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 This reproduction showcases a wall painting from the tomb of Ahmose, son of Ebana, at Elkab, dating back to c. 1550–1525 BC during the early Dynasty 18. Ahmose was a notable naval officer who served under Seqenenre Tao, Kamose, and Ahmose I. His 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) In his modest cliff-cut tomb, Ahmose recorded one of the most detailed first-person military autobiographies known from ancient Egypt. This text recounts his bravery in battle and the rewards he received. It also provides invaluable historical evidence for Egypt’s military and political transformation at the dawn of the New Kingdom. In this scene, Ahmose is depicted at a large scale, a traditional marker of his status and authority. At his feet, rendered in smaller scale, is his grandson Pahery, a scribe of Amun. Pahery was responsible for overseeing the decoration of his grandfather’s tomb, which is dedicated in blue hieroglyphics. The gold hieroglyphic columns visible here contain the opening lines of Ahmose’s autobiography, situating 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 these columns, 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.

Reproduction Details Object Type : Tomb Painting Materials : Limestone, plaster, pigment Date : c. 1390-1349 BC Period : Dynasty 18 Findspot : Tomb of Nebamun and Ipuky ( TT181 ), Sheikh-Abd-el-Gournah, Thebes Print Reference : DP75A The Tomb of the Two Sculptors Cut into the limestone cliffs of the Sheikh-Abd-el-Gournah necropolis is the shared tomb of Nebamun and Ipuky (TT181). These two men lived during the reigns of Amenhotep III and Akhenaten in Dynasty 18 and worked at Djeseret Iset , the Small Temple of Medinet Habu. They were trained in sculpting and engraving and rose to the ranks of ‘chief sculptor in the Sacred Place’ and ‘Supervisor of the balance’, overseeing craft workshops. Their unusual joint tomb was never finished, and its paintings have suffered from millennia of deterioration, flooding, mudslides, and vandalism. Since its discovery, much of the decoration has been purposefully removed or damaged beyond recovery, so early reproductions, such as those made by Jean-Vincent Scheil and Norman de Garis Davies , are the only record. The Craftsmen’s Workshop My reproduction and partial reconstruction of a painting from the tomb shows the Chief Sculptor supervising a bustling workshop of 32 craftsmen, who are working with wood, stone, metal, and precious stones to create beautiful objects. The scene provides a wealth of information about the tools and manufacturing techniques used by the ancient craftsmen, which can be used to help interpret archaeological finds. I’m going to explore each figure to help you imagine the sights and sounds of Nebamun and Ipuky’s workshops. The Chief Sculptor The largest figure in the scene and therefore the most important is that of the tomb owner ( 1 ). Without hieroglyphs to identify him, this man represented both Nebamun and Ipuky, who shared the same role as ‘Chief sculptor’ and ‘Supervisor of the balance’. He is dressed in a shendyt loincloth covered with a sheer tunic with sleeves, adorned with a necklace and wearing a wig with small curls. He sits upon a white chair sat on a papyrus reed mat and is inspecting the handiwork of the craftsmen he supervises piled before him. In his right hand, he holds a bouquet of lotus flowers, whilst the gesture which he makes with the other signifies that he is speaking. Two men are presenting examples of metalwork and woodwork to the Chief Sculptor on top of woven baskets. The first man is offering a broad collar and three bracelets inlaid with precious stones ( 2 ). The other man carries a scarf, which probably indicates his status, and has brought a djed pillar and a tyet knot ( 3 ). The djed is a symbol of Osiris relating to stability, and the tyet knot is linked to the goddess Isis. The tyet is usually painted red to reflect the belief it was the blood of Isis, but elsewhere in the scene, they are black to indicate they are being carved from wood. In front of the two men are objects for inspection made from wood, including a delicate white stool, a wooden chest and a scribe’s stylus box used to store reed pens and paint. A man is kneeling before a set of scales topped with a figure of the goddess Ma’at, who represented balance and order ( 4 ). He is weighing gold in the form of rings against a weight in the shape of a bull’s head and holding the plumbline to check the measurement. Behind him, the finished products from the workshop are piled and awaiting inspection, including a chest, which was probably filled with gold rings or small items, and a woven basket holding a gold necklace and bowl. The Woodworkers The top register shows a group of woodworkers building a catafalque, a platform to transport the mummy of the deceased to the necropolis and his tomb. They are carving and shaping wood into sacred symbols of the djed pillar and tyet knot to embellish the catafalque and provide divine protection for the mummy. A man is creating the raw materials for the other craftsmen in the workshop ( 5 ). He is sawing a plank of dark wood, which is attached by a rope to a post in the ground. He’s depicted with a slightly gormless expression and as having a bald patch ringed with straggly hair and a chin full of bristles. Above the man are three planks of light-coloured wood which he has already finished sawing. Behind him, a woodworker wearing a wig is seated on a solid stool and is carving a tyet knot out of wood using an adze ( 6 ). Four seated woodworkers are in the process of making decorative djed pillars, which will be added to the catafalque being assembled by men #7 and #8. The carved pieces of wood with dowels sticking out of each end they are creating are shown above their heads. The first two men ( 9 , 10 ) are carving the main bodies of the pillar out of light and dark wood with adzes, whilst two more ( 11 , 12 ) are using drills to fix the horizontal bars of the pillar to the column. ​Two men are assembling the funerary catafalque, upon which the deceased will be placed for his journey to the tomb. It is decorated with pairs of djed pillars and tyet knots to give them the power of ‘double stability’ and ‘double protection’. An older man ( 8 ) shares the same unfortunate hairstyle as man #5 and is using a small mallet to fix the carved decoration between the shelves. He is assisted by a younger man in a wig ( 7 ), who is holding the ends of the shelves whilst #8 works. The Goldworkers The middle register shows craftsmen working with gold and precious stones to create beautiful vessels, statues, and jewellery. ​Two men are seated facing each other, working together to decorate a wooden chest and fill it with jewellery. Examples of the jewellery made of precious stones are shown above them and include a winged scarab holding a shen symbol and a lotus flower necklace. A bald man is holding two pieces of turquoise stone ( 14 ), which match the piece shown above his head and the inlay in the jewellery beside it. Before him are copper bowls, one of which contains uncut precious stones covered with a white scarf. A second man wearing a wig is placing decorative objects into the chest ( 13 ). The first is a small statue made of blue stone of the god Horus the Younger, shown as a child sucking his thumb. The other two objects are cartouches with the names ‘ Amenhotep, Lord of Thebes’ and ‘ Neb-maat-re’ , which date the scene to the reign of Amenhotep III. ​A bald scribe is seated on a solid stool and is engraving an inscription on a libation vase, his scribal material sitting on his lap ( 15 ). This part of the painting has now been lost, but old reproductions and descriptions showed it contained a hieroglyphic inscription above the man naming him as ‘ the scribe of Amun, Pasanesu, also known as Parennefer’ . Another example of the goldworker's craft is shown above Pasanesu in the form of a beautifully decorated bowl of flowers with the head of birds holding clusters of grapes in their beak. ​A seated man with a fine wig is carefully carving detail into a gold statue of a winged sphinx ( 16 ). The sphinx sits on top of the table, and the man uses a small hammer and chisel to apply detail to the unfinished uraeus cobra on its brow. A blue faience vase with lotus flower decoration is shown above them as another example of the fine products of the workshop. ​Two seated men in fine wigs are polishing golden libation vases. One man has secured his small vase on a wooden stand to steady it ( 18 ) whilst the other balances his tall vase on the floor ( 17 ). Smooth rubbing stones and sands with fine grit are being used to polish the metal. Above them are some of their finished products, including two bowls with fluted sides, a vase and two spare stoppers. ​A man is seated in front of a burning furnace, which is being used to smelt metals for the workshop ( 19 ). He uses tongues to stir the fire and blows into it using a long reed hose to control the air flow and temperature. The Metalworkers The bottom register shows more craftsmen making and working with metal, as well as specialist tasks such as drilling and carving beads and alabaster. This part of the painting has been so badly damaged that it is almost impossible to now make out the detail of the figures. I have reconstructed it based on earlier written descriptions, comparative artwork , and artistic conventions and proportions used in this tomb. See the work of Jean Vincent Scheil for an alternative rendition. ​Two seated men are working on golden lampstands. One man in a wig can be seen polishing or hammering out a lamp stand he holds in his hand ( 20 ). A second man holding a scribal palette and reed pen is carefully engraving the upright section of a second vase standing on the floor ( 21 ). Above him is a lid for the vase. ​A man kneels in front of a small fire, heating a piece of copper he holds with metal tongues using a blowpipe to control the airflow ( 23 ). An example of the sheet metal he is making is shown beside him. Above him, another man sits on the floor with his legs out before him as he polishes or hammers out a sheet of copper made by #23 with a smooth stone ( 22 ). ​A man sits on a solid stool in front of a black mass on a block ( 25 ) and is being assisted by a man who holds a ball of the same black material on his shoulders with both hands ( 24 ). This could show the measurement of raw materials needed for the smelting furnace operated by 26-30 to their right. ​A group of five bald men operate a large furnace which is being used to smelt metal. Two ingots are shown above the flames, one representing lead and another in the shape of an oxhide representing copper. Four of the men hold ropes which connect the bellows they stand on ( 26 , 27 , 29 , 30 ). A fifth man leans closer to the furnace and controls the temperature using a reed blowing tube and a stirring rod ( 28 ). The Specialist Craftsmen Finally, nearest to the entry of the chamber, are three men working independently on specialist craft activities involving stone and glass. A man in a wig is drilling beads, which will be placed in the casket behind him ( 31 ). In his right hand, he holds a bow, the cord of which is twisted around three drills held in his left hand. This technique was used to drill holes and create beads of glass, stone, and pearl. A man in a wig is drilling a core into a block of alabaster using a metal rasp to hollow it out and make a stone vase ( 32 ). Above him are two examples of the finished product. A man uses a needle to thread glass beads into a necklace, which he rests on the wooden chest in front of his legs ( 33 ). Above him are more examples of inlaid jewellery, which will also be placed in the chest, including a lotus flower and three bracelets. Comparative Artwork As already mentioned, much of this scene was damaged and required me to reconstruct parts. Where details are missing, it’s possible to find other pieces of artwork to see the artistic conventions that would have been used. For this scene, there are several notable comparable scenes I looked at for inspiration: Tomb of Rekhmire, TT100. Two groups are represented in pairs, maintaining the heat in the hearth and melting the metal. Another group casting a large bronze item for a monumental door in a mould drilled with 17 openings for filling the molten bronze into the form. Tomb of Puimre (or Puyemre), TT39. Reproduction of the tomb of Nebamun and Ipuky by Norman de Garis Davies (1865–1941). (Metropolitan Museum of Art 30.4.103) Tomb of Sobekhotep, TT63. This fragment of limestone wall-painting depicts the activities of jewellery-makers and precious-metal workers around 1400 BC (British Museum EA920). Tomb of Neferrenpet, TT178. Further Reading Le Tombeau Des Graveurs by Jean Vincent Scheil (1894) TT181, the tomb of Nebamon and Ipuky by Osiris.net

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

Fighting With Sticks Reproduction of a stone block from the Pyramid causeway of King Sahure showing soldiers training in the art of stick fighting. Purchase Print About the Artwork Reproduction of a stone block from the Pyramid causeway of King Sahure showing soldiers training in the art of stick fighting. At 4,500 years old, this is one of the earliest depictions in ancient Egypt of soldiers being trained. Each pair consists of a student in a loincloth practising against an instructor in a kilt. The hieroglyphics show the instructor's words of encouragement and direction. Art Ref DP107 Read My Article Available to purchase as Giclée Print Object Record Object Type Wall Relief Materials Date Period Dynasty 05, Old Kingdom Findspot Pyramid of Sahure, Saqqara Necropolis Dimensions Current Location Saqqara Necropolis Object Number People Depicted Deities Depicted None Animals Depicted Themes 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. Email* Subscribe I want to subscribe to your mailing list.

Lady Tjepu Reproduction of a wall painting of the noblewoman Tjepu from the Tomb of Nebamun and Ipuky (TT181), dating to c. 1390–1353 BC (Dynasty 18). Purchase Print About the Artwork Carved into the limestone cliffs of Sheikh Abd el-Qurna, the joint tomb of Nebamun and Ipuky (TT181) dates to Egypt’s 18th Dynasty, during the reigns of Amenhotep III and Akhenaten. Both men were master craftsmen, holding titles such as "Chief Sculptor in the Sacred Place" and "Supervisor of the Balance" at Djeseret Iset, the Small Temple at Medinet Habu. Although the tomb was never completed, it originally featured extensive painted decoration. Much of this has been lost through centuries of environmental damage, looting, and deliberate removal. Early records by Egyptologists, such as Jean-Vincent Scheil and Norman de Garis Davies, remain crucial sources for reconstructing its imagery. My reproduction focuses on one of the best-preserved figures from the tomb: the noblewoman Tjepu, mother of Nebamun. The original painting, now housed in the Brooklyn Museum, was executed in pigment on plaster and would have adorned the tomb’s wall in vibrant colour. Although it now survives only in fragments, the clarity and quality of the surviving work demonstrate the skill of the original artists. Tjepu is presented following the artistic conventions of the time. She wears a fine, semi-transparent linen dress, fitted and fringed, in keeping with 18th Dynasty elite fashion. Her elaborate wig is topped with a perfumed cone and a floral headband, both common features in depictions of women attending ritual or banquet scenes. She is shown in a standard pose, standing with one arm raised in adoration and the other holding a menat necklace and counterpoise, an object associated with the goddess Hathor. These details, while idealised, are rooted in the religious and social practices of the period. The inscription behind Tjepu (which I haven’t reproduced due to its fragmentary nature) identifies her as "Lady of the House", a title denoting her status within the household. Her image was originally part of a larger scene where she stood behind her son as he poured oil over offerings. This positioning is notable. Tombs typically show the owner's wife in this place, so Tjepu's inclusion here may reflect a particularly close relationship with her son, or simply the availability of space, as Nebamun had likely married Ipuky’s widow, who was already depicted elsewhere in the tomb. Art Ref DP120 Read My Article Available to purchase as Giclée Print Object Record Object Type Wall Painting Materials Limestone, Gesso, Pigment Date c. 1390–1353 BC Period Dynasty 18 Findspot Tomb of Nebamun and Ipuky (TT181), Sheikh Abd el-Qurna, Thebes Dimensions 37.6 x 24 cm Current Location Brooklyn Museum Object Number 65.197 People Depicted Tjepu Deities Depicted None Animals Depicted None Themes Portrait 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. Email* Subscribe I want to subscribe to your mailing list.

The Offering Table of Watetkhethor Reproduction of a wall painting in the tomb of Watetkhethor, daughter of king Teti, dating to Dynasty 6 (around 2290 BC). Purchase Print About the Artwork Reproduction of a wall painting in the tomb of Watetkhethor, daughter of king Teti, dating to Dynasty 6 (around 2290 BC). It shows Watetkhethor seated in front of a table of offerings, whilst servants bring her legs of meat and birds to add to her piles of bread and gifts of flowers. The offering scene was the most important piece of art in an Ancient Egyptian tomb, as it provided the spells necessary for the deceased to continue eating and drinking in the afterlife. Art Ref DP028 Read My Article Available to purchase as Giclée Print Object Record Object Type Wall Relief Materials Date Period Dynasty 06 Findspot Mastaba of Mereruka, Saqqara Necropolis Dimensions Current Location Mastaba of Mereruka, Saqqara Necropolis Object Number People Depicted Watetkhethor Deities Depicted None Animals Depicted Bird Themes 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. Email* Subscribe I want to subscribe to your mailing list.