This fan consists of a long stick shaped like a lotus flower at the top and a plate on the edge of which ostrich feathers were threaded. In the centre of the plate decoration are the king's cartouches surmounted by two solar disks. On either side of the cartouches, two deities in the form of vultures hold two emblems of power between their wings.
This fan consists of a long stick shaped like a lotus flower at the top and a plate on the edge of which ostrich feathers were threaded. In the centre of the plate decoration are the king's cartouches surmounted by two solar disks. On either side of the cartouches, two deities in the form of vultures hold two emblems of power between their wings. - 21782
Blue faïence amulet in the form of a djed pillar with gold decoration and cartouche with the name Nebkheperura. The djed pillar represented Osiris' spine and was a symbol of rebirth. It was meant to give the wearer solidity, balance and stability. The Egyptians wore amulets both in life and after death as a sign of protection. Both the shape and the material were often symbolic and gave the wearer the properties they contained: protection, vitality, strength, regeneration.
Blue faïence amulet in the form of a djed pillar with gold decoration and cartouche with the name Nebkheperura. The djed pillar represented Osiris' spine and was a symbol of rebirth. It was meant to give the wearer solidity, balance and stability. The Egyptians wore amulets both in life and after death as a sign of protection. Both the shape and the material were often symbolic and gave the wearer the properties they contained: protection, vitality, strength, regeneration. - 22339
It is clear from the decorated motif of this tyet amulet why it is likened to a folded cloth, with a loop at the top. Instead of being in red stone it is in blue faience, with some manganese motifs, including Tutankhamun's pre-name.
It is clear from the decorated motif of this tyet amulet why it is likened to a folded cloth, with a loop at the top. Instead of being in red stone it is in blue faience, with some manganese motifs, including Tutankhamun's pre-name. - 23783
Gilded wooden statuette, one of the ushabtis from Tutankhamun's treasure.
Gilded wooden statuette, one of the ushabtis from Tutankhamun's treasure. - 30533
Gilded wooden statuette, one of the ushabtis from Tutankhamun's treasure.
Gilded wooden statuette, one of the ushabtis from Tutankhamun's treasure. - 30532
On Tutankhamun's chest was a surprising number of objects, distributed in thirteen layers separated by bandages. In the seventh layer were two knot-shaped solid gold amulets: Carter was unable to provide any explanation as to their function and in fact described them as objects 'of unknown significance'.
On Tutankhamun's chest was a surprising number of objects, distributed in thirteen layers separated by bandages. In the seventh layer were two knot-shaped solid gold amulets: Carter was unable to provide any explanation as to their function and in fact described them as objects 'of unknown significance'. - 21500
The handle and plate are made of wood and gold leaf; the upper part of the handle is in the shape of a lotus flower, with the petals pointing downwards. The scenes depicted on the support show Tutankhamun on his chariot at full gallop.
The handle and plate are made of wood and gold leaf; the upper part of the handle is in the shape of a lotus flower, with the petals pointing downwards. The scenes depicted on the support show Tutankhamun on his chariot at full gallop. - 21778
A blue gold amulet in the shape of a papyrus plant with foliage decoration and Tutankhamun's cartouche with the name Nebkheperura. It was usually placed around the neck of the deceased to convey to him all the qualities of the papyrus plant, i.e. vigour and resistance. The Egyptians wore amulets both in life and after death as a sign of protection. Both the shape and the material were often symbolic and gave the person wearing them the properties they contained: protection, vitality, strength, regeneration.
A blue gold amulet in the shape of a papyrus plant with foliage decoration and Tutankhamun's cartouche with the name Nebkheperura. It was usually placed around the neck of the deceased to convey to him all the qualities of the papyrus plant, i.e. vigour and resistance. The Egyptians wore amulets both in life and after death as a sign of protection. Both the shape and the material were often symbolic and gave the person wearing them the properties they contained: protection, vitality, strength, regeneration. - 22338
The uas sceptre has rarely been found in amulet form. On the top of this amulet an eye is depicted in black, and it has Tutankhamun's pre-name, inscribed in black and enamelled. This sceptre has a forked exterior that corresponds to a hieroglyph.
The uas sceptre has rarely been found in amulet form. On the top of this amulet an eye is depicted in black, and it has Tutankhamun's pre-name, inscribed in black and enamelled. This sceptre has a forked exterior that corresponds to a hieroglyph. - 22343
Blue faïence amulet in the shape of the ankh symbol of life, with some manganese motifs. The stem bears an inscription with Tutankhamun's prename: Nebkheperura. The Egyptians wore amulets both in life and after death as a sign of protection. Both the shape and the material were often symbolic and gave the person wearing them the properties they contained: protection, vitality, strength, regeneration.
Blue faïence amulet in the shape of the ankh symbol of life, with some manganese motifs. The stem bears an inscription with Tutankhamun's prename: Nebkheperura. The Egyptians wore amulets both in life and after death as a sign of protection. Both the shape and the material were often symbolic and gave the person wearing them the properties they contained: protection, vitality, strength, regeneration. - 22336
This golden djed is one of two found around the neck of Tutankhamun's mummy. It was therefore fitted with this very important djed amulet, a symbol of resistance.
This golden djed is one of two found around the neck of Tutankhamun's mummy. It was therefore fitted with this very important djed amulet, a symbol of resistance. - 21504
Tomba di Tutankhamon
Tomba di Tutankhamon - 35399
Tomba di Tutankhamon
Tomba di Tutankhamon - 35400
It has a gold foil handle and is decorated in granulation with inscriptions, abstract designs and miniatures of extraordinary refinement. On the inscription bands, there are two large areas worked in the form of a lozenge and two others worked in the form of a rosette. Very interesting are the decorations below the outer line and above the outer line of the text. Both contain hunting scenes in the desert, with ostriches, hares, dogs, antelopes realised with the refined technique of granulation.
It has a gold foil handle and is decorated in granulation with inscriptions, abstract designs and miniatures of extraordinary refinement. On the inscription bands, there are two large areas worked in the form of a lozenge and two others worked in the form of a rosette. Very interesting are the decorations below the outer line and above the outer line of the text. Both contain hunting scenes in the desert, with ostriches, hares, dogs, antelopes realised with the refined technique of granulation. - 21774
The handle and plate are made of wood and gold leaf; the upper part of the handle is in the shape of a lotus flower, with the petals pointing downwards. The scenes depicted on the support show the ruler on his chariot galloping.
The handle and plate are made of wood and gold leaf; the upper part of the handle is in the shape of a lotus flower, with the petals pointing downwards. The scenes depicted on the support show the ruler on his chariot galloping. - 21777
The handle and plate are made of wood and gold leaf; the upper part of the handle is in the shape of a lotus flower, with the petals pointing downwards. The scenes depicted on the support show the ruler on his chariot galloping.
The handle and plate are made of wood and gold leaf; the upper part of the handle is in the shape of a lotus flower, with the petals pointing downwards. The scenes depicted on the support show the ruler on his chariot galloping. - 21779
It has a gold foil handle and is decorated in granulation with inscriptions, abstract designs and miniatures of extraordinary refinement. On the inscription bands, there are two large areas worked in the form of a lozenge and two others worked in the form of a rosette. The decorations below the outer line and above the outer line contain scenes of hunting in the desert, with ostriches, hares, dogs and antelopes realised with the refined technique of granulation.
It has a gold foil handle and is decorated in granulation with inscriptions, abstract designs and miniatures of extraordinary refinement. On the inscription bands, there are two large areas worked in the form of a lozenge and two others worked in the form of a rosette. The decorations below the outer line and above the outer line contain scenes of hunting in the desert, with ostriches, hares, dogs and antelopes realised with the refined technique of granulation. - 21773
This blue enamelled faicence amulet is in the shape of a paw with a hoof.
This blue enamelled faicence amulet is in the shape of a paw with a hoof. - 22340
This blue enamelled faicence amulet is in the shape of a paw with a hoof.
This blue enamelled faicence amulet is in the shape of a paw with a hoof. - 22341
This amulet is in the shape of a paw with a hoof.
This amulet is in the shape of a paw with a hoof. - 22342
A blue faïence amulet in the shape of papyrus with some manganese motifs. It was usually placed around the neck of the deceased to convey to him all the qualities of the papyrus plant, namely vigour and resistance. The Egyptians wore amulets both in life and after death as a sign of protection. Both the shape and the material were often symbolic and gave the person wearing them the properties they contained: protection, vitality, strength, regeneration.
A blue faïence amulet in the shape of papyrus with some manganese motifs. It was usually placed around the neck of the deceased to convey to him all the qualities of the papyrus plant, namely vigour and resistance. The Egyptians wore amulets both in life and after death as a sign of protection. Both the shape and the material were often symbolic and gave the person wearing them the properties they contained: protection, vitality, strength, regeneration. - 22337
This unusual amulet depicts an amber scarab, inlaid with the image of a heron. It is mounted on a gold plate on which a text from the Book of the Dead is inscribed.
This unusual amulet depicts an amber scarab, inlaid with the image of a heron. It is mounted on a gold plate on which a text from the Book of the Dead is inscribed. - 21499
This offetto is a true amulet of the heart: it is clearly shaped like one and is associated with the benu bird. On one side is engraved the pre-name of Tutanhamon. On the other is a benu.
This offetto is a true amulet of the heart: it is clearly shaped like one and is associated with the benu bird. On one side is engraved the pre-name of Tutanhamon. On the other is a benu. - 21509
The amulet is attached to a gold plate, to which are also cemented some very small pieces of green feldspar. The deity is represented here in the usual guise of a man with an Ibis head and is crouched.
The amulet is attached to a gold plate, to which are also cemented some very small pieces of green feldspar. The deity is represented here in the usual guise of a man with an Ibis head and is crouched. - 21510
The amulet represents an uraeus with outstretched wings and a human head, chiselled with very elaborate motifs.
The amulet represents an uraeus with outstretched wings and a human head, chiselled with very elaborate motifs. - 21501
The two birds were Nekhebt vultures, particularly suitable for having a protective function over the deceased pharaoh. On the back of these amulets were eyelets, in which ribbons could be threaded to hang them.
The two birds were Nekhebt vultures, particularly suitable for having a protective function over the deceased pharaoh. On the back of these amulets were eyelets, in which ribbons could be threaded to hang them. - 21502
The double aureus depicted here perhaps refers to the goddesses Nekhbet and Uadjet, called the 'Two Ladies', who sometimes 'confused' their forms. These creatures had the task of protecting the ruler.
The double aureus depicted here perhaps refers to the goddesses Nekhbet and Uadjet, called the 'Two Ladies', who sometimes 'confused' their forms. These creatures had the task of protecting the ruler. - 21503
This stick is completely covered with gold foil and is delicately decorated at the top and on the handle with glass paste inlays.
This stick is completely covered with gold foil and is delicately decorated at the top and on the handle with glass paste inlays. - 22032
These sticks are completely covered in gold foil and are delicately decorated at the top and on the handle.
These sticks are completely covered in gold foil and are delicately decorated at the top and on the handle. - 22033
This staff depicts, carved into the handle, an Asian and a Nubian bound and crushed by the hand of the ruler. The staff is gilded; the body of the Nubian is inlaid in ebony, while that of the Asian is ivory.
This staff depicts, carved into the handle, an Asian and a Nubian bound and crushed by the hand of the ruler. The staff is gilded; the body of the Nubian is inlaid in ebony, while that of the Asian is ivory. - 22035
The Nubian depicted on this staff was undoubtedly of a brown complexion: the darkest wood, ebony, was therefore used to make the feet, hands and head, while other parts of the body were gilded. The head is finely carved, with the characteristic features of the inhabitants of Nubia, and the hair is very curly. The lower end is embellished with a blue glass paste ferrule.
The Nubian depicted on this staff was undoubtedly of a brown complexion: the darkest wood, ebony, was therefore used to make the feet, hands and head, while other parts of the body were gilded. The head is finely carved, with the characteristic features of the inhabitants of Nubia, and the hair is very curly. The lower end is embellished with a blue glass paste ferrule. - 22040
The Nubian depicted on this staff was undoubtedly of a brown complexion: the darkest wood, ebony, was therefore used to make the feet, hands and head, while other parts of the body were gilded. The head is finely carved, with the characteristic features of the inhabitants of Nubia, and the hair is very curly. The lower end is embellished with a blue glass paste ferrule.
The Nubian depicted on this staff was undoubtedly of a brown complexion: the darkest wood, ebony, was therefore used to make the feet, hands and head, while other parts of the body were gilded. The head is finely carved, with the characteristic features of the inhabitants of Nubia, and the hair is very curly. The lower end is embellished with a blue glass paste ferrule. - 22041
This staff depicts, carved into the handle, an Asian and a Nubian bound and crushed by the hand of the ruler. The staff is gilded; the body of the Nubian is inlaid in ebony, while that of the Asian is ivory.
This staff depicts, carved into the handle, an Asian and a Nubian bound and crushed by the hand of the ruler. The staff is gilded; the body of the Nubian is inlaid in ebony, while that of the Asian is ivory. - 22036
This staff depicts, carved into the handle, an Asian and a Nubian bound and crushed by the hand of the ruler. The staff is gilded; the body of the Nubian is inlaid in ebony, while that of the Asian is ivory.
This staff depicts, carved into the handle, an Asian and a Nubian bound and crushed by the hand of the ruler. The staff is gilded; the body of the Nubian is inlaid in ebony, while that of the Asian is ivory. - 22037
A Libyan prisoner is depicted on this staff. His body is almost entirely gilded, except for the feet and hands carved in ebony and applied later. The head in particular, despite the tiny size of the object, is made with great care and precision in detail. The other end of the staff is embellished with a blue glass paste ferrule.
A Libyan prisoner is depicted on this staff. His body is almost entirely gilded, except for the feet and hands carved in ebony and applied later. The head in particular, despite the tiny size of the object, is made with great care and precision in detail. The other end of the staff is embellished with a blue glass paste ferrule. - 22038
A Libyan prisoner is depicted on this staff. His body is almost entirely gilded, except for the feet and hands carved in ebony and applied later. The head in particular, despite the tiny size of the object, is made with great care and precision in detail. The other end of the staff is embellished with a blue glass paste ferrule.
A Libyan prisoner is depicted on this staff. His body is almost entirely gilded, except for the feet and hands carved in ebony and applied later. The head in particular, despite the tiny size of the object, is made with great care and precision in detail. The other end of the staff is embellished with a blue glass paste ferrule. - 22039
One of the ends is curved, the other is gilded with a gold ferrule. It is richly decorated with gold inlay, with barks of different colours and even with iridescent beetle wings.
One of the ends is curved, the other is gilded with a gold ferrule. It is richly decorated with gold inlay, with barks of different colours and even with iridescent beetle wings. - 22030
The golden staff is hollow; at the top is the figure of the pharaoh, engraved on a gold plate welded to the staff itself. The ruler appears young, wearing the khepresh, the blue crown and a skirt.
The golden staff is hollow; at the top is the figure of the pharaoh, engraved on a gold plate welded to the staff itself. The ruler appears young, wearing the khepresh, the blue crown and a skirt. - 22031
The decorative motif of the flagellum and sceptre was made of blue glass paste cylinders and gold-coated metal, alternately threaded into bronze rods.
The decorative motif of the flagellum and sceptre was made of blue glass paste cylinders and gold-coated metal, alternately threaded into bronze rods. - 21391
The decorative motif of the flagellum and sceptre was made of blue glass paste cylinders and gold-coated metal, alternately threaded into bronze rods.
The decorative motif of the flagellum and sceptre was made of blue glass paste cylinders and gold-coated metal, alternately threaded into bronze rods. - 21392
Each end bears a decorative feather motif, made of cloisonné. The upper part of the handle is shaped like a papyrus flower and displays delicate and elegant umbrella details, also made of cloisonné. The sceptre is made of wood and covered with a thick sheet of gold.
Each end bears a decorative feather motif, made of cloisonné. The upper part of the handle is shaped like a papyrus flower and displays delicate and elegant umbrella details, also made of cloisonné. The sceptre is made of wood and covered with a thick sheet of gold. - 21393
Each end bears a decorative feather motif, made of cloisonné. The upper part of the handle is shaped like a papyrus flower and displays delicate and elegant umbrella details, also made of cloisonné. The sceptre is made of wood and covered with a thick sheet of gold.
Each end bears a decorative feather motif, made of cloisonné. The upper part of the handle is shaped like a papyrus flower and displays delicate and elegant umbrella details, also made of cloisonné. The sceptre is made of wood and covered with a thick sheet of gold. - 21394
One of the ends is curved, the other is gilded with a gold ferrule. It is richly decorated with gold inlay, with barks of different colours and even with iridescent beetle wings.
One of the ends is curved, the other is gilded with a gold ferrule. It is richly decorated with gold inlay, with barks of different colours and even with iridescent beetle wings. - 22029
The amulet is made of red glass paste and bears the inscription 'Good God, Nebkheperura'. It has two arms falling down on its sides.
The amulet is made of red glass paste and bears the inscription 'Good God, Nebkheperura'. It has two arms falling down on its sides. - 23782
Key to Life, fayance, Luxor, Tutankhamom, new kingdom
Key to Life, fayance, Luxor, Tutankhamom, new kingdom - 35730
Made of wood, it is decorated with gold and electro foil applications and with polychrome glass paste and calcite motifs.
Made of wood, it is decorated with gold and electro foil applications and with polychrome glass paste and calcite motifs. - 21812
Tomb of Tutankhamun.Stone seed mill. Luxor
Tomb of Tutankhamun.Stone seed mill. Luxor - 35662
The shape of the box recalls that of a scroll; its lid, feathered on both sides, depicts the solar disc.
The shape of the box recalls that of a scroll; its lid, feathered on both sides, depicts the solar disc. - 21475
The shape of the box recalls that of a scroll; its lid, feathered on both sides, depicts the solar disc.
The shape of the box recalls that of a scroll; its lid, feathered on both sides, depicts the solar disc. - 21476
The ends are made of blue faience and a lotus flower is depicted on one end. The name of Tutankhamun is inscribed on the handle.
The ends are made of blue faience and a lotus flower is depicted on one end. The name of Tutankhamun is inscribed on the handle. - 21977

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