North Africa

Displaying 1 - 50 of 178
Catalog # Name Description
1 1965.51.1 Statue Cat. Original greenish bronze, Egyptian, 663-332 B. C. in Walters Art Gallery, Baltimore, Md. Alva Replica C-4. 1965.51.1 (Statue) image
2 1968.10.86 Box Small, inlaid. 1968.10.86 (Box) image
3 1968. Sherd, pottery Part of a mosaic. 1968. (Sherd, pottery) image
4 1968. Sherd, pottery Part of a mosaic. 1968. (Sherd, pottery) image
5 1968. Sherd, pottery Part of a mosaic. 1968. (Sherd, pottery) image
6 1968. Sherd, pottery Part of a mosaic. 1968. (Sherd, pottery) image
7 1968. Sherd, pottery Part of a mosaic. 1968. (Sherd, pottery) image
8 1968. Sherd, pottery Part of a mosaic. 1968. (Sherd, pottery) image
9 1968. Sherd, pottery Part of a mosaic. 1968. (Sherd, pottery) image
10 1968. Sherd, pottery Part of a mosaic. 1968. (Sherd, pottery) image
11 1968. Sherd, pottery Part of a mosaic. 1968. (Sherd, pottery) image
12 1968. Sherd, pottery Part of a mosaic. 1968. (Sherd, pottery) image
13 1968.9.12.16620 Lamp Effigy oil lamp in the shape of a face. Three tubes extend out from the bottom of the face. There is a larger hole in the center of the forehead with a large protrusion directly above the hole. The lips and nose extend out from the face. 1968.9.12.16620 (Lamp) image
14 1968.9.12.2 Fan Black handle with natural color woven straw fan. Fan has embroidered peacock in green, blue, purple, orange, yellow, red and brown. 1968.9.12.2 (Fan) image
15 1968.9.22.0002 Statue Replica of egyptian sphinx with Nubian features. 1968.9.22.0002 (Statue) image
16 1968.9.22.1 Hat Fez, felt. The label on the interior indicates that the hat was manufactured in Cairo. Paper lines the interior and a woven straw supports the hat's outer rim. The black nylon, instead of silk, tassel is attached at the center of the flat top and falls down to the bottom of the hat. The tassel is attached by a thread that goes over it and keeps the tassel spread out and in place. Color: RD,BK
17 1968.9.35.16621.1 Sherd, pottery Handle of pot. 1968.9.35.16621.1 (Sherd, pottery) image
18 1968.9.35.16621.2 Sherd, pottery Roman, cone shaped. 1968.9.35.16621.2 (Sherd, pottery) image
19 1968.9.35.16621.3 Sherd, pottery Part of bowl, with horizontal etchings. 1968.9.35.16621.3 (Sherd, pottery) image
20 1968.9.35.16621.4 Sherd, pottery Part of bowl, with horizontal etching on the top third of the fragment. 1968.9.35.16621.4 (Sherd, pottery) image
21 1968.9.35.16621.5 Sherd, pottery Pottery fragment with wide horizontal etchings. 1968.9.35.16621.5 (Sherd, pottery) image
22 1968.9.35.16621.6 Sherd, pottery Pottery fragment with wave-like designs horizontally along the surface. 1968.9.35.16621.6 (Sherd, pottery) image
23 1968.9.35.16621.7 Sherd, pottery Large pottery fragment. 1968.9.35.16621.7 (Sherd, pottery) image
24 1971.0034 Statue Plaster replica of Queen Nefertiti, Egyptian 18th Dynasty, about 1350 B. C. Black finish with blue decorations on headpiece. 1971.0034 (Statue) image
25 1973.54.6.1 Bracelet Filigree. Hinged in two places; one of the hinges is removable. Hinge is hooked on with chain so it won't be lost when arm is inserted. Has six delicate filigree objects evenly spaced around bracelet. Halfway around on both sides bracelet branches out to a point. 1973.54.6.1 (Bracelet) image
26 1974.23.32 Knife Two parts. a. Knife, large angular shaped metal blade; handle made of wood, string and metal. Very heavy. b. Sheath. Rawhide; angular shape, same as knife. 1974.23.32 (Knife) image
27 1974.23.8 Brick Brick, made by Israelites while working as slaves for the pharaoh of Egypt before the time of Christ. This brick used to be in the British Museum (London). My paternal grandfather, who put a good many miles behind him, had acquired some extraordinary scarab amulets and took them to the museum to see whether they wanted them for the Egyptology section. They offered to either purchase them, or exchange them for something else. My grandfather chose to take this brick. (Noted by Harry Fields in his donation letter in 1974).  1974.23.8 (Brick) image
28 1977.39.1 Figurine Lion, XII Dynasty, 1991-1785 B. C. Depicts a male lion lying on its stomach, with its head erect, and mouth open as if growling. Stamped on the base "M.M.A. c 1976." 1977.39.1 (Figurine) image
29 1977.39.2 Mask Miniature reproduction of Tutankhamun's burial mask (XVIII Dynasty, 1567-1320 B. C.) Depicts the head of the king wearing a full headdress and highly decorative necklace, or collar. The facial features, including the braided beard are well detailed. The reverse of the figure is stamped "c M. M. A. 1976." a. Mask b. Plastic stand. 1977.39.2 (Mask) image
30 1978.26.0001 Figurine, animal Reproduction of Lion XVIII Dynasty, 1567-1320 B. C. Cast in polymer, red tongue, blue nose, claws, tip of tail and accents above eyes, gold eyes with black details. A full mane is carved around the head and neck. Base marked "M.M. A. 1976. Color: ML 1978.26.0001 (Figurine, animal) image
31 1978.26.2 Figurine Twenty-four kt. gold electroplate reproduction of a Standing King, XVIII Dynasty, 1567-1320 B. C. Decorative crown, pleated kilt, ornamented apron. Base marked "M.M.A. 1976" . 1978.26.2 (Figurine) image
32 1978.26.3 Ring Reproduction XVIII Dynasty, 1559-1320 B. C. seal carved in the shape of a beetle and mounted in a ring, flat side engraved with figures; 24 kt. gold electroplate; inside ring marked "M.M.A. 1976". Inside of ring marked, "M.M.A. 1976".
33 1978.26.4A Necklace, scarab Pendant and chain, reproduction of treasure from tomb of Tutankhamen. a. Decorated brass scarab pendant, XVIII Dynasty 1567-1320 B.C., depicting Tutankhamen wearing the Atef crown, a corselet over his shoulders, a pointed kilt with an apron, and an animal's tail at the back. The two gods, Ra-Harakhty and Atum stand on each side of the king. A metal loop is at the top of the scarab. 24 kt. gold electroplate. "MMA/1976" impressed on reverse.
34 1978.26.4B Chain, Scarab Necklace Chain to scarab pendant. Woven 12 kt. gold-filled chain, with end hooks and ring fastener.
35 1978.27 Ring Reproduction ring of a Single cartouche from the XVIII Dynasty, 1567-1320 B. C. Inscribed with the seated figure of Amun, scepter in left hand, and ankh sign of life in his right. Headdress a cap surmounted by two plumes and the sun disk.
36 1978.44.10 Lamp, oil Third to Fourth centuries A.D. Terra cotta lamp mounted on varnished light wood base. Pale pink color over gray. Accompanying printed label: "Egyptian Oil Lamp. This terracotta oil lamp dates from Egypt's 3rd to 4th Centuries A. D. It was used as a source of light in the home and during ceremonies." The wood base is detached from the lamp. 1978.44.10 (Lamp, oil) image
37 1978.44.11 Bangle From Graeco-Roman to Early Islamic periods. Subcircular. Accompanying printed label: "This genuine Egyptian Bangle Bracelet dates from the Graeco-Roman to Early Islamic periods. The proud ancient craftsmen worked skillfully with their crude tools miraculously forming glass bracelet masterpieces. Enduring centuries of entombment, this bangle bracelet has retained the same physical appearance as when first created by the ancient glass craftsmen. Glass bracelets of this type were popularly worn by the ancient Egyptian maidens and children." Color: BK
38 1978.44.3 Figurine This figurine depicts a man of low social and economic standing who once would have served as a boatman in Egyptian society. These boatmen would often push small watercraft through city waterways or along the more shallow portions of the Nile River in order to transport goods or people from one place to another. Most often, this role would have been performed by either a very poor foreign laborer or slave. The arms of this piece were once broken off either by accident or deliberately. This damage occurred so long ago that it has been mended in its authentic culture. The right arm of the figure has been repainted over in the same paint as the rest of the figurine, indicating that the work was done by an indigenous artisan. The figure's left arm shows prominent cockroach damage, which would not appear in any forgeries. This indicates that the piece is indeed culturally authentic and most likely originates from either the late Middle Kingdom or New Kingdom periods of Egyptian history. In a religious sense, figurines of boatmen such as this one were often created as funerary adornments to help the deceased pass into the afterlife. This particular figurine would originally have been placed on a solar barge to deliver the deceased into the care of the Sun deity Ra, who served as the patriarch of the Ancient Egyptian religious pantheon. With this in mind, this piece can be seen as being representative of both the practical and religious values of Ancient Egyptian civilization. The bottom of the figure has been attached to a wooden base by an unknown modern owner with a combination of beeswax and heated glue. The beeswax was likely applied to prevent the glue from seeping in and damaging the authentic wood of the piece, but this is no longer recommended museum procedure for mounting objects. According to David Depuma from the University of Iowa, the prominent thick lips and facial features of the figurine indicate that it depicts a Nubian male. This suggests that the piece may originate from a time when Nubia, then known as Kush, was under the cultural or political control of the Egyptian dynasties. The figure has been inscribed on the back above its feet with the code: "CY97". The figure consists primarily of pink, white, brown, and black paint applied over a wooden construction. 1978.44.3 (Figurine) image
39 1978.44.4 Figurine This piece is known variably as an ushabti, shabti, or shawabti figurine. These figurines were mass-produced during the New Kingdom period of Ancient Egypt in order to serve their role as funerary objects for the deceased. These figurines would often be carved in the likeness of laborers or farmers who would rise to serve the deceased as servants in the afterlife. They are typically inscribed on the back with specific spells or excerpts from the Egyptian Book of the Dead, which was believed to give them spiritual powers. This particular piece is typical of the size of many mass-produced ushabti and does feature hieroglyphic inscriptions on its back. These hieroglyphs do not, however, correspond to any segment of the Book of the Dead, indicating that they may serve as the name or title of the individual whose tomb they once occupied. Pieces such as these are incredibly common in museums due to the extraordinary amount of productions made in the New Kingdom. Because of the commonality of this kind of figurine and the damage done to the exterior, it is possible that this piece could be a forgery. XIIIth to XXVth Dynasties. The figure is mounted on a light-colored wooden base. Green fine glazed faience with irregular-shaped piece chipped from right temple area revealing white color beneath. Face flesh-colored, beard and hands white. Figure appears to be holding crook and flail in hands. Hieroglyphs impressed along entire length of back of figure. 1978.44.4 (Figurine) image
40 1978.44.5 Bead Disc-shaped beads of various colors. Strand strung on stiff nylon (?) thread with modern brass-colored circular spring closure. Accompanying printed label: "Bright Disc Beads. These brilliantly glazed multicolored disc shaped beads are representative of the high degree of jewelry craft from the XVIII Dynasty (1570-1349 B.C.)." According to David Depuma, University of Iowa, this is a modern restringing of Egyptian beads. Some double beads have been added that would not have been on a single strand.
41 1978.44.7 Figurine Of Isis and Horus, late dynastic period (c.1150-700 B.C.). Isis seated, holding Horus on his lap. Black wooden base plus pedestal seat. Isis wears a traditional throne-like headdress. Two rectangular white gummed seals on green felt below base: "A5872, Late Dynastic, L22-20-0" and "712". No printed label. Typed label on 3" x 5" filing card: "Isis and Horus, Egyptian, Late Dynastic Period (c. 1150-700 B. C.). Isis, the wife and sister of Osiris, suckling the infant Horus." 1978.44.7 (Figurine) image
42 1978.44.8 Figurine A small, standing Osiris figurine, mounted on varnished light wood block. There is a white-lettered embossed label on brown platic strip on top of wooden block: "Osiris." Rectangular white gummed seal below base: "OS #2, $35." Accompanying printed label: "Osiris, King of the Gods. 1978.44.8 (Figurine) image
43 1978.44.9 Mask The mask is carved with a painted pink face and white and black eyes. The eyebrows are also painted black. The head has been sawn off above the brow and below the chin, where it would have originally fitted into the fittings for an authentic sarcophagus. The piece is solid wood, with the back of head sawed flat. Four diagonal holes for wooden pegs have been drilled about 1/4" to 3/8" in diameter at points on the back. This mask used to be mounted on sarcophagus in Ancient Egypt as an image of the person who was entombed in the specific site. Each of the diagonal holes in the back functioned to attach the mask to the surface of the sarcophagus. This was used mainly as a funerary piece with the practice originating in Pre-Dynastic Egypt (c. 3100 BCE and earlier) and ending at the close of the Ptolemaic Period (c. 30 BCE). The quality of the mask indicates that it was most likely carved for an individual of modest social and economic standing. More famous sarcophagus "death masks" include the solid gold mask of Pharaoh Tutankhamun, which is representative of the high social and economic status that the rulers of Ancient Egypt once wielded. The wooden construction of this particular mask and the level of paint deterioration indicates that it may have been carved for a lesser priest, craftsman, or bureaucrat within the society of the New Kingdom. The subject was likely an ethnic Lower Egyptian, as outsiders oftentimes were not of high enough status to merit a sarcophagus mask. 1978.44.9 (Mask) image
44 1979.0003 Mask One-third scale replica of original mask, hand cast and finished in polymer, 24 kt. gold electroplate, exact likeness of King Tutankhamun, large decorative headdress adorned with the heads of "Wadjet", the cobra goddess of Upper Egypt, and "Nekhbet", the vulture goddess of lower Egypt; inside marked "M.M.A. 1976". 1979.0003 (Mask) image
45 1979.10.19 Figurine This figurine was made in the image of a bare-chested Nubian woman with long, thick hair and a calf-length skirt. The hands of the woman are resting on the front of her hips. There is no decoration on the top of her head. This piece was likely produced with a mold at low cost for a private household or burial site. The individual portrayed was likely a Nubian laborer or citizen at a time when Nubia was under the control or influence of the Egyptian rulers, possibly during the Ptolemaic and Roman eras. The composition of the piece and the portrayal of the woman's features suggest that this is an authentic piece of Nubian-Egyptian culture. 1979.10.19 (Figurine) image
46 1979.13 Sculpture This piece is typical of limestone reliefs that would have adorned private altars in Ancient Egypt, according to David Depuma of the University of Iowa. This particular piece is interesting because of its peculiarities when compared to others of its kind. It is odd in that it depicts a human as occupying a space very near the top of the image. This was rare in Egyptian art, as the top space of any relief was often reserved for the Sun or other deities to show their religious significance. It is also interesting in that it is an inverted version of a typical limestone relief from the Amarna period of Egyptian history. During this time, images were carved into limestone rather than out of them. These details, as well as the lack of a proper headdress for the individual, may suggest that this piece is a forgery produced to capitalize on popular interest in Amarna period studies. The Amarna Period itself was a time of great religious upheaval for Ancient Egyptian society. The Pharaoh Amenhotep IV came to power and radically changed the polytheistic religious system of civilization into a monotheistic religion based solely around the Sun god Aten. The Pharaoh then took the name Akhenaten and proceeded to enforce bans on the depiction of any other deities besides Aten. The greatest works during this brief period of monotheism were the great temple complexes established in modern-day Amarna by Akhenaten near the end of his reign. These temples and their ruins provide some of the greatest insight into the state of Egyptian religion during the New Kingdom. After Akhenaten's death, Egypt reverted back to its traditional religious roots and deemed the teachings of the Aten cult to be heretical. Egyptian temple type limestone cut block relief; yellow-tan colored stone, black painted designs & accents; relief of human head, wearing decorative headdress, large facial features, nose, eyes, ears & mouth, right-side of block; relief of stone pillar decorative black lines, left-side of block; rimmed edge on top; relief attached to black painted wooden stand, green felt covered base, brass metal pegs; bottom of stand marked "4., 670, A8025 Egypt, Amarna Period"; right & left sides of relief are rough, uneven stone; black wooden stand. Limestone cut block relief; yellow-tan colored stone, black painted designs and accents; relief of human head, wearing decorative headdress, large facial features, nose, eyes, ears and mouth, right side of block; relief of stone pillar, decorative black lines, left side of block; rimmed edge on top; relief attached to black painted wooden stand, green felt covered base, brass metal pegs; bottom of stand marked "4., 70, A8025 Egypt, Amarna Period"; right and left sides of relief are rough, uneven stone; top is carved flat. 1979.13 (Sculpture) image
47 1980.31 Decor Decorative wall hanging made of etched metal representing King Tutankhamen under the sun. Tourist piece. 1980.31 (Decor) image
48 1989.43.3 Figurine This is a figure of Osiris, it is stained green and black; on a wooden base that can be removed. 1989.43.3 (Figurine) image
49 1990.21.0001 Instrument, musical Priest's string instrument and bow. Single string atonal instrument. a. Instrument b. Bow. Sound box is cube-shaped with animal hide wrapped around. Long piece of wood through middle of box with a tuning peg at the opposite end of box. String attached to peg that runs the length of the instrument and is suspended above the box by a v-shaped piece of wood. The bow is an arched piece of wood with string attached at both ends. Color: TN, BR, BK 1990.21.0001 (Instrument, musical) image
50 1990.21.0003 Spear Ceremonial spear, dual tines. Stamped with circular pattern. Midway down the shaft is a 4 posted opening followed by a continuation of the circular pattern down the remainder of the shaft. The bottom part of the shaft is designed for insertion of a staff. 1990.21.0003 (Spear) image