Reproduction Details Object Type : Wall painting Materials : Limestone, plaster, pigment Date : c. 1550–1525 BC Period : 17th-18th Dynasty, Second Intermediate Period-New Kingdom Findspot : Tomb of Ahmose, el-Kab Print Reference : DP122 - Ahmose, Son of Ebana About the Artwork My reproduction depicts a wall painting from the tomb of Ahmose, son of Ebana, at Elkab (c. 1550–1525 BC, early Dynasty 18). Ahmose was a distinguished naval officer who served under Seqenenre Tao, Kamose, and Ahmose I, and whose career spanned the wars that expelled the Hyksos and secured Egypt’s reunification. The hieroglyphic biography of Ahmose, son of Ebana, in his rock tomb at ancient Necheb (el-Kab) On the walls of his modest cliff-cut tomb, he recorded one of the most detailed first-person military autobiographies known from ancient Egypt. The text not only recounts his bravery in battle and the rewards he received but also provides invaluable historical evidence for Egypt’s military and political transformation at the dawn of the New Kingdom. In this scene, Ahmose is shown in large scale, the traditional marker of his status and authority. At his feet, rendered in smaller scale, is his grandson Pahery, a scribe of Amun, who was responsible for overseeing the decoration of his grandfather’s tomb (dedicated in the blue hieroglyphics). The (gold) hieroglyphic columns visible here contain the opening lines of Ahmose’s autobiography, which situate him firmly within the service of the Theban kings and the divine order they embodied. Translation Pahery's Dedication (Blue Hieroglyphics) (1) It is the son of his daughter who directed the work (2) in this tomb, being the one who causes to live the name of the father of his mother (3) scribe of forms of Amun, Pahery, justified. Ahmose's Autobiography (Gold Hieroglyphics) (1) Naval commander Ahmose, son of Ebana, justified, (2) says: "I speak to you, all people. I will let you know the favours that were granted to me. I have been rewarded with gold seven times..." The autobiography continues over 66 columns in which Ahmose describes his military career, highlighting significant battles and the honours he received. Read the full translation here . Further Reading Davies, W. V. (2009). The tomb of Ahmose Son-of-Ibana at Elkab. Documenting the family and other observations . Elkab and Beyond. Studies in Honour of Luc Limme, W. Claes, H. De Meulenaere, and S. Hendrickx (Eds). Sethe, K. (1927). Urkunden der 18. Dynastie . Volume I. Hinrichs, Leipzig.

Introduction to the Coffin of Nespawershefyt The coffin of Nespawershefyt is a remarkable artifact from ancient Egypt. This piece dates back to around 1000 BC and belongs to Dynasty 21 during the Third Intermediate Period. It provides a fascinating glimpse into the beliefs and practices surrounding death and the afterlife in ancient Egyptian culture. Reproduction Details Object : Coffin Materials : Wood, Plaster Date : c. 1000 BC Period : Dynasty 21, Third Intermediate Period Findspot : Theban Necropolis Current Location : Fitzwilliam Museum Object Number : E.1.1822 Art Ref : DP003 The coffin features a scene painted on its footboard. It depicts Nephthys and the four Sons of Horus. These figures served as powerful protectors of the deceased. They are surrounded by symbols that relate to divine protection. The Sons of Horus guarded vital organs, while Nephthys, a funerary goddess, watched over the dead. She helped guide them safely through the afterlife. The Coffin Set of Nespawershefyt On display in the Fitzwilliam Museum in Cambridge , this beautifully decorated coffin set dates to around 1000 BC. It comprises a mummy board, an inner coffin, and an outer coffin, complete with lids and boxes. This set belonged to a high-ranking official from Karnak named Nespawershefyt. His name translates to ‘He who belongs to the Great One of the Ram’s Head’ or Nesamun, meaning ‘He who belongs to Amun.’ Nespawershefyt held over 40 titles. His final roles included ‘supervisor of craftsmen’s workshops’ and ‘supervisor of scribes in the house of Amun’. With access to the finest artisans of his time, it is no surprise that his coffin is of exceptional quality. It is richly decorated with religious scenes and spells from the Book of the Dead. These elements invoke the protection of the gods and provide guidance for his journey to the afterlife. The coffin set was one of the first Egyptian objects acquired by the Fitzwilliam Museum. It was donated in 1822 by Barnard Hanbury and George Waddington. These former Trinity College students obtained the coffins during their travels. However, little is known about their time in Egypt beyond a documented journey from Wadi Halfa to Meroe. This situation highlights how the colonial antiquities trade removed artefacts from their original contexts. It leaves gaps in our understanding of their histories, use, and meaning. Nephthys and the Four Sons of Horus Across the top of the scene stretches a blue, arched form of the hieroglyph pt , representing the sky. This is a common motif that evokes the cosmic order ( maat ) and the protective dome of heaven. Beneath it sits the funerary goddess Nephthys. She is associated with mourning, protection, and the afterlife. Nephthys often appears in tombs and coffins as a guardian of the dead. She works in tandem with her sister Isis to watch over the body and soul. To the ancient Egyptians, her name was nbt-ḥwt, meaning “Mistress of the House.” She wears this title as a crown. The hieroglyphic sign for a basket sits atop a stylised ground plan of a house. Such visual punning was common in ancient Egyptian art. Deities could be identified by the hieroglyphs they wore, blending language and image. Nephthys was revered not only for her role in mourning Osiris but also as a liminal figure. She stands between life and death, embodying both the sorrow of loss and the promise of rebirth and regeneration. Nephthys is shown kneeling upon the hieroglyph nb , which represents gold. Her arms are raised in a posture of protection. Above her, a winged serpent wearing an ankh around its neck emerges from the Eye of Horus symbol. These figures have raised arms honouring the hieroglyph of Nephthys’s name on her head. This motif is rich in symbols of protection, divinity, and eternal life. Flanking the goddess are the Four Sons of Horus. These deities guarded the canopic jars used to preserve the internal organs during mummification. Each god is depicted in mummiform, symbolising their bond with the preserved body of the deceased. Imseti, protector of the liver, has a human head and is often linked to Isis. Duamutef, guardian of the stomach, has a jackal’s head and is protected by Neith. Qebehsenuef, who watches over the intestines, bears a hawk’s head and is associated with Selqet. Finally, Hapi, defender of the lungs, is shown with a baboon’s head, under the protection of Nephthys herself. The Importance of the Coffin in Ancient Egyptian Culture The coffin served multiple purposes in ancient Egyptian society. It was not just a container for the deceased but also a vital element in the journey to the afterlife. The design and decoration of the coffin were crucial. They reflected the status of the individual and their beliefs about life after death. Symbolism in Coffin Decoration The decorations on coffins were rich in symbolism. They often included scenes from the Book of the Dead, which provided guidance for the deceased. These scenes depicted various gods and goddesses, ensuring protection and assistance in the afterlife. The use of hieroglyphs also played a significant role. They conveyed messages and prayers to the gods, reinforcing the connection between the living and the divine. The Role of Artisans Artisans were highly skilled individuals in ancient Egypt. They were responsible for creating these intricate coffins. Their work was not only a craft but also a spiritual practice. Each piece was made with care and reverence, ensuring it met the spiritual needs of the deceased. The artisans often worked under the supervision of priests, who ensured that the designs adhered to religious standards. Conclusion The coffin of Nespawershefyt is more than just an ancient artifact. It is a window into the beliefs and practices of a civilization that placed great importance on the afterlife. Through its intricate designs and rich symbolism, we gain insight into the spiritual world of ancient Egypt. This coffin set serves as a reminder of the enduring human quest for understanding life, death, and what lies beyond. Further Information Nespawershefyt's coffin set Complete Translations and Description Mummy board Decoration Summary Inner Coffin Box Decoration Summary Inner Coffin Lid Decoration Summary Outer Coffin Box Decoration Summary Outer Coffin Lid Decoration Summary

My reproduction of a wall relief from the Tomb of Neferiretnes, later usurped by Raemkai, dates back to the 5th Dynasty (c. 2446–2389 BC). It forms part of a larger composition surrounding the tomb’s False Door. This relief depicts a group of men catching birds in the Nile marshes using a clap-net. Their catch is then presented as an offering to the tomb owner, intended to provide eternal sustenance in the afterlife. Reproduction Details Type : Wall relief Material : Limestone, paint Date : c. 2446–2389 BC Period : Dynasty 5, Old Kingdom Findspot : Tomb of Neferiretnes/Raemkai, Saqqara Current Location : Metropolitan Museum of Art Object Number : 08.201.1d Art Ref : DP121 "Catching Birds With a Clap-Net" The Tomb of Neferiretnes / Raemkai This tomb was originally built for the judge and scribe inspector Neferiretnes during the later Old Kingdom under King Niuserre. It was later briefly usurped by a royal prince named Raemkai. While Raemkai attempted to overwrite Neferiretnes' name on the tomb’s False Door, the changes were crudely done and left incomplete. This suggests a short-lived and possibly unauthorized takeover. The tomb is part of a cluster of mastabas north of the Djoser complex at Saqqara. It was excavated by Auguste Mariette in the 1850s-60s and again by James Quibell in the 1900s. Its exceptionally fine Old Kingdom reliefs depict daily life and offerings, making it a target for collectors. It was dismantled and sold to the Metropolitan Museum of Art in 1908. Despite early sketches made by Egyptologists, the tomb’s precise original location was never recorded. The tomb is now on display in Gallery 102 at The Met Fifth Avenue in New York. The False Door False Door and West Wall. Metropolitan Museum of Art, 08.201.1e and 08.201.1d The tomb chapel was oriented on a north–south axis, with the False Door set into the west wall. This alignment symbolically corresponds to the direction of the afterlife in ancient Egyptian belief. This architectural feature served as a spiritual portal through which the tomb owner's ka (vital spirit) could receive offerings. The decoration surrounding the False Door consists of a sequence of carefully arranged registers. These depict idealised scenes of provisioning and ritual, consistent with Old Kingdom funerary traditions: The tomb owner is shown on a larger scale than everyone else and seated on a lion-legged chair, receiving offerings. This image emphasises his elite status and participation in the ongoing cycle of funerary rites. Attendants approach carrying goods and offering tables piled with bread, fruit, meat, and drink. These processions represent the eternal delivery of sustenance to the deceased. Groups of men are butchering cows and preparing joints of meat for the offering platters of the attendants. These scenes reflect the practical aspects of provisioning the tomb. A team of men are catching birds in the Nile marshes, again to provide meat for the offerings, in a scene rich in symbolic references to regeneration and natural abundance. Fowling with Clap-Net My reproduction focuses on the bottom register of the west wall. It shows a dynamic scene of bird-catching using a traditional clap-net. The activity is controlled by the signalman, who is stationed close to where the trap has been set. He alerts the team when it is time to pull. Since shouting would disturb the birds, the signalman raises a stretched piece of cloth to give the order to haul in the net. Five naked men work in unison, pulling ropes to close a large net set within a stylised marsh pool. The net is already full of herons, ducks, and geese trapped among floating lotus blossoms and buds. Their nudity, an uncommon feature in tomb reliefs, likely underscores the physical labour involved and their immersion in the watery environment. It may also reflect an idealised portrayal of rural, productive life. The setting is highly stylised. Vertical strokes represent a dense barrier of papyrus and reeds, enclosing the scene in a visual framework reminiscent of a cartouche. While abstract in form, this depiction refers to the Nile marshlands. This area is a liminal space in ancient Egyptian cosmology associated with fertility, creation, and rebirth. For the deceased, such scenes were not merely decorative but functioned as magical representations, ensuring ongoing provision in the afterlife. A sixth figure at the far left carries several birds by the wings and walks toward the False Door. This links the marshland activity directly to the offering rituals of the tomb. His inclusion bridges the practical with the sacred, transforming the act of fowling into a ritualised act of eternal offering. The Importance of Bird Catching in Ancient Egypt Bird catching played a significant role in ancient Egyptian culture. It was not only a source of food but also a symbol of abundance and fertility. The act of catching birds was often depicted in tomb art, reflecting its importance in daily life and religious practices. Symbolism of Birds Birds held deep symbolic meanings in ancient Egypt. They were often associated with the soul and the afterlife. The presence of birds in tomb reliefs served to ensure the deceased's sustenance in the afterlife. This connection between the living and the dead was crucial in ancient Egyptian belief systems. Techniques Used in Bird Catching The methods used for bird catching varied. The clap-net technique depicted in the relief is one of the most traditional. It required skill and teamwork, showcasing the community aspect of this activity. Other methods included traps and nets, which were strategically placed in areas where birds were known to gather. The Role of the Nile in Bird Catching The Nile River was vital for bird catching. Its marshlands provided a rich habitat for various bird species. The annual flooding of the Nile created ideal conditions for birds to thrive. This abundance was essential for the sustenance of both the living and the deceased. Further Information Baud, Michel 1997. "Aux pieds de Djoser: Les mastabas entre fossé et enceinte de la partie nord du complex funéraire." In Études sur l'Ancien Empire et la nécropole de Saqqâra dédiées à Jean-Philippe Lauer, pp. 69-87. Fischer, Henry G. 1995. "The Protodynastic Period and Old Kingdom in the Metropolitan Museum of Art." In Kunst des Alten Reiches: Symposium im Deutschen Archäologischen Institut Kairo am 29. und 30. Oktober 1991, p. 81, n. 1. Hayes, William C. 1946. "Egyptian Tomb Reliefs of the Old Kingdom." In The Metropolitan Museum of Art Bulletin, vol. 4, no. 7 (March), pp. 174–75. Lythgoe, Albert M. 1908. "Recent Egyptian Acquisitions." In The Metropolitan Museum of Art Bulletin, vol. 3, no. 12 (December), p. 221. Mariette, Auguste 1889. "Les Mastabas de l'Ancien Empire: Fragment [de son] Dernier Ouvrage". Paris: F. Vieweg, pp. 178–81, no. D3. Porter, Bertha and Rosalind L.B. Moss 1978. "Topographical Bibliography of Ancient Egyptian Hieroglyphic Texts, Reliefs, and Paintings: Memphis.Saqqara to Dahshur, vol. 3, part 2.1." Oxford, pp. 487-488 (sketch plan). Quibell, James E. 1909. "Excavations at Saqqara 1907-1908, 3". Cairo: Institut Français d'Archéologie Orientale du Caire, p. 24, no. 903. Smith, W. Stevenson 1946. "History of Egyptian Sculpture and Painting in the Old Kingdom." Boston and Oxford, pp. 194, 195, 201, 241, 247, 285.

Explore Natalie Watson’s portfolio of ancient Egyptian art reproductions. See authentic, hand-drawn scenes inspired by museum originals, tombs, and temples. A showcase of artistry and historical detail. Stock Authentic Ancient Egyptian Reproduction Art in Your Shop Are you looking to offer beautifully researched, museum-quality ancient Egyptian art in your shop or gallery? I work with museums, cultural attractions, and independent retailers to supply a range of illustrated products inspired by genuine ancient artefacts. My work is currently stocked by renowned institutions including the British Museum, World Museum Liverpool, and the Manchester Museum, alongside high street gift shops and heritage venues across the UK. What’s Available I offer over 100 unique designs based on original ancient Egyptian artworks. These are available as: Fine Art Prints Square, A-size, and Panoramic formats Printed on 310gsm museum-grade Canson® Rag Photographique paper Mounted with acid-free card, wrapped in biodegradable cellophane Multiple sizes available (from A6 to A1, and 8x8" to 30x30") Greeting Cards Available in square, A5, and 5x7" formats Printed on 100% recycled FSC® certified paper Blank inside with artwork info on the reverse Includes white envelope and eco-friendly packaging Bookmarks & Postcards Double-sided bookmarks on 400gsm card High-quality postcards featuring selected designs All items packed in biodegradable sleeves Visit my product guide . A full catalogue and order form are available to download below. Catalogue Order Form Custom Illustration for Retail & Displays In addition to my retail collection, I offer bespoke illustration services for: Exclusive museum merchandise Interpretive panels or displays Educational publications and visitor guides Engagement and learning resources Whether you need a set of custom postcards for an exhibition or a unique illustration for a shop-exclusive product, I can work with you to create something meaningful, accurate, and visually compelling. How to Order The process is simple and flexible: 1. Browse the Catalogue: Choose from over 100 existing artworks in a variety of formats. 2. Submit Your Order Form: Email your completed form or use the contact form below to request a quote. 3. Receive an Estimate: I’ll confirm availability and send a tailored estimate for your approval. 4. Delivery Within 10–15 Days: Once approved, your order is carefully packaged and shipped. 5. Easy Payment Terms: Invoices are issued on delivery with 30-day payment terms. Request a Quote or Start a Conversation If you're interested in stocking my work or commissioning a custom design, get in touch , I’d love to hear from you. First Name Last Name Email Subject Give me details of what you're looking for Upload your order form Upload Form Upload supported file (Max 15MB) I want to subscribe to the newsletter. View terms of use Submit Thanks for submitting! As stocked by What materials are used in your reproductions? My reproductions are created using high-quality materials such as archival paper and fade-resistant inks to ensure they closely resemble the original ancient artworks. How do I care for my fine art prints? To ensure the longevity of your fine art prints, keep them out of direct sunlight and avoid exposure to moisture. It is recommended to frame the prints using UV-protective glass. What are the shipping options available? I offer standard and express shipping options. Standard shipping typically takes 5-7 business days, while express shipping takes 2-3 business days. You can select your preferred shipping method at checkout. Do you ship internationally? Yes, I offer international shipping to most countries. Shipping costs and delivery times will vary based on the destination. Please check my shipping policy for more details. What payment methods do you accept? I accept various payment methods including credit cards, PayPal, and Apple Pay. All transactions are processed securely to ensure your information is protected.

Purchase high-quality stock for gift shops at wholesale prices. Over 100 masterpieces of ancient artwork are available as fine art prints, greeting cards, postcards and posters. Square Prints Square format giclée fine art print on 310gsm Canson® Rag Photographique paper. Comes packed with a sturdy acid-free card mount and enclosed in a biodegradable cellophane wrap. Available in sizes: 08 x 08in, 09 x 09in, 10 x 10in, 12 x 12in, 16 x 16in, 20 x 20in, 24 x 24in, 30 x 30in A-Size Prints A-size format giclée fine art print on 310gsm Canson® Rag Photographique paper. Comes packed with a sturdy acid-free card mount and enclosed in a biodegradable cellophane wrap. Available in sizes: A6 (148 x 105mm), A5 (148 x 210mm), A4 (297 x 210mm), A3 (420 x 297mm), A2 (594 x 420mm), A1 (841 x 594mm) Panoramic Prints 1:2 and 1:3 ratio giclée fine art print on 310gsm Canson® Rag Photographique paper. Comes packed with a sturdy acid-free card mount and enclosed in a biodegradable cellophane wrap. Available in sizes: 12 x 6in, 16 x 8in, 18 x 6in, 24 x 12in, 24 x 8in, 36 x 12in Square Greeting Cards Square greeting card printed on 100% recycled matt FSC® certified paper. Cards are blank inside with a description and image of the original artwork on the reverse. Wrapped in biodegradable cellophane bags with a white envelope. Available in sizes: 150 x 150 mm A5 Greeting Cards A5 greeting card printed on 100% recycled matt FSC® certified paper. Cards are blank inside with a description and image of the original artwork on the reverse. Wrapped in biodegradable cellophane bags with a white envelope. Available in sizes: A5 (148 x 210mm) 5 x 7 in Greeting Cards 5 x 7 in greeting card printed on 100% recycled matt FSC® certified paper. Cards are blank inside with a description and image of the original artwork on the reverse. Wrapped in biodegradable cellophane bags with a white envelope. Available in sizes: 5 x 7 in (127 x 178 mm) Bookmarks Double-sided bookmarks printed on 400 gsm card. Wrapped in a biodegradable cellophane bag. Available in sizes: 51 x 152 mm As stocked by

Explore Natalie Watson’s portfolio of ancient Egyptian art reproductions at Wonderful Things Art. See authentic, hand-drawn scenes inspired by museum originals, tombs, and temples. A showcase of artistry and historical detail. The Burial Chamber of Tutankhamun Tutankhamun and Ankhesenamun Amongst the Vines The Feast of Nebamun: Celebrating Guests The Burial Chamber of Tutankhamun 1/13 Explore the principles, techniques, and symbolic colours used in ancient Egyptian art Ancient Egyptian Art Explore Accurate reproductions of art from real objects, documents and sites Reproductions Explore Digital restorations of damaged and incomplete ancient Egyptian artworks Reconstructions Explore Purchase prints, greeting cards and bookmarks featuring my art Shop Explore My insights into ancient Egyptian art, interpretations of hieroglyphics, symbolism, and art styles. Articles Explore High-quality stock for gift shops, including fine art prints, greeting cards, and bookmarks Retail & Wholesale Explore One-off, bespoke or personalised illustrations inspired by the ancient Egyptian art style Commissions Explore I'm always looking for new opportunities, so contact me if you have a project in mind! Contact Explore As stocked by... Love ancient Egypt? So do I. Sign up to be the first to hear about new artwork, behind-the-scenes insights, special offers, and the fascinating stories behind the pieces. No spam, just beautifully crafted content for fellow Egyptophiles. Email* Subscribe I want to subscribe to your mailing list.