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.

Learn about the artist behind Wonderful Things Art, creating exquisite reproductions of ancient Egyptian and historical artwork for museums, galleries, and gift shops. Welcome to Wonderful Things Art, Bringing Ancient Egypt to Life I’m Natalie Watson, a UK-based artist with a background in archaeology and a lifelong passion for ancient Egypt. After earning my BA in Archaeology from the University of Bristol and working for nearly two decades in heritage and cultural engagement, I founded Wonderful Things Art in 2020 to combine my academic interests with creative practice. Since then, I have created over 100 reproductions of ancient Egyptian masterpieces and have been stocked by leading institutions, including the British Museum, World Museum Liverpool, the Petrie Museum, and the Manchester Museum, as well as in gift shops across the UK. My mission is to create authentic, research-led reproductions of ancient Egyptian art that allow modern audiences to connect meaningfully with the ancient world. Each artwork I produce is more than a decorative piece; it's a doorway to a rich and complex world of symbolism, ritual, and craftsmanship. 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. Prints, Cards and Bookmarks Explore My Portfolio Visit My Shop My shop contains over 100 authentic reproductions of ancient Egyptian art. Each piece is carefully created to honour the authenticity, beauty and craftsmanship of the originals, and is available as: Fine art prints – in square, A-size, and panoramic formats Greeting cards – multiple sizes, FSC® certified and plastic-free Bookmarks and postcards Colouring sheets – for both relaxation and education You can purchase my work in two ways: Directly via my Shopify store using the buttons on this page Or through my Etsy shop , if you prefer to buy there I’m committed to running my small business as sustainably as possible. Orders are shipped using fully recyclable packaging: FSC® certified cardboard and siliconised stickers with water-based adhesives. All fine art prints are produced on museum-quality, acid-free 310gsm Canson® Rag Photographique paper. My cards, bookmarks, and postcards are printed on 100% recycled FSC® certified card, and packaged in biodegradable cellophane. Illustration Services See Past Projects Explore Retail Options I offer a range of illustration services for museums, publishers, and educational projects. This includes: Reproductions of artefacts, wall scenes, papyri, and objects Reconstructions of damaged or faded material Fictional artwork created in the authentic style of ancient Egypt Historical research to ensure cultural and visual accuracy If you need bespoke illustrations for retail products, displays, or interpretation, I’ll work closely with you to deliver engaging, historically informed artwork tailored to your needs. Private Commissions & Personalised Art Personalised Prints Contact Me I am happy to reproduce specific ancient Egyptian artworks on request, charged at an agreed hourly rate depending on the scope and level of research involved. Whether you are looking for a faithful recreation of a particular object or a carefully adapted design, each piece is approached with close study and historical sensitivity. I also take on private commissions, creating unique pieces that blend personal stories with the timeless beauty of ancient Egyptian art. Past commissions have included: A wedding portrait for an Egyptologist, featuring the couple in a feasting scene with a personalised hieroglyphic inscription A funerary stela design in memory of a loved one who had a deep appreciation for ancient Egypt A tattoo design based on a temple wall relief, incorporating protective symbols and name elements Many of my existing artworks can also be personalised, such as adding a name in a cartouche to make the piece truly about you or your loved one. These commissions are deeply collaborative and often very meaningful. I’m always honoured to help bring people’s connections to ancient Egypt to life through art. Retail and Wholesale Retail Catalogue Contact Me 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, Petrie Museum, World Museum Liverpool, and the Manchester Museum, alongside high street gift shops and heritage venues across the UK. In addition to my retail collection, I offer bespoke illustration services for: Exclusive museum merchandise featuring your collections 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 I Recreate Ancient Egyptian Art Research: The Foundation of Everything Accuracy is at the heart of my work. Each piece begins with in-depth research into the original site, period, and purpose of the artwork. I consult archaeological reports, museum publications, historical sketches, and modern high-resolution photography to understand both the art and its context. When pieces are damaged or incomplete, I reference similar examples from the same period or site to reconstruct the missing elements as faithfully as possible. Drawing the Lines: Precision and Structure Ancient Egyptian artists followed strict compositional rules. I replicate their approach digitally by setting up baselines and registers in Photoshop, using red for initial drafts and black for final outlines, just as they did. Working from high-resolution imagery, I correct for lens distortion and surface warping, then use close-up references to redraw fine details. Where necessary, I fill in lost areas with comparisons from matching artworks to retain stylistic authenticity. Adding Colour: Symbolism and Tradition Colour in ancient Egypt carried symbolic meaning. I work with a carefully curated palette based on natural mineral pigments used in antiquity, ochres, carbon, malachite, azurite, and more. I digitally paint each piece by adding colour beneath the drawn lines, recreating the original look and feel of polychrome wall paintings. This process allows me to save both monochrome line versions and full-colour renderings of each artwork. “I've never come across such authentic renderings before… the colours are so vibrant and the detail is remarkable.” - Mark, Somerset, UK Sharing the Stories Behind the Scenes Each reproduction reveals something new, whether it’s a hidden detail, a translation of hieroglyphs, or a glimpse into the ancient artist’s process. I document these discoveries in short articles, which you can explore here on my website. They're written to make academic research accessible and to enrich your appreciation of the pieces. Delve Into The Archive Ahmose, Son of Ebana: The Autobiography of a Naval Officer The Coffin of Nespawershefyt: A Journey Through Ancient Egyptian Beliefs My Reproduction of a Wall Relief from the Tomb of Neferiretnes Dance For Hathor: Reproducing the Tomb of the Dancers Lady Tjepu: A Reproduction from Tomb TT181 Khepri and Thoth’s Sacred Baboons Sennedjem in Sekhet Aaru, The Field of Reeds The Offering Stela of Neskhons Ramesses II in his War Chariot (Battle of Kadesh) 1 2 3 4 5

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. Email* Subscribe I want to subscribe to your mailing list.

Explore a curated collection of ancient Egyptian-inspired artworks, shaped by careful research and close study of sites and museum collections. From fine art prints to thoughtfully crafted gifts, each piece carries the history and symbolism of its ancient source. Shop Explore a curated collection of ancient Egyptian-inspired artworks, shaped by careful research and close study of sites and museum collections. From fine art prints to thoughtfully crafted gifts, each piece carries the history and symbolism of its ancient source. Visit the Shop Fine Art Prints Greeting Cards Bookmarks Colouring Sheets Gods & Goddesses Book of the Dead Tutankhamun Royal Art People Animals Prehistoric Museum Objects Fine Art Prints My giclée prints are created using archival-quality Fine Art Trade Guild-approved printers, inks, and papers guaranteed to provide vibrant colours, outstanding contrast and pin-sharp reproductions. The 100% cotton smooth matte paper is both acid-free and OBA-free, meaning it won’t fade or discolour over time. Each print includes an insert giving more details about the history and symbolism of the original artwork. See the Full Collection Greeting Cards My ancient Egyptian greeting cards feature my artwork on the front and are blank inside for your message. The back of the card features an image of the original art and a brief description of its meaning. It comes with a white envelope and is sealed in a protective eco-friendly cellophane wrap that can be composted. See the Full Collection Bookmarks My double-sided bookmarks feature an ancient Egyptian god or goddess on the front and an informative description on the rear bringing the rich tapestry of Egyptian mythology to life. See the Full Collection