. In collaboration with Sandra Knudsen Morgan. Roman Portraits in the Getty Museum. Exh. cat. for "Caesars and Citizens," Philbrook Art Center, Tulsa, Oklahoma, April 26-July 12, 1981, p. 9, fig. 10.

Thompson, David L. Mummy Portraits in the J. Paul Getty Museum (Malibu: J. Paul Getty Museum, 1982), pp. 56-57, 66, no. 11.

Parlasca, K., J.-E. Berger, and R. Pintaudi. El-Fayyum (Milan: Ricci, 1985), p. 148, ill. p. 149.
Doxiadis, Euphrosyne. The Mysterious Fayum Portraits: Faces from Ancient Egypt (London: Thames and Hudson, 1995), color ill. no. 7; comments pp. 221, 224, and p. 237, n. 36.
Bianchi, Robert S. "The Mummy as Medium," Archaeology. (November/December, 1995), pp. 60-66, cover ills.
Borg, Barbara. Mumienportra¨ts: Chronologie und kultureller Kontext (Mainz: Ph. von Zabern, 1996), pp. 15, 84, 94, 100, 106, 123, 152, 210 no. 10; pl. 52.
Walker, Susan, Morris Bierbrier, et al. Fayum. Misteriosi Volti dall'Egitto, exh. cat. (Rome: Fondazione Memmo, October 22, 1997-February 28, 1998), pp. 126-27, no. 94.
Sotheby's, London, Antiquities including Western Asiatic Antiquities and Cylinder Seals from the Erlenmeyer Collection (Part II), June 12, 1997, listed as comparison for lot no. 338.
Borg, Barbara. "Der zierlichste Anblick der Welt," Aegyptische Portraetmumien. Mainz: 1998, p. 90; fig. 110.
Geoffroy-Schneider, Berenice. Fayoum. (Paris: Editions Assouline, 1998), p. 77.
Walker, Susan, ed. Ancient Faces: Mummy Portraits from Roman Egypt, exh. cat. (New York: Routledge, 2000), no. 47.
The J. Paul Getty Museum Handbook of the Antiquities Collection (Los Angeles: 2002), pp. xviii-xix, fig. 9.
Parlasca, Klaus and Hans G. Frenz.. Repertorio d'arte dell'Egitto greco-romano. A. Adriani, ed. 2 ser. Vol. 4, Ritratti di Mummie (Roma : "L'Erma" di Bretschneider, 2003), p. 53, no. 730, pl. 166,4.
The J. Paul Getty Museum Handbook of the Antiquities Collection. Rev. ed. (Los Angeles: J. Paul Getty Museum, 2010), p. xviii, fig. 9.
Psychological Perspectives 59, no. 1 (2016), Front cover ill.
Mozur, Nancy. "About the Art: Mummy Portraits." Psychological Perspectives 59, no. 1 (2016), pp. 5, ill.
The J. Paul Getty Museum. "Faces of Roman Egypt" [exh.] Published via Google Arts & Culture (2021), https://artsandculture.google.com/story/YQVRtpUvIK_TtA (acc. April 7, 2021), ill.
Svoboda, Marie. "Image Comparison of Ancient Mummy Portraits: The Appear Project." IIPImage (blog). November 19, 2021, accessed November 30, 2021 https://iipimage.sourceforge.io/2021/11/image-comparison-of-ancient-mummy-portraits-the-appear-project/, ill.
Leonard, Benjamin. "At Face Value." Archaeology (January/February 2022), p. 39, ill.
Marlowe, Elizabeth. "The long, winding, and bumpy road: seeing museum antiquities as colonial legacies." The Routledge Handbook of Classics, Colonialism, and Postcolonial Theory. Katherine Blouin and Ben Akrigg, eds. (London: Routledge, 2025), p. 457, ill.

Exhibitions
Fayum Portraits: Painted Portraits from Roman Egypt
A list of the locations of this exhibition
The J. Paul Getty Museum (Malibu)March 24, 1981 - December 1, 1997
Ancient Faces: Mummy Portraits from Roman Egypt
A list of the locations of this exhibition
The British Museum (London)March 13, 1997 - July 20, 1997
Palazzo Ruspoli (Rome)October 22, 1997 - April 30, 1998
Ancient Faces: Mummy Portraits from Roman Egypt
A list of the locations of this exhibition
The Metropolitan Museum of Art (New York)February 9, 2000 - May 7, 2000

The Getty Museum Collection

https://www.getty.edu/art/collection/object/103TQN

Mummy Portrait of a Bearded Man,
A.D. 220–250, Romano-Egyptian, Tempera on wood, The Getty Museum Collection.
M

Heart Shaped "Heart Scarab"

(The Michael C. Carlos Museum at Emory University NOT ASSIGNED) Egypt

CULTURE Egyptian

PERIOD New Kingdom

DATE 1539-1077 BC

MEDIUM Steatite

CREDIT LINEEgyptian Purchase Fund

DIMENSIONS 2 x 1 3/8 in. (5.1 x 3.5 cm)

OBJECT NUMBER 2008.001.003

Exhibition History
MCCM Permanent Collection Reinstallation, 2008 - Present

Published References
Sotheby's New York, Antiquities (December 5, 2007), 142, lot 117.
MCCM Newsletter, March - May 2008.

TERMS gems (worked stones)scarabs (carvings)carving (processes)

PROVENANCE
Ex coll. Natacha Rambova (1897-1966), California. Ex coll. Professor Donald P. Hansen (1932-2007), New York, New York. Purchased by MCCM from Sotheby's New York, December 5, 2007, lot 117 (part).

STATUS On view

COLLECTIONS Ancient Egyptian, Nubian, and Near Eastern Art

The Michael C. Carlos Museum at Emory University

https://collections.carlos.emory.edu/objects/24475/heart-shaped-heart-scarab

Heart Amulet

PLACE FOUND Egypt, Africa

CULTURE Egyptian

PERIOD Late Period

DATE 722-332 BCE

MEDIUM Steatite, gilding

CREDIT LINE Collected by William A. Shelton, funded by John A. Manget

DIMENSIONS 1 x 9/16 x 1/2 in. (2.6 x 1.4 x 1.3 cm)

OBJECT NUMBER 1921.072

Exhibition History
MCCM Permanent Collection Galleries, May 11, 1993 - Spring 2001

MCCM Permanent Collection Reinstallation, October 6, 2001 - June 2009

MCCM Permanent Collection Gallery, June 26, 2015 - Present

TERMS amulets

PROVENANCE Acquired for Emory University Museum by William Shelton (1875-1959), ca. 1920.

STATUS On view

COLLECTIONS Ancient Egyptian, Nubian, and Near Eastern Art

The Michael C. Carlos Museum at Emory University

https://collections.carlos.emory.edu/objects/18341/heart-amulet

Heart Amulet, Late Period, Steatite and guilding, 722-332 BCE,The Michael C. Carlos Museum at Emory University

Sculptor model of a Goose

Object Number
BSAe 1576

Cultural area
Egypt

Epoch
Ptolemaic

Basic information
Limestone, H. 15.5 cm, W. 15.2 cm, D. 1.7 cm Early Ptolemaean period, 3. Jh. BC. Inv. BSAe 1576

Provenance
Donation 2021. Since 1997 as a loan in the Antiques Museum Basel. Former collection Richard Dreyfus (1916–2004), Alexandria/Basel. Acquired in Egypt before 1955.

Description
Almost square sculptor model with the representation of a goose in raised relief. Its surface is somewhat weathered, but the plumage with its fine drawing is still clearly visible. The goose is facing right and stands on a rectangular pedestal. Her silhouette is aptly drawn in every detail. In recent years, the realization has prevailed that this type of object is not sculptor models but votive gifts that were donated in temples of the gods. In any case, this is what the few original find situations suggest. Nevertheless, it cannot be ruled out that individual pieces could also have served as real sculptural models.

Bibliography
Vrgl. S. Deicher, M. Elnoubi, M. Saleh, H. Wilde (ed.), Models in Ancient Egypt. Objects of knowledge (Berlin 2023).

Antikenmuseum Basel

https://antikenmuseumbasel.zetcom.net/en/collection/item/76596/

Sculptor model of a Goose, Early Ptolemaean period, Limestone, Antikenmuseum Basel

Shawabty Box of Ditamenpaankh (cover)

715–656 BCE
Egypt, Late period (715–332 BCE), Dynasty 25

View all records in artwork set

Medium
Painted wood

Measurements
Overall: 29.7 x 15.4 cm (11 11/16 x 6 1/16 in.)

Credit Line
Gift of the John Huntington Art and Polytechnic Trust 1914.718.1.b

Location
107 Egyptian

Description
High demand for shawabtys in the Late Period, a time when as many as 400 or more shawabtys were placed in the tomb with the deceased, gave rise to a specialized container for storing them: the shawabty box. This example is inscribed for the lady of the house, Ditamenpaankh, and was probably one of a pair originally made for her. The single-masted boat on the box’s lid is perhaps an allusion to the pilgrimage of the deceased to the holy city of Abydos, the cult city of Osiris, king of the dead. The shawabtys inside are crude, mass-produced examples cast in an open mold. Made of terracotta, their blue paint imitates more costly shawabtys made of faience. As for the shawabty spell, it has been removed from its traditional location on the shawabty’s front and relocated onto the sides of box, where it needed only to be written once, thus expediting production.

Provenance
Probably Thebes. Purchased in Egypt by Lucy Olcott Perkins through Henry W. Kent.
1914-
The Cleveland Museum of Art, Cleveland, OH

Citations
Berman, Lawrence M., and Kenneth J. Bohač. Catalogue of Egyptian Art: The Cleveland Museum of Art. Cleveland, OH: Cleveland Museum of Art, 1999 Reproduced and Mentioned: p. 448-9

Exhibition History
CMA 1916, no. 32, p. 207, pl. 340.

Cite this Page
{{cite web|title=Shawabty Box of Ditamenpaankh (cover)|url=https://www.clevelandart.org/art/1914.718.1.b|author=|year=715–656 BCE|access-date=28 June 2026|publisher=Cleveland Museum of Art}}

The Cleveland Museum of Art

https://www.clevelandart.org/art/1914.718.1.b

Shawabty Box of Ditamenpaankh (cover),
715–656 BCE, Late period (715–332 BCE), Dynasty 25 , Painted wood,The Cleveland Museum of Art