Rumors became rife as 40,000 soldiers and 10,000 sailors were gathered in French Mediterranean ports. A large fleet was assembled at Toulon: 13 ships of the line, 14 frigates, and 400 transports. To avoid interception by the British fleet under Nelson, the expedition’s target was kept secret. It was known only to Bonaparte himself, his generals…
The Middle Kingdom of Egypt (also known as The Period of Reunification) is the period in the history of ancient Egypt between about 2000 BC and 1700 BC, stretching from the establishment of the Eleventh Dynasty to the end of the Twelfth Dynasty, although some writers include the Thirteenth and Fourteenth dynasties. During this period, Osiris became the most important deity in popular religion.
GAZELLE HUNT IN EGYPT, c. 1857
Oil on canvas
74 by 145cm., 29 by 57in.
Private collection
The proud stances of the camels and their riders, the fluttering robes, bright sun, and vivid colours combine to make this a work of true bravura, and bear testimony to Belly’s genius at capturing the stark light and desert winds of the Egyptian Sinai.
Belly travelled to Egypt three times, in 1850, 1856, and 1857. The Gazelle Hunt was most likely worked up from sketches Belly made in 1856 during his excursion into the Sinai desert with fellow painters Narcisse Berchère and Jean-Léon Gérôme. More on this painting
Léon Auguste Adolphe Belly (1827–1877) was a French landscape painter. He was born at St. Omer, in 1827. He studied under Troyon, and in 1849 visited Barbizon where he came under the influence of Théodore Rousseau.
In 1850–1 he travelled to Greece, Syria, and the Black Sea. In 1853 he made his debut at the Paris Salon, exhibiting four landscapes of Nablus and Beirut, and of the shores of the Dead Sea, which attracted critical acclaim. In 1855–6 he visited Egypt, travelling up the Nile in the company of another painter, Edouard Imer. A second trip to Egypt in 1856 was largely spent making studies for his painting Pilgrims going to Mecca, now in the Musée d’Orsay.
As well as his paintings of Middle Eastern subjects he painted portraits and landscapes of Normandy and the Sologne throughout his career, and in 1867 bought land at Montauban. He died in Paris in 1877. More on Léon Auguste Adolphe Belly
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GAZELLE HUNT IN EGYPT, c. 1857
Oil on canvas
74 by 145cm., 29 by 57in.
Private collection
Belly travelled to Egypt three times, in 1850, 1856, and 1857. The Gazelle Hunt was most likely worked up from sketches Belly made in 1856 during his excursion into the Sinai desert with fellow painters Narcisse Berchère and Jean-Léon Gérôme. More on this painting
Léon Auguste Adolphe Belly (1827–1877) was a French landscape painter. He was born at St. Omer, in 1827. He studied under Troyon, and in 1849 visited Barbizon where he came under the influence of Théodore Rousseau.
In 1850–1 he travelled to Greece, Syria, and the Black Sea. In 1853 he made his debut at the Paris Salon, exhibiting four landscapes of Nablus and Beirut, and of the shores of the Dead Sea, which attracted critical acclaim. In 1855–6 he visited Egypt, travelling up the Nile in the company of another painter, Edouard Imer. A second trip to Egypt in 1856 was largely spent making studies for his painting Pilgrims going to Mecca, now in the Musée d’Orsay.
As well as his paintings of Middle Eastern subjects he painted portraits and landscapes of Normandy and the Sologne throughout his career, and in 1867 bought land at Montauban. He died in Paris in 1877. More on Léon Auguste Adolphe Belly
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“In the real world we find repetitive actions and experiences of violence, hatred, and loneliness. Unfortunately the reality became so connected to the digital world, especially with the rise of social media. As many researches has shown they make us more isolated, responsible for increasing of our negativity, violence, anger and hatred to grow within us.
I’ve been inspired by the Italian artist Caravaggio’s Entombment of the Christ” Rasha Amin
Rasha Amin, an Egyptian artist earned a BFA in interior design in 2003 from faculty of Fine Arts in Helena university in Egypt. She has been working as a visual artist and a graphic designer. With time and practice, she has found an intersection point between them and subsequently developed her own visual and conceptual vocabulary. Her work mostly like connection dots game, as she makes a connection between things that matter in her world, and to build a dialogue with the viewers and ultimately create an open space for questions and thinking beyond the artworks themselves. More on Rasha Amin
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“People who feel strangers in their own countries seeking for a better life in other places where they will realize that they are more strange”.
Walid Ebeid was born in Cairo in 1970 and raised in Yemen during his childhood. Walid graduated with a BFA from the Faculty of Fine Arts, Helwan University, in 1992. His work has been exhibited internationally, earning him a reputation for his powerful expressive style.
The controversial and provocative paintings of Walid Ebeid range from poignant studies of the female figure to People We May Know in the Egyptian society. Tackling difficult issues like sexuality, immigration, politics and oppression, Walid brings attention to the sufferings, struggles, and hopes of humanity. His realistic oil paintings have broken a great deal of social and moral taboos and challenged different customs and traditions imposed by society, to defend women and the oppressed of all categories and social classes.
His searches and experiments went through several phases to reach his current phase, which he calls “realistic expressionism.” His artwork resembles him closely. His art reflects reality and the changes taking place around us and mainly focus on strange things that we may quickly lose interest in, but leave a lasting impact.
“My art is for the people. And it is why people can relate to my art as if it is their own, and why they sometimes ask me to execute certain images, believing that I can express their feelings.” More on Walid Ebeid
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Umm Kulthum December 31, 1898, (or May 4, 1904) died February 3, 1975) was an internationally renowned Egyptian singer, songwriter, and film actress active from the 1920s to the 1970s. She was given the honorific title Kawkab El Sharq “Planet of the Orient”.
Umm Kulthum was known for her extraordinary vocal ability and style, and she was one of the greatest and most influential singers of the 20th century, where she has sold over 80 million records worldwide. Umm Kulthum is considered a national icon in her native Egypt and has been dubbed as The voice of Egypt and Egypt’s fourth pyramid. She remains the most revered legendary singer in Egypt and the entire Arabic-speaking world. More on Umm Kulthum
Adel El Siwi ( Behera , 1952) is an artist Egyptian. Adel was born in 1952 in Behera , in Egypt . He studied at the Faculty of Medicine of Cairo in 1976. Meanwhile, independently attended the Faculty of Fine Arts in Cairo. Since 1979 painting becomes a full-time business. In 1980 he moved to Milan , where he lived for the next ten years. In 1990 he returned to Cairo, where he still lives. After the debut exhibition in a gallery in Cairo, he showed his works around the world, from Egypt to Germany from Lebanon to Italy, until arriving in Mexico and Brazil. Parallel to the artistic success, his work dealt with other issues, such as the translation into Arabic of the Treatise on Painting by Leonardo da Vinci. In addition, he worked as art director for the big screen and has signed publications on contemporary art. More on Adel El-Siwi
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Seif Waly (March 31, 1906 – February 15, 1979) was an Egyptian painter, born Mohammed Seif al-Din Waly into an aristocratic family, of Turkish origin, in Alexandria, Egypt. He was introduced to modern art after studying at the studio of the Italian artist Otorino Becchi. In 1942 he set up his own studio with his brother Adham Wanly (below) and together they participated in more than 17 exhibitions, notably in the Biennale of Venice and in São Paulo, Brazil. Today an entire floor of the Mahmoud Said Museum in Alexandria is dedicated to Seif and Adham Wanly.
His work is collected by several Museums, including Mathaf: Arab Museum of Modern Art in Doha, Darat AL Funoon in Amman.
He died in 1979 at Stockholm at age of 72. More on Seif Waly
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Francesco Brina, (1540–1586)
Madonna and child with young St John,
Oil on panel
54.5 × 43 cm (21.4 × 16.9 in)
Private collection
This painting depicts the “Virgo lactans,” the Latin term for the nursing Virgin Mary. The image testifies to the humanity of Christ as it shows that he consumed food like all other humans. The young Saint John the Baptist, Jesus’ second cousin, praying. John the Baptist was the patron saint of Florence, and the painting comes from the Florentine artist Francesco Brina’s workshop.
The Madonna and Child or The Virgin and Child is often the name of a work of art which shows the Virgin Mary and the Child Jesus. The word Madonna means “My Lady” in Italian. Artworks of the Christ Child and his mother Mary are part of the Roman Catholic tradition in many parts of the world including Italy, Spain, Portugal, France, South America and the Philippines. Paintings known as icons are also an important tradition of the Orthodox Church and often show the Mary and the Christ Child. They are found particularly in Eastern Europe, Russia, Egypt, the Middle East and India. More Madonna and Child
John the Baptist (sometimes called John in the Wilderness; also referred to as the Angel of the Desert) was the subject of at least eight paintings by the Italian Baroque artist Michelangelo Merisi da Caravaggio (1571–1610).
The story of John the Baptist is told in the Gospels. John was the cousin of Jesus, and his calling was to prepare the way for the coming of the Messiah. He lived in the wilderness of Judea between Jerusalem and the Dead Sea, “his raiment of camel’s hair, and a leather girdle about his loins; and his meat was locusts and wild honey.” He baptised Jesus in the Jordan.
According to the Bible, King Herod’s daughter Salome requested Saint John the Baptist’s beheading. She was prompted by her mother, Herodias, who sought revenge, because the prophet had condemned her incestuous marriage to Herod. More John the Baptist
Francesco Brina, (1540–1586)
Madonna col Bambino e San Giovannino, 16th century
Oil on panel
75 × 65 cm (29.5 × 25.5 in)
Pandolfini, Florence
Francesco Brina or Del Brina or Brini (1540 – 1586) was an Italian painter of the Mannerist period, active mainly in Florence.
S.J. Freedburg ascribes his training to either Ridolfo Ghirlandaio or more likely his son, Michele di Ridolfo. He holds him to have followed the “most conservative adaptation of the Vasarian maniera”. He appeared to limit his output to mostly devotional Madonna and Child paintings, and in this endeavor, paraphrasing the compositions and expressions of Andrea del Sarto. His brother Giovanni Brina (died 1599) helped Francesco in his work and copied his style. More on Francesco Brina
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Alfred Sacheverel Coke (British, active 1860-1900)
The daughter of Herodias (Salome)
Oil on canvas
80 x 31in (203 x 79cm)
Private collection
Salome was the daughter of Herod II and Herodias. She is infamous for demanding and receiving the head of John the Baptist, according to the New Testament. According to Flavius Josephus’s Jewish Antiquities, Salome was first married to Philip the Tetrarch of Ituraea and Trakonitis. After Philip’s death in 34 AD she married Aristobulus of Chalcis and became queen of Chalcis and Armenia Minor. They had three children. Three coins with portraits of Aristobulus and Salome have been found. Her name in Hebrew meaning “peace”. More on Salome
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Adolf von Meckel, 1856 – 1893, GERMAN
FISHERMEN ON LAKE MARIOUT, EGYPT, c. 1889
Oil on canvas
200 by 270cm., 78¾ by 106in.
Private collection
Lake Mariout is a brackish lake in northern Egypt. The lake area covered 200 km² and had a navigable canal at the beginning of the 20th century, but at the beginning of the 21st century, it covers only about 50 km².
At least 250 years ago, the lake was fresh water, and much of it would dry up during the period just before the Nile flooded again. A storm in 1770 breached the sea wall at Abu Qir, creating a sea-water lake known as Lake Abu Qir. The salt waters were kept separate from Lake Mariout by the canal that allowed fresh water to travel from the Nile to Alexandria. As part of the Siege of Alexandria, on 13 March 1801, the British cut the canal, allowing a great rush of sea water from Lake Abu Qir into Lake Mariout. Lake Abu Qir ceased to exist, and Lake Mariout became brackish instead of fresh.
It is separated from the Mediterranean Sea by the narrow isthmus on which the city of Alexandria was built. The lake shore is home to fisheries and saltworks. As far back as the early 1900s, it was documented that salt was being refined from the western part of the lake. More on Lake Mariout
Adolf Meckel of Hemsbach (* 17th February 1856 in Berlin ; † 24. May 1893 ) was a German landscape and genre painter. After the early death of his father, he spent his childhood with the maternal grandparents in Saint Petersburg. He studied painting at the Karlsruhe Academy of Fine Arts in Hans Gude. From 1880 to 1881 he visited the Arab countries of Egypt , Palestine , the coast of the Dead Sea, in Jordan. Further journeys led him to the countries of the North African Maghreb . Among others, he visited St. Catherine’s Monastery at the foot of Mount Sinai . Besides the tropical landscapes he created numerous orientale genre scenes. After his final return he was initially based in Karlsruhe, then moved in 1892 back into his own country.
Meckel regularly presented his work at the Royal Academy of Arts in Berlin exhibition, the Great Berlin Art Exhibition, as well as in Munich Glass Palace. He also exhibited in Dresden, Stuttgart and Vienna. In 1893, he took his own life. More on Adolf Meckel of Hemsbach
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Frederick Arthur Bridgman, 1847 – 1928, AMERICAN
Almeh Flirting With An Armenian Policeman in Cairo
Oil on canvas
55.5 cm (21.85 in.), Width: 46 cm (18.11 in.)
Private collection
Almeh (Egyptian Arabic) was the name of a class of courtesans or female entertainers in Arab Egypt, women educated to sing and recite classical poetry and to discourse wittily, connected to the qayna slave singers of pre-Islamic Arabia. They were educated girls of good social standing, trained in dancing, singing and poetry, present at festivals and entertainments, and hired as mourners at funerals.
In the 19th century, almeh came to be used as a synonym of ghawazi, the erotic dancers of Dom ethnicity whose performances were banned in 1834 by Muhammad Ali of Egypt. As a result of the ban, the ghawazi dancers were forced to pretend that they were in fact awalim. Transliterated into French as almée, the term came to be synonymous with “belly dancer” in European Orientalism of the 19th century. More on Almeh
Frederick Arthur Bridgman (November 10, 1847 – 1928) was an American artist, born in Tuskegee, Alabama. The son of a physician, Bridgman would become one of the United States’ most well-known and well-regarded painters and become known as one of the world’s most talented “Orientalist” painters. He began as a draughtsman in New York City, for the American Bank Note Company in 1864-1865, and studied art in the same years at the Brooklyn Art Association and at the National Academy of Design; but he went to Paris in 1866 and became a pupil of Jean-Leon Gerome. Paris then became his headquarters. A trip to Egypt in 1873-1874 resulted in pictures of the East that attracted immediate attention, and his large and important composition, The Funeral Procession of a Mummy on the Nile, in the Paris Salon (1877), bought by James Gordon Bennett, brought him the Cross of the Legion of Honor. Other paintings by him were An American Circus in Normandy, Procession of the Bull Apis (now in the Corcoran Gallery of Art, Washington, D.C.), and a Rumanian Lady (in the Temple collection, Philadelphia, Pennsylvania). More on Frederick Arthur Bridgman
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The Continence of Scipio, or alternatively The Clemency of Scipio, is a episode recounted by Livy of the Roman general Scipio Africanus during his campaign in Spain during the Second Punic War. He refused a generous ransom for a young female prisoner, returning her to her fiance Allucius, who in return became a supporter of Rome. In recognition of his magnanimous treatment of a prisoner, he was taken as one of the prime examples of mercy during warfare in classical times. Interest in the story revived in the Renaissance and the episode figured widely thereafter in both the literary and figurative arts. More
![Jan Tengnagel AMSTERDAM CIRCA 1584 - 1631 THE CONTINENCE OF SCIPIO signed and indistinctly dated lower left: JTengnagel / A 161[5?] oil on canvas 108.5 by 164.2 cm.; 42 3/4 by 64 5/8 in:](https://s-media-cache-ak0.pinimg.com/736x/88/58/cf/8858cf95757072a7bc3ad2ca4d6b8eea.jpg)
Jan Tengnagel, AMSTERDAM CIRCA 1584 – 1631
THE CONTINENCE OF SCIPIO
Oil on canvas
108.5 by 164.2 cm.; 42 3/4 by 64 5/8 in
Private Collection
Jan Tengnagel (bapt 9 September 1584– buried 23 March 1635) was a Dutch draughtsman and painter.
Tengnagel was born and died in Amsterdam, but traveled and lived in Rome, Italy, between 1608 and 1611. He painted mainly biblical and other religious works. He had one pupil named Laurens Heinrich Hellewich. In 1618 Theodore Rodenburg made a reference to Tengnagel as a famous painter in Rodenburg’s poem eulogizing the city of Amsterdam. He was an officer of the Guild of Saint Luke in Amsterdam. From 1624 on he stopped painting, apparently to dedicate himself entirely to his political career where he held office in Amsterdam’s governing bodies. Tengnagel died in 1631. More Tengnagel
Pompeo Batoni, (1708–1787)
Continence of Scipio, circa 1771/72
Oil on canvas
226.5 × 297.5 cm (89.2 × 117.1 in)
Hermitage Museum
Pompeo Girolamo Batoni (25 January 1708 – 4 February 1787) was an Italian painter who displayed a solid technical knowledge in his portrait work and in his numerous allegorical and mythological pictures. The high number of foreign visitors travelling throughout Italy and reaching Rome during their Grand Tour, made the artist specialized in portraits. Batoni won international fame largely thanks to his customers, mostly British of noble origin, whom he portrayed, often with famous Italian landscapes in the background. Such “Grand Tour” portraits by Batoni were in British private collections, thus ensuring the genre’s popularity in the United Kingdom.
Batoni’s style took inspiration and incorporated elements of classical antiquity, French Rococo, Bolognese classicism, and the work of artists such as Nicolas Poussin, Claude Lorrain and especially Raphael. As such Pompeo Batoni is considered a precursor of Neoclassicism. More
Niccolò dell’Abbate, (1510–1571)
The Continence of Scipio, circa 1555
Oil on canvas
Height: 127 cm (50 in). Width: 115 cm (45.3 in).
Louvre Museum
Niccolò dell’Abbate, sometimes Nicolò and Abate (1509 or 1512 – 1571) was an Italian Mannerist painter in fresco and oils. He was of the Emilian school, and was part of the team of artists called the School of Fontainebleau that introduced the Italianate Renaissance to France. More Niccolò dell’Abbate
Giovanni Domenico Tiepolo, (1727–1804)
The Continence of Scipio, c. 1751
Oil on canvas
Städel, Frankfurt am Main, Germany
Giovanni Domenico Tiepolo (August 30, 1727 – March 3, 1804) was an Italian painter and printmaker in etching. He was the son of artist Giovanni Battista Tiepolo and elder brother of Lorenzo Baldissera Tiepolo.
Domenico was born in Venice, studied under his father, and by the age of 13 was the chief assistant to him. He was one of the many assistants, including Lorenzo, who transferred the designs of his father (executed in the ‘oil sketch’ invented by the same). By the age of 20, he was producing his own work for commissioners.
He assisted his father in Würzburg 1751-3, decorating the famous stairwell fresco, in Vicenza at the Villa Valmarana in 1757, and in Madrid at the palace of Charles III from 1762-70. More Giovanni Domenico Tiepolo
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SAINT ANTHONY OF PADUA
MÆ’XICO, SIGLO XIX
Wood carving with glass eyes. Satin dress.
Height: 61cm
Private Collection
Saint Anthony of Padua (Portuguese: Santo António), born Fernando Martins de Bulhões (1195 – 13 June 1231), also known as Anthony of Lisbon, was a Portuguese Catholic priest and friar of the Franciscan Order. He was born and raised by a wealthy family in Lisbon, Portugal, and died in Padua, Italy. Noted by his contemporaries for his forceful preaching, expert knowledge of scripture, and undying love and devotion to the poor and the sick, he was the second-most-quickly canonized saint after Peter of Verona. He was proclaimed a Doctor of the Church on 16 January 1946. He is also the patron saint of lost things. More on Saint Anthony of Padua
VIRGIN MARY WITH THE CHILD JESUS
MEXICO, EARLY 19th CENTURY
Wood carving with polychromy, and a metallic sheet halo
Height: 158 cm
Private Collection
The depiction of the Madonna on the crescent is based on the vision of John the Evangelist in chapter 12 of Revelation, the final book of the New Testament (here, the King James version):
1 And there appeared a great wonder in heaven; a woman clothed with the sun, and the moon under her feet, and upon her head a crown of twelve stars:
2 And she being with child cried, travailing in birth, and pained to be delivered.
3 And there appeared another wonder in heaven; and behold a great red dragon, having seven heads and ten horns, and seven crowns upon his heads.
4 And his tail drew the third part of the stars of heaven, and did cast them to the earth: and the dragon stood before the woman which was ready to be delivered, for to devour her child as soon as it was born.
5 And she brought forth a man child, who was to rule all nations with a rod of iron: and her child was caught up unto God, and to his throne. More on Madonna on the crescent
OUR LADY OF MOUNT CARMEL
MEXICO, EARLY 20th CENTURY
Alabaster, with polychromy
Height: 32 cm
Private Collection
Our Lady of Mount Carmel is the title given to the Blessed Virgin Mary in her role as patroness of the Carmelite Order. The first Carmelites were Christian hermits living on Mount Carmel in the Holy Land during the late 12th and early to mid-13th century. They built in the midst of their hermitages a chapel which they dedicated to the Blessed Virgin, whom they conceived of in chivalric terms as the “Lady of the place.” Our Lady of Mount Carmel was adopted in the 19th century as the patron saint of Chile, in South America.
Since the 15th century, popular devotion to Our Lady of Mount Carmel has centered on the Scapular of Our Lady of Mount Carmel, also known as the Brown Scapular, a sacramental associated with promises of Mary’s special aid for the salvation of the devoted wearer. Traditionally, Mary is said to have given the Scapular to an early Carmelite named Saint Simon Stock. The liturgical feast of Our Lady of Mount Carmel is celebrated on 16 July. More on Our Lady of Mount Carmel
FRANCISCAN SAINTS
SAINT FRANCIS OF ASSISI, SAINT ANTHONY OF PADUA AND SAINT DIDACUS OF ALCALA
MEXICO, 18th, 19th and 20th CENTURIES
Wood carving with polychromy
Height: 22, 25 and 26.5 cm
Private Collection
Saint Francis of Assisi (1181/1182 – 3 October 1226),was an Italian Roman Catholic friar and preacher. He founded the men’s Order of Friars Minor, the women’s Order of Saint Clare, the Third Order of Saint Francis and the Custody of the Holy Land. Francis is one of the most venerated religious figures in history.
In 1219, he went to Egypt in an attempt to convert the Sultan to put an end to the conflict of the Crusades. By this point, the Franciscan Order had grown to such an extent that its primitive organizational structure was no longer sufficient. He returned to Italy to organize the Order. In 1224, he received the stigmata, during the apparition of Seraphic angels in a religious ecstasy making him the first recorded person to bear the wounds of Christ’s Passion. More
SAINT ANTHONY OF PADUA, see above
Didacus of Alcalá, also known as Diego de San Nicolás, was a Spanish Franciscan lay brother who served as among the first group of missionaries to the newly conquered Canary Islands. He died at Alcalá de Henares on 12 November 1463 and is now honored by the Catholic Church as a saint.
Didacus was born c. 1400 into a poor but pious family in the small village of San Nicolás del Puerto in the Kingdom of Seville. As a child, he embraced the hermit life and, later, placed himself under the direction of a hermit priest living not far from his native town. He then led the life of a wandering hermit. Feeling called to the religious life, he applied for admission to the Observant branch of the Order of Friars Minor at the friary in Albaida and was sent to the friary in Arruzafa, near Córdoba, where he was received as a lay brother.
Didacus was sent to the Order in Arrecife on the island of Lanzarote, part of the Canary Islands, which was still in the process of introducing the native people to Christianity. In 1445, Didacus was appointed as Guardian of the Franciscan community on the island of Fuerteventura.
In 1450, Diego went to Rome to be share in the Jubilee Year proclaimed by Pope Nicholas V, and to be present at the canonization of Bernardine of Siena in 1450. An epidemic broke out in the city. Didacus spent three months caring for the sick. His biographers record the miraculous cure of many whom he attended, through his pious intercession.
He was then recalled again to Spain and was sent by his superiors to the Friary of Santa María de Jesús in Alcalá, where he spent the remaining years of his life in penance, solitude, and the delights of contemplation. There he died on 12 November 1463 due to an abscess. More on Didacus of Alcalá
SAINT ANNE
MEXICO, EARLY 20th CENTURY
Wood carving
Height: 79 cm
Private Collection
Saint Anne (also known as Ann or Anna) of David’s house and line, was the mother of the Virgin Mary and grandmother of Jesus Christ, according to apocryphal Christian and Islamic tradition. Mary’s mother is not named in the canonical gospels, nor in the Qur’an. Anne’s name and that of her husband Joachim come only from New Testament apocrypha, of which the Protoevangelium of James (written perhaps around 150) seems to be the earliest that mentions them. More on Saint Anne
Acknowledgement: Morton Subastas,
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Romano-Egyptian, ca. 1st century BCE to 1st century CE. Heavy gold foil formed into the likeness of a Nile crocodile. Incredibly detailed with open mouth exposing rows of deadly teeth, almond-shaped eyes and rows and rows of scaley scutes with pronounced central dorsal ridge. Size: 6.875″ L (17.5 cm), 37.1 grams of 97% pure gold.
Sobek was a Crocodile god venerated at Crocodilopolis in the Faiyum, which was an important oracular centre during the Graeco-Roman Period, and, together with Haroeris (Horus the Elder), in the twin-temple at Kom Ombo where a crocodile necropolis was discovered. Seti I referred to him as Lord of Silsileh where he had a temple during the 19th dynasty. As god of the water he created the Nile from his sweat and caused plants to be lush and green, one of the traditional roles of Osiris. More
Egyptian blue composition head of a man, Roman Period
An Egyptian blue composition head of a man, Roman Period, c. 1st Century AD, perhaps a pharaoh or emperor, wearing tight-fitting headdress with uraeus, his face quite handsome, his ears outside the headdress. H: 2 ½ in (6.4 cm).
Ancient Egyptian Wooden Boatman with Articulated Arms
Ancient Egypt, Middle Kingdom, ca. 2040 to 1802 BCE. A hand-carved, three-dimensional wooden boatman, with classic Egyptian face (large, dark-outlined eyes), a cropped haircut, and a white loincloth. He is in a seated position, with long, articulated arms, which probably would have been raised to hold oars in his original placement. During the Sixth Dynasty, it became common to place wooden models of lifelike scenes in Egyptian tombs; by the Middle Kingdom, they were placed in the tomb chamber, around the coffin, although some very rich tombs had a separate chamber just for wooden models. Two ships are found in almost all tombs that have models from this time period, and those ships are, during the Middle Kingdom, staffed by boatmen like this one. This boatman was made to be a servant in the afterlife, ready to row the deceased upon the eternal Nile, as real boatmen would have done in life. Size: 2.6″ W x 6.6″ H (6.6 cm x 16.8 cm)
Egyptian Wooden Boatman with Articulated Arms
Ancient Egypt, Middle Kingdom, ca. 2040 to 1802 BCE. A hand-carved, three-dimensional wooden boatman, with a painted face, a cropped haircut, painted reddish skin, and a white loincloth. Size: 2.3″ W x 7.8″ H (5.8 cm x 19.8 cm)
Large Egyptian Pottery Astarte Figure
Egypt, New Kingdom or earlier, ca. 1543 to 1292 BCE. A large hollow pottery figure of a female goddess with a voluptuous body and a large headdress. She wears jewelry and very little clothing. Her hair is long, straight, and painted black; atop her head is a massive headdress topped by what appears to be four ostrich feathers. Although the figure is painted, it also has the look of being a mold for a bronze statue; it may have served a dual purpose. Astarte is the goddess who is also known as Ishtar in some parts of Mesopotamia. During the 18th Dynasty, she arrived in Egypt, brought by contact with Semitic people. She was worshipped in Egypt as a warrior goddess and often paired with the violent war goddess Anat. Size: 5.25″ W x 18.3″ H (13.3 cm x 46.5 cm)
Egyptian Deep Blue Faience Amulet of Sekhmet
Egypt, New Kingdom, 18th Dynasty, Amarna Period, ca. 1353 BCE. A small faience amulet in the shape of a bust of Sekhmet. The goddess, a fierce hunter, is depicted as a lioness wearing a traditional Egyptian crown (the uraeus has broken off). She was prayed to as a protector of pharaohs and led them in warfare. Size: 0.55″ W x 0.95″ H (1.4 cm x 2.4 cm)
Egyptian Faience Thoth Baboon Amulet
Egypt, Third Intermediate Period to Late Dynastic Period, ca. 1070 to 332 BCE. A highly-detailed faience amulet of the god Thoth in his baboon form. Thoth was the god of writing, accounting, and other intellectual pursuits, associated with the ibis and the baboon. 0.75″ W x 1.6″ H (1.9 cm x 4.1 cm)
Egyptian White Faience Ushabti
Egypt, probably Memphis, New Kingdom, Ramesside period, Dynasty XIX, ca. 1279 to 1193 BCE. Mummiform votive ushabti, white faience with transparent glaze, details in black, wearing a short wig with sidelock (wick of youth) and a small goatee, adorned with a broad usekh collar, holding agricultural implements in each hand, seed sack on the back and a column of hieroglyphic inscriptions on front naming “Rema” as the owner. Translation is “The iIluminated one, the Osiris, Sem Priest of Ptah, r m a.” Size: 5.625″ H (14.3 cm)
Egyptian terracotta figure of Harpokrates on horseback
A large Egyptian terracotta figure of Harpokrates on horseback, Roman, c. 1st – 2nd Century AD, dressed in a short tunic and wears a large bound wreath and a Double Crown, his left hand on the horses head, right hand on its flank. H: 9 in (23cm), W: 6 4/5 in (17.3cm).
Silver statuette representing Harpocrates
Greco-Roman, Dynasty Ptolemaic , 350-30 BC
Harpokrates. In late Greek mythology as developed in Ptolemaic Alexandria, Harpocrates is the god of silence, secrets and confidentiality. Harpocrates was adapted by the Greeks from the Egyptian child god Horus. To the ancient Egyptians, Horus represented the newborn Sun, rising each day at dawn. When the Greeks conquered Egypt under Alexander the Great, they transformed the Egyptian Horus into their Hellenistic god known as Harpocrates. More
Isis (on the left, holding a sistrum), Sarapis (wearing a modius), the child Harpocrates (holding a cornucopia) and Dionysos (holding the thyrsus). Marble relief, last quarter of the 2nd century CE, found at Henchir el-Attermine, Tunisia.
H. 1.92 m (6 ft. 3 ½ in.), W. 83 cm (32 ½ in.)
Louvre Museum
Nefertoum
Louvre Museum
Nefertem was, in Egyptian mythology, originally a lotus flower at the creation of the world, who had arisen from the primal waters. Nefertem represented both the first sunlight and the delightful smell of the Egyptian blue lotus flower, having arisen from the primal waters within an Egyptian blue water-lily, Nymphaea caerulea.
Nefertem the child comes from his earth father Nun’s black primordial waters, and his sky mother is Nut. When he matures, he is Ra.
Nefertem was eventually seen as the son of the Creator god Ptah, and the goddesses Sekhmet and Bast were sometimes called his mother. In art, Nefertem is usually depicted as a beautiful young man having blue water-lily flowers around his head. As the son of Bastet, he also sometimes has the head of a lion or is a lion or cat reclining. The ancient Egyptians often carried small statuettes of him as good-luck charms. More
God Shu holding the sky above his head
Cairo Museum
Shu (Egyptian for “emptiness” and “he who rises up”) was one of the primordial Egyptian gods, a personification of air, one of the Ennead of Heliopolis. Shu was the father of Nut and Geb and grandfather of Osiris, Isis, Set and Nephthys. His great-grandsons are Anubis and Horus. More
Acknowledgement: Artemis Gallery, Ancient Resource,
Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright
I do not sell art, art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.
If you enjoyed this post, please share with friends and family.
Zaidan Gallery 