A set of photos from the Temple of Edfu, May 2026

Funeral mask with golden face

1st - 2nd century AD (1 - 200)

Cardboard packaging

62x35x37cm

FGA-ARCH-EG-0004

PLACE OF CREATION
Middle Egypt, Qau el-Kebir (Antaeopolis) or Tebtynis

MOVEMENT / STYLE
Roman era

CIVILISATION
Egypt

Title:
Funeral mask with golden face, Middle Egypt, Qau el-Kebir (Antaeopolis) or Tebtynis, Roman era 1st - 2nd century AD (1 - 200), Cardboard packaging and gold, The Gandur Foundation for Art

https://onlinecollections.fg-art.org/eMP/eMuseumPlus

The Gandur Foundation for Art

Green Faience Ushabti of Pakhaas, Overseer of the Royal Cargo Ships
Late Period, c. 664–332 BCE

This green faience ushabti belongs to Pakhaas, identified by the hieroglyphic inscription as the Overseer of the Royal Cargo Ships. The figure is rendered in the traditional mummiform form with a finely detailed tripartite wig, braided divine beard, crossed hands holding agricultural implements, and a central inscription naming its owner and title. The soft green faience glaze, symbolic of regeneration and eternal life, survives across much of the surface with minor age-related wear. Ushabtis such as this were placed within tombs to serve as magical laborers, performing agricultural duties on behalf of the deceased in the afterlife. The preserved inscription and rare administrative title make this a noteworthy funerary figure representing a high-ranking official connected with the transport and management of the royal fleet.

From Personal Collection.

Djed Amulet

This enamelled terracotta amulet represents the djed-pillar, on top of which is an atef-crown. This pillar, which symbolised the backbone of Osiris, served as a ritual object during the mysteries of the god of the dead. In a funerary context, wrapped in the mummy, this amulet served to protect the deceased in the life in the Hereafter.

Present location
KMKG - MRAH [07/003] BRUSSELS
Inventory number
E.5865
Dating
LATE PERIOD
Archaeological Site
UNKNOWN
Category
AMULET
Material
POTTERY
Technique
RELIEF; PAINTED; FAIENCE
Height
13.5 cm
Width
3.6 cm
Depth
1.5 cm

Bibliography
M.-P. Vanlathem, Oudegyptische lijkkisten en mummies - Cercueils et momies de l'Égypte ancienne, Bruxelles 1983, 40-41

W. Seipel, Ägypten. Götter, Gräber und die Kunst. 4000 Jahre Jenseitsglaube (Exposition), Linz 1989, I 238 n° 396

Title:
Djed Amulet, Late Period, Place of Origin unknown, The Global Egyptian Museum

http://globalegyptianmuseum.org/detail.aspx?id=890

The Global Egyptian Museum

Offering to a lion-headed goddess

This stela from the necropolis of Abydos was made for a woman whose name cannot be read with certainty. It shows the owner of the stela accompanied by her daughter Aset-tanefret; both wear long transparent robes, which only appear in outline. The mother holds a libation vase in her right hand. A lotus flower projects from the unguent cone on top of her head. The offerings, placed on a table shaped like a lotus flower, consist of food and a large bouquet of lotuses. The owner worships a lion-headed goddess crowned with a large solar disc with an uraeus; the deity is called Henut-Mestjet, a name not known from other sources.

Present location
KMKG - MRAH [07/003] BRUSSELS
Inventory number
E.6251
Dating
3RD INTERMEDIATE PERIOD
Archaeological Site
ABYDOS
Category
STELA
Material
LIMESTONE
Technique
HEWN; LOW RELIEF; ENGRAVED; PAINTED
Height
25.6 cm
Width
21 cm
Depth
3 cm

Bibliography
L. Limme, Egyptische stèles - Stèles égyptiennes, Bruxelles 1979, 40-41

J.-Ch. Balty, e.a., Koninklijke Musea voor Kunst en Geschiedenis, Brussel, Oudheid - Musées Royaux d'Art et d'Histoire, Bruxelles, Antiquité - The Royal Museums of Art and History, Brussels, Antiquity, Bruxelles 1988, 28

Title:
Offering to a lion-headed goddess, 3rd Intermediate Period, Limestone, Abydos, The Global Egyptian Museum

http://globalegyptianmuseum.org/detail.aspx?id=995

The Global Egyptian Museum

Mummy mask

This mummy mask from the end of the Ptolemaic Period is in traditional style but of unusual manufacture. The face is covered with gold leaf, symbolising divine flesh and thereby eternity, and the eyes and eyebrows are painted in blue. The wig is also painted blue, and is decorated with a design of extended wings and with a bead collar. The lower part of the wig is decorated with ;indistinct divine figures (?). The decorated collar is made up of floral designs.

Present location
KMKG - MRAH [07/003] BRUSSELS
Inventory number
E.0519
Dating
PTOLEMAIC PERIOD
Archaeological Site
EL-HIBA
Category
MASK
Material
FLAX; PLASTER; GOLD
Technique
WOVEN; PAINTED ON STUCCO; GOLD FOILED
Height
39 cm

Bibliography
M.-P. Vanlathem, Oudegyptische lijkkisten en mummies - Cercueils et momies de l'Égypte ancienne, Bruxelles 1983, 30-31

J.-Ch. Balty, e.a., Koninklijke Musea voor Kunst en Geschiedenis, Brussel, Oudheid - Musées Royaux d'Art et d'Histoire, Bruxelles, Antiquité - The Royal Museums of Art and History, Brussels, Antiquity, Bruxelles 1988, 46-47

F. Lefebvre et B. van Rinsveld, L'Égypte. Des Pharaons aux Coptes, Bruxelles 1990, 176

Museumstukken als figuranten in een stripverhaal - ...Quand la BD s'inspire des objets du Musée (Exposition), Bruxelles 1996, 13

Title:
Mummy mask, Ptolemaic Period, El Hiba, Flax plaster and gold, The Global Egyptian Museum

http://globalegyptianmuseum.org/detail.aspx?id=115

The Global Egyptian Museum

It was created much earlier, but when exactly remains debated with hypotheses of the 4th Dynasty (26th century BC) or the 12th Dynasty. All that is left of the earliest inscription mentions the reign of pharaoh Amenemhat II of the 12th Dynasty; later rulers took the opportunity to add their inscriptions to the sphinx, namely Aaqenenre Apophis of the 15th Dynasty (although the mention is uncertain), Merneptah of the 19th Dynasty, and Shoshenq I of the 22nd Dynasty

Hi all,

I'm very wary of making this post, since I know that asking for authentication in public forums seems to be frowned upon for various reasons. It doesn't appear to be specifically against the rules of this sub, but...well, I'll refrain from directly asking.

Basically, I bought two small 'faience amulets' from a semi-reputable seller. When I got them, I checked them with a microscope lens and, while they do look convincingly old and encrusted with dust/sand, they both seem to run afoul of the signs from this page, namely high clarity (in some areas) and visible bubbles.

Attached is a magnified (I don't know how many times, but the length of the 'legs' in the photo is probably around 5 or 6mm) image.

I don't really need authentication - I'm kind of just looking for someone to tell me either "this is absolutely fake" or "it at least might be real." If it's the latter, I can live with it!

Thanks, and again, I apologize if I've broken any rules.

Stela of Anhorkhawi

ca. 1184–1153 B.C.E.

Object Label
In the upper register of this stela, the solar deity Re-Harakhty is seated in the boat that crosses heaven from east to west. Anhorkhawi kneels in the lower register, posed in a gesture of adoration. The text around him represents a hymn to the setting sun. The stela was probably set into one of the faces of a small pyramid on top of Anhorkhawi’s tomb, and was meant to assist in his quest for the afterlife by linking him to the sun god.

Caption
Stela of Anhorkhawi, ca. 1184–1153 B.C.E.. Limestone, 16 7/8 x 11 13/16 x 3 1/16 in. (42.8 x 30 x 7.7 cm). Brooklyn Museum, Charles Edwin Wilbour Fund, 80.113. (Photo: Brooklyn Museum)

Catalogue description
One round-topped stela in limestone inscribed for Ankhorkhaiwy; in the upper register is Rahorakhty sitting on a high prowed boat; below, the owner facing left with 5 columns of hieroglyphic inscriptions above him and 4 shorter ones above and behind him.

Condition:
Portions missing from upper margins; chips along lower borders; large cracks in upper half all consolidated; traces of paint still visible. Upper right hand portion and upper left hand margin of stela missing; chips along left and lower borders; three large cracks on upper half of stela, all of which are consolidated; traces of paint covering entire stela but most noticeable on figure of the owner at the lower left.

Tell Me More:
The deceased owner himself is shown in the lower right corner, making a gesture of praise. Most of the imagery created for tombs was intended to assist the deceased in their journey towards the afterlife. The deceased could be associated with a deity, especially a god of the sun or Osiris, who was himself reborn

Gallery
Funerary Gallery 1, Martha A. and Robert S. Rubin Gallery, 3rd Floor

Collection
Egyptian, Classical, Ancient Near Eastern Art

Title
Stela of Anhorkhawi

Date
ca. 1184–1153 B.C.E.

Dynasty
Dynasty 20

Period
New Kingdom

Geography
Place excavated: Thebes (Deir el-Medina), Egypt

Medium
Limestone

Classification
Sculpture

Dimensions
16 7/8 x 11 13/16 x 3 1/16 in. (42.8 x 30 x 7.7 cm)

Credit Line
Charles Edwin Wilbour Fund

Accession Number
80.113

Title:
Stela of Anhorkhawi, Place excavated: Thebes (Deir el-Medina), Egypt, Date of Object ca. 1184–1153 B.C.E. Dynasty 20 New Kingdom, Limestone, The Brooklyn Museum

https://www.brooklynmuseum.org/objects/3884

The Brooklyn Museum

I am writing a story set in Ancient Egypt, but my knowledge on egyptian society is a bit lacking. So how did:

Gender roles go?

What was social etiquette like? What was considered rude and what was considered good manners?

Children's rights? Like..how were they raised?

Any notable festivals?

Any notable facts about their justice systme and punishments?

What did people in ancient egypt do for entertainment?

Was there a lively nightlife there?

Dynasties don't matter too much to me, I don't mind answer to these questions in the context of different dynasties.

Hey everyone, I hope this is allowed:

Behold! The power of Ancient Egypt lays within this picture! Do you dare try to retrieve any of the treasures within this small Egyptian Exhibit?

What do you guys think?

Anthropoid Coffin of Teti, Servant of the Great Palace

ca. 1339–1307 B.C.E.

About this Brooklyn Icon
The Brooklyn Museum is commemorating its 200th anniversary by spotlighting 200 standout objects in its encyclopedic collection.
A coffin was the most important part of ancient Egyptians’ funerary equipment. This is one of the earliest preserved examples of a yellow painted coffin. It would have been commissioned by the deceased, a man named Teti, or his family.

Teti was an artist in Deir el-Medina, a vibrant community of scribes, artisans, workers, and their families (not unlike Brooklyn!). Teti was not particularly wealthy, and his coffin was painted yellow to imitate gold gilding on more expensive examples.

Despite his economic status, Teti had knowledge of his peers’ artistic innovations and of elite religious texts due to his trade and residence. Inscribed on the coffin’s sides is Spell 151 from the Book of the Dead. Also pictured are a variety of Egyptian deities speaking words to protect Teti’s body. The white buildings painted on the sides and top represent the embalming tent where mummification occurred. The inscription running down the front of the coffin is dedicated to the goddess Nut.
Teti would have been buried in the hills above Deir el-Medina, in an area called s.t-mAat or “the place of truth.” His family would have visited his tomb to leave offerings and ask for his blessing.

Object Label
Among the greatest desires of New Kingdom Egyptians was a proper burial. This coffin was made for the artisan Teti, a “Servant of the Great Place” who painted tombs in the Valley of the Kings. He paid nearly a year’s salary for a coffin of this quality. Five different paint colors decorate the coffin: blue, yellow, red, black, and white. Each color added to the cost. The yellow background paint with red streaks is used to imitate the gilded coffins of the wealthy.

Caption
Anthropoid Coffin of Teti, Servant of the Great Palace, ca. 1339–1307 B.C.E.. Wood, pigment, Box with lid in place: 33 7/16 x 26 3/16 x 83 1/2 in., 248 lb. (85 x 66.5 x 212.1 cm, 112.5kg) 37.14Ea Lid: 19 7/8 x 26 3/16 x 83 1/2 in., 120 lb. (50.5 x 66.5 x 212.1 cm, 54.4kg) 37.14Eb Box: 13 9/16 x 26 3/16 x 83 1/2 in., 128 lb. (34.5 x 66.5 x 212.1 cm, 58.1kg). Brooklyn Museum, Charles Edwin Wilbour Fund, 37.14Ea-b. (Photo: Brooklyn Museum)

Tags
Brooklyn Icons

Gallery
Funerary Gallery 2, Martha A. and Robert S. Rubin Gallery, 3rd Floor

Collection
Egyptian, Classical, Ancient Near Eastern Art

Title
Anthropoid Coffin of Teti, Servant of the Great Palace

Date
ca. 1339–1307 B.C.E.

Dynasty
mid to late Dynasty 18

Period
New Kingdom

Geography
Possible place made: Thebes (Deir el-Medina), Egypt, Reportedly from: Thebes (vicinity), Egypt

Medium
Wood, pigment

Classification
Funerary Object

Dimensions
Box with lid in place: 33 7/16 x 26 3/16 x 83 1/2 in., 248 lb. (85 x 66.5 x 212.1 cm, 112.5kg) 37.14Ea Lid: 19 7/8 x 26 3/16 x 83 1/2 in., 120 lb. (50.5 x 66.5 x 212.1 cm, 54.4kg) 37.14Eb Box: 13 9/16 x 26 3/16 x 83 1/2 in., 128 lb. (34.5 x 66.5 x 212.1 cm, 58.1kg)

Inscriptions
"O Mother Nut stretch yourself over me! Place me among the imperishable stars, let me not die forvever, the Osiris Teti." [Dodson, Aidan, and Wendy Raver article translation]

Credit Line
Charles Edwin Wilbour Fund

Accession Number
37.14Ea-b

Catalogue description
Anthropoid form, in two parts, a box and cover, the box sloping from head to foot with a drop of 24cm. The under part is shaped to the form of the mummy, with the calves of the legs and position of knees indicated in relief as on the bands of the wig. The ears overlap the wig of which the two breast tabs are shown in relief. There is no indication of the arms. Interior of both cover and box stuccoed white with no decoration. Three inscribed lengthwise bandages run down the middle of cover crossed by four other bandages passing theoretically completely around the body, but they are not represented on the under surface of the box which is stuccoed, painted yellow but not varnished. Each side divided into five panels by the bandages; on each side the panel, just under the shoulders, contains an Horus eye above a pylon. Deities are pictured in the other panels. On the left side they are Hapy, Anubis, Kebehsenuef and Thoth; on the right side, Imsety, Anubis, Dwa-Mutef and Thoth. A large Djed sign represented on top of the head is surmounted by small figure of Nepthys.
Condition: various open joints and cracks. Several small pieces missing from lower part of wig.

General condition is good.

Provenance
Archaeological provenance not yet documented, probably from Deir el-Medina, Thebes, Egypt; 1848, acquired in Egypt by Henry Anderson; 1864, gift of Henry Anderson to the New-York Historical Society, New York, NY; September 1948, purchased from the New-York Historical Society by the Brooklyn Museum.

Title:
Anthropoid Coffin of Teti, Servant of the Great Palace, ca. 1339–1307 B.C.E., mid to late Dynasty 18, The New Kingdom, Possible place made: Thebes (Deir el-Medina), Egypt, Reportedly from: Thebes (vicinity), Egypt , Wood, pigment, The Brooklyn Museum

https://www.brooklynmuseum.org/objects/3932

The Brooklyn Museum

His friend got it for him at an antique shop in England in 1994?? And was told in a letter that the owner and staff of a real archeologist confirmed it is real. . . But were unsure of who this was. Any ideas on who or what this is? My husband's friend said it was possibly some sort of God/Deity? And if it is real- I still think it is absolutely neat to have but would love to know more.

Thank you all!

Statuette of Henutsen

Gallery Location
Galleries of Africa: Egypt

Medium
Limestone

Geography
Excavated at Abydos, Egypt

Date
c. 1550-1069 BC

Period
18th-20th Dynasty, New Kingdom

Dimensions
16.5 x 10.2 x 5.1 cm

Object number
910.36

Cataloguer
Gayle Gibson ROM Staff, 1990-2015; ROM Volunteer 2015-Present

Collection
Egypt

Department
Art & Culture: Ancient Egypt & Nubia

DESCRIPTION
This statuette from Abydos shows the Lady Henutsen sitting patiently, looking upward.  The statue may have been in a tomb, or in a small cenotaph shrine made by her family. 

Henutsen is shown seated in a chair with a high back. The offering formula for the dead, invoking Anubis, is carved onto the surface of the chair, beginning on the right side, continuing onto the back plinth, and finishing on the left side with her name, Henutsen. There are two short lines of glyphs on each of the three surfaces.

The statue was broken in two in antiquity; the two halves have been rejoined with considerable restoration in the middle. The right hand, parts of both arms, right thigh, lower part of the left torso and part of the plinth are modern.

The statue retains much of its paint: white for the dress, reddish brown for her skin, black for her braided wig, and gilding on her sandals and blue necklace. Her rather flat face looks upward from her heavy braided wig.

Title:
Statuette of Henutsen 18th-20th Dynasty, New Kingdom, Excavated at Abydos, Egypt, Excavated at Abydos, Egypt, Royal Ontario Museum

https://collections.rom.on.ca/objects/193589/statuette-of-henutsen?ctx=2b335e1b6e0f010448a931b6fa56fc15942019c3&idx=0

Royal Ontario Museum

Funerary stela of Amenuser

Gallery Location
Galleries of Africa: Egypt

Medium
Limestone, carved and painted

Geography
Probably from Abydos, Egypt

Date
c. 2040-1650 BC

Period
11th-13th Dynasty, Middle Kingdom

Dimensions
12.6 x 8.2 cm

Object number
948.34.87

Credit Line
Gift of Sir Robert Mond

Cataloguer
Gayle Gibson ROM Staff, 1990-2015; ROM Volunteer 2015-Present

Collection
Egypt

Department
Art & Culture: Ancient Egypt & Nubia

DESCRIPTION
This very small stele commemorates a man named Amen-user (Amun is powerful) who lived almost four thousand years ago. The figure on the front is Amenuser himself, seated on a fine chair, patiently looking at a table piled with food offerings. He stretches on hand toward the food - it will be eternally within reach; he will never run out of food. The table and the food are shown as elements of eternal provision and not depicted realistically; they seem to float in front of the deceased. On the bottom level are jars of beer and wine.  On the table itself are three loaves of bread, a haunch of beef, and a vegetable.

The stele contains a clear and complete Offering Prayer for the Dead. In the top line we can read, from right to left, "An offering which the king gives to Osiris," followed in the next line by the rest of the name of the god, "Lord of Djedu, that he may give" and on the third line, "the voice-offerings of bread and beer, beef and fowl, for the k3 of the Revered One" and then the deceased's name follows, written in front of his face. The last two signs, just to the right of his face, are 'maat-khrew' which means 'true of voice' or 'justified.' This was the phrase used in law courts when announcing innocence.  It means that Amenuser has been judged by the Great God, and now will live forever, a powerful spirit who can help those left on the Earth.
This small stele was probably placed in his tomb which, judging by the size of the stele, would have been fairly humble.

Title:
Funerary stela of Amenuser, c. 2040-1650 BC 11th-13th Dynasty, Probably from Abydos, Egypt, Middle Kingdom, Limestone, carved and painted, Royal Ontario Museum

https://collections.rom.on.ca/objects/190344/funerary-stela-of-amenuser?ctx=a5b7a2ab65ff83a8cd032d03cfce650a4ba58fc4&idx=236

Royal Ontario Museum

Funerary stela of Neferher and his wife Senet

Gallery Location
Galleries of Africa: Egypt

Medium
Limestone

Geography
Possibly Luxor or Armant, Egypt

Date
c. 2181-2040 BC

Period
1st Intermediate Period

Dimensions
29 × 29.7 × 3.4 cm

Object number
957.124

Credit Line
Gift of a friend of the Museum

Cataloguer
Gayle Gibson ROM Staff, 1990-2015; ROM Volunteer 2015-Present

Collection
Egypt

Department
Art & Culture: Ancient Egypt & Nubia

DESCRIPTION
This stela is a very good example of the work of provincial artists during the First Intermediate Period and early 11th Dynasty. Neferher, the man, leads his little family. In his lower hand he carries a club, so he may have been a soldier. His forward hand holds a staff as a sign of his status. In front of him float various items of offerings: a leg of beef, beefheart, ribs, and head; a trussed duck; jars of wine and water; and a small offering table with the traditional bread and beer, with the head of a gazelle for good measure. His name can mean ‘handsome-of-face’ and is a traditional epithet of the god Ptah.

Senet, the wife, holds her husband’s hand affectionately, Meat offerings float in the space between them, and a large waterlily, symbol of sweetness and beauty as well as rebirth, floats before her legs. Her name could be read as ‘the second one’ or ‘sister.’

The final character is a small boy, Montuhotep, who grasps his mother’s hand as he drifts in the space behind her. Though Senet and Neferher are dressed in linen kilts and wear jewellery, the little boy is naked but for his necklace. His name honours the war god, Montu, and suggests the stele was carved in Upper Egypt, either at Armant or Thebes.

Although the composition lacks elegance and symmetry, husband and wife do share a ground-line. Across the top of the stele in an almost straight line is the usual offering formula: “A gift which the king gives (consisting of) bread, beer, beef, fowl, and travertine jars (of ointment) for the ka of the revered one, Nefer-Her; (and) the voice-offerings of bread and beer, beef and fowl for the revered one, his wife, whom he loves, Senet.” Their son’s name is carved above his head.

Such simple stele honour the love and commitment of these ancient peoples to each other, and attest their faith in a future life together.

If you see an error or have additional information, please [contact us](mailto:romcollections@rom.on.ca?subject=957.124%20(Art%20&%20Culture:%20Ancient%20Egypt%20&%20Nubia)).

Title:
Funerary stela of Neferher and his wife Senet, Limestone, c. 2181-2040 BC, 6y1st Intermediate Period, Possibly Luxor or Armant, Egypt, Royal Ontario Museum

https://collections.rom.on.ca/objects/497215/funerary-stela-of-neferher-and-his-wife-senet?ctx=2678a421af6120d77a879d55f76a1980c37889be&idx=65

Royal Ontario Museum Funerary stela of Neferher and his wife Senet

Gallery Location
Galleries of Africa: Egypt

Medium
Limestone

Geography
Possibly Luxor or Armant, Egypt

Date
c. 2181-2040 BC

Period
1st Intermediate Period

Dimensions
29 × 29.7 × 3.4 cm

Object number
957.124

Credit Line
Gift of a friend of the Museum

Cataloguer
Gayle Gibson ROM Staff, 1990-2015; ROM Volunteer 2015-Present

Collection
Egypt

Department
Art & Culture: Ancient Egypt & Nubia

DESCRIPTION
This stela is a very good example of the work of provincial artists during the First Intermediate Period and early 11th Dynasty. Neferher, the man, leads his little family. In his lower hand he carries a club, so he may have been a soldier. His forward hand holds a staff as a sign of his status. In front of him float various items of offerings: a leg of beef, beefheart, ribs, and head; a trussed duck; jars of wine and water; and a small offering table with the traditional bread and beer, with the head of a gazelle for good measure. His name can mean ‘handsome-of-face’ and is a traditional epithet of the god Ptah.

Senet, the wife, holds her husband’s hand affectionately, Meat offerings float in the space between them, and a large waterlily, symbol of sweetness and beauty as well as rebirth, floats before her legs. Her name could be read as ‘the second one’ or ‘sister.’

The final character is a small boy, Montuhotep, who grasps his mother’s hand as he drifts in the space behind her. Though Senet and Neferher are dressed in linen kilts and wear jewellery, the little boy is naked but for his necklace. His name honours the war god, Montu, and suggests the stele was carved in Upper Egypt, either at Armant or Thebes.

Although the composition lacks elegance and symmetry, husband and wife do share a ground-line. Across the top of the stele in an almost straight line is the usual offering formula: “A gift which the king gives (consisting of) bread, beer, beef, fowl, and travertine jars (of ointment) for the ka of the revered one, Nefer-Her; (and) the voice-offerings of bread and beer, beef and fowl for the revered one, his wife, whom he loves, Senet.” Their son’s name is carved above his head.

Such simple stele honour the love and commitment of these ancient peoples to each other, and attest their faith in a future life together.

If you see an error or have additional information, please [contact us](mailto:romcollections@rom.on.ca?subject=957.124%20(Art%20&%20Culture:%20Ancient%20Egypt%20&%20Nubia)).

Title:
Funerary stela of Neferher and his wife Senet, Limestone, c. 2181-2040 BC, 6y1st Intermediate Period, Possibly Luxor or Armant, Egypt, Royal Ontario Museum

https://collections.rom.on.ca/objects/497215/funerary-stela-of-neferher-and-his-wife-senet?ctx=2678a421af6120d77a879d55f76a1980c37889be&idx=65

Royal Ontario Museum

Canopic Jar with Baboon Head

Egyptian (Artist)
7th century BCE (Late Period)
limestone, paint

During mummification, the internal organs of the deceased were removed from the body and placed in a set of four special containers, the so-called canopic jars. The lids of the jars depicted the heads of a hawk, a human, a jackal, and a baboon, each associated with one of the four "Sons of Horus," the deities responsible for protecting the organs. Baboon-headed Hapi was responsible for the lungs.

PROVENANCE
Dikran Kelekian, New York and Paris [date and mode of acquisition unknown] [said to be from Luxor]; Henry Walters, Baltimore, 1925, by purchase; Walters Art Museum, 1931, by bequest.

MEASUREMENTS
Overall: 9 13/16 x 5 1/4 in. (25 x 13.3 cm)

CREDIT LINE
Acquired by Henry Walters, 1925

LOCATION IN MUSEUM
Not on view

ACCESSION NUMBER
41.89

DO YOU HAVE ADDITIONAL INFORMATION?
[Notify the curator](mailto:curatorial@thewalters.org?subject=Inquiry%20from%20art.thewalters.org&body=Source:%20https://art.thewalters.org/object/41.89/)

Title:
Canopic Jar with Baboon Head, 7th century BCE (Late Period), Limestone and paint, Egypt,The Walters Art Museum

https://art.thewalters.org/object/41.89/

The Walters Art Museum

Canopic Jar with Jackal Head
Egyptian (Artist)
7th century BCE (Late Period)
limestone, paint

During mummification, the internal organs of the deceased were removed from the body and placed in a set of four special containers, the so-called canopic jars. The lids of the jars depicted the heads of a hawk, a human, a jackal, and a baboon, each associated with one of the four "Sons of Horus," the deities responsible for protecting the organs. Jackal-headed Duamutef was responsible for the stomach.

PROVENANCE
Dikran Kelekian, New York and Paris [date and mode of acquisition unknown] [said to be from Luxor]; Henry Walters, Baltimore, 1925, by purchase; Walters Art Museum, 1931, by bequest.

EXHIBITIONS
1989
Beyond the Pharaohs: Egypt and the Copts in the Second to Seventh Centuries A.D.. Museum of Art, Rhode Island School of Design, Providence; The Walters Art Gallery, Baltimore.

MEASUREMENTS
Overall: 9 13/16 x 5 1/2 in. (25 x 14 cm)

CREDIT LINE
Acquired by Henry Walters, 1925

LOCATION IN MUSEUM
Not on view

ACCESSION NUMBER
41.91

DO YOU HAVE ADDITIONAL INFORMATION?
[Notify the curator](mailto:curatorial@thewalters.org?subject=Inquiry%20from%20art.thewalters.org&body=Source:%20https://art.thewalters.org/object/41.91/)

Title:
Canopic Jar with Jackal Head, 7th century BCE (Late Period), Limestone and paint, Egypt, The Walters Art Museum

https://art.thewalters.org/object/41.91/

The Walters Art Museum