Egyptian Furniture

Rug Number 30158 Size 4' 6" X 6' 10" Design Zigler Collection Traditional Re-Creations Material Wool Texture Pile Weave Origin Egypt Age New

ITEM: Scarab with Uraeus, Ankh and neb basket (Amun trigram) MATERIAL: Steatite CULTURE: Egyptian PERIOD: New Kingdom, 1550 – 1070 B.C DIMENSIONS: 12 mm x 8 mm CONDITION: Good condit...

Charcoal Black Hand-Carved Massive Oak Wood Console with Multiple Arches. Inspired by the legendary Egyptian architect Hassan Fathy, this console pays homage to his architectural phi...

ITEM: Scarab with pseudo-hieroglyphic, Anra-type MATERIAL: Steatite CULTURE: Egyptian PERIOD: Second Intermediate Period, 1700 – 1550 B.C DIMENSIONS: 10 mm x 15 mm CONDITION: Good co...

A stunning antique Arabic calligraphy round glazed terracotta wall plate having a lovely dark espresso background with warm white calligraphy and touches of mint green and peach. A...

“Three Girls in Studio, Cairo” is a print of a Black and White photgraph by Youssef Nabil from 1993, hand-colored by the artist. Exhibition label at the verso states, that this print...

This Egyptian rug features a reds floral design allowing you to switch up your decor. Add a touch of style to any room while also having the option to change things up to suit your ...

ITEM: Scarab with spiral design MATERIAL: Steatite CULTURE: Egyptian PERIOD: Second Intermediate Period, 1700 – 1550 B.C DIMENSIONS: 12 mm x 9 mm CONDITION: Good condition PROVENANCE...

This wondrous table brings rolling dunes and beautiful sunsets right into your dining room to share with your loved ones. Delicate lines and masterfully chosen veneer colors make this piece a natural beauty. Despite the time and effort spent in designing and making this table, it truly feels as effortless and light. The elegant curvy legs...

ITEM: Scarab with prenomen for Amenhotep II MATERIAL: Steatite CULTURE: Egyptian PERIOD: New Kingdom, XVIIIth Dynasty, 1143 – 1417 B.C DIMENSIONS: 15 mm x 11 mm CONDITION: Good condition PROVENANCE: Ex American egyptologist collection, active in the early part of the 20th century, brought to the US with the family in 1954. Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 4 to 6 weeks. Amenhotep II, the seventh pharaoh of the 18th Dynasty of ancient Egypt, ruled during the New Kingdom period around the 15th century BCE. Renowned for his military prowess, Amenhotep II expanded the Egyptian empire through numerous campaigns, solidifying control over territories in Nubia and the Levant. His expeditions into Syria and Canaan, notably the Battle of Megiddo, showcased his strategic acumen as he secured victories against local rebellions and coalitions, leaving behind inscriptions and reliefs that celebrated his triumphs. Beyond his military endeavors, Amenhotep II also left a mark through his architectural projects, albeit less pronounced compared to other pharaohs. He oversaw the construction of temples and monuments across Egypt, contributing to the cultural landscape of the time. Additionally, Amenhotep II was known for his personal interests in sports and physical activities, with depictions showcasing him engaging in hunting, chariot racing, and archery, reflecting the pursuits of Egyptian nobility and emphasizing the ideal of the warrior-king. While Amenhotep II's reign brought stability and prosperity to Egypt, his legacy is overshadowed by some of his predecessors and successors. Despite his military successes and contributions to Egyptian architecture, he is not as widely celebrated as figures like Thutmose III or Ramses II.

ITEM: Scarab as a commemorative of Ramesses II or prenomen of Shoshenq III MATERIAL: Black steatite CULTURE: Egyptian PERIOD: New Kingdom to Third Intermediate Period, 1279 – 664 B.C...

Carcharodontosaurus (Dinosaur) tooth in a glass display box From Tegana Formation, North Africa. Cretaceous Age 65 million years Carcharodontosaurus is one of the longest and heavi...

This vintage, large, oval beautifully engraved copper chaffing dish has solid brass handles on the sides and the top. There is a large cup for the sterno to sit in and the cabriole l...

Carcharodontosaurus (Dinosaur) tooth in a glass display box From Tegana Formation, North Africa. Cretaceous Age 65 million years Carcharodontosaurus is one of the longest and heavi...

ITEM: Romano-Egyptian cartonnage mummy mask depicting a female head MATERIAL: Linen and Gesso CULTURE: Egyptian, Roman period PERIOD: 1st Century B.C – 1st Century A.D DIMENSIONS: 20...

A sophisticated revival of Zeigler Rug that features a large scale design on an attractive beige field with the main border in ash gray symmetrical medallions. The carpet has an over...

A magnificent revival of Egyptian Sultanabad was made from hand-spun wool and woven meticulously. All the prettiest foliage and sophisticated Qum bote-inspired borders are matched an...

Carcharodontosaurus (Dinosaur) tooth in a glass display box From Tegana Formation, North Africa. Cretaceous Age 65 million years Carcharodontosaurus is one of the longest and heavi...

This is a new OVERSIZE Egyptian rug in Persian Sultanabad design handwoven in Alexandria, Egypt in 1990s. We manufactured these high quality rugs and the design and colors were hand ...

Abou the rug: This hand-knotted rug has 160,000 knots per square meter, a double knot construction, and is made of 100% New Zealand wool for the face yarn and 100% Egyptian cotton for the warp and weft. The pile height is about 8mm and it weighs approximately 5000 grams per square meter. About the design: History is brought to life with this hand-knotted rug designed by Louis Barthélemy...

Abou the rug: This hand-knotted rug has 160,000 knots per square meter, a double knot construction, and is made of 100% New Zealand wool for the face yarn and 100% Egyptian cotton for the warp and weft. The pile height is about 8mm and it weighs approximately 5000 grams per square meter. About the design: History is brought to life with this hand-knotted rug designed by Louis Barthélemy...

Hand-engraved Egyptian serving tray in brass. Imported as a souvenir to Denmark circa 1950-60. It features ornamented handles, hieroglyphs and pharaoh depictions. Measurements: L: 47...

The cup hand-carved from white alabaster with caramel and white veining throughout the composition. The cup stands upon a tapering base, and widens to form the ribbed, cylindrical cup. Alabaster was a material prized by ancient sculptors...

Product Information: Size: 35cm X 122cm (14” X 48”) Insert is not included Material: Egyptian Cotton The back is a fabric with a hidden zipper Handwoven made on a pedal loom Colou...

A pair of monumental limestone sphinxes of Pharaoh Nectanebo I, from the processional avenue of the Serapeum of Memphis, 30th Dynasty, circa 379 - 360 BC. The sphinxes of the Serapeum have captivated travellers since Roman times. However, despite their significance, they are conspicuously absent from the collections of most major museums. Indeed, their existence in private hands is so improbable, and their imitations so numerous, that the present sphinxes were assumed to be modern copies throughout their recent ownership history. Finally recognised and conserved after an extraordinary chance discovery at a garden furniture sale...

Exceptionally Fine Wooden Sarcophagus Mask Third Intermediate Period, 21st Dynasty, circa 1069-945 BC. Acacia wood, rosewood, hippopotamus ivory Masterfully carved from a single piece of fine-grained hardwood, the present mask is characteristic of the most exquisite funerary art made during the 21st Dynasty, and was probably commissioned for a particularly high-ranking individual. The oval face displays a gently smiling mouth with full, outlined lips, furrows at the corners and a bow-shaped philtrum. The straight nose with rounded nostrils, the cheeks full and fleshy and the large, almond shaped eyes with heavy lids and tapering cosmetic lines, set below long, sweeping eyebrows. Social collapse across the Mediterranean in the Late Bronze Age meant that the 21st Dynasty in Egypt was a period of great turmoil. Trade routes were disrupted, governments collapsed, and mass migration occurred. Economic scarcity meant that traditional funerary practices in Egypt were also affected, with a lack of material and financial resources leading to the reuse of preexisting material. As a result, during the 21st Dynasty, 19th and 20th Dynasty coffins changed ownership rapidly and were heavily recycled for new purposes. Tombs were also unmarked allowing them to be shared by many people. These new practices brought forth a shift in the understanding of funerary paraphernalia. No longer important objects owned forever by the deceased, they were now simply seen as short-term transformative devices, whose symbolic and ritualistic meaning could be appropriated for others. However, paradoxically, the art of coffin-making also reached new heights during this period, and many of the richly dec- orated “yellow” coffins, characteristic of the 21st Dynasty, are remarkable works of art in their own right. Indeed, knowing that coffins were being reused throughout Egypt, the Egyptian élite set themself apart by commissioning lavish sarcophagi decorated with the images and texts meant to help guide them to the afterlife, and which would otherwise have adorned the tomb walls. As coffins were the chief funerary element which now identified the dead and allowed them a physical presence in the world of the living, their quality and appearance were of the utmost importance. The traditional coffin ensemble was made of three parts: a wooden mummy cover, which laid directly atop the mummy, an inner coffin, and an outer coffin, both made of a lid and case. Additional decorative elements, such as masks, were carved out separately and later glued or pegged to the lids. After the completion of the painted decoration, the sarcophagus was covered in a varnish to give it its yellow colour. Gilding was sometimes used for the coffins of the high priests’ families, notably on parts representing naked skin, such as the face mask. However, some of the élite tactically avoided gilding altogether as to ensure that their coffin would not be looted. When manufacturing the inner and outer coffins, particular attention was paid to the woodwork. Displaying the skill of the carpenter, this type of funerary art has largely remained unparalleled throughout Egyptian history. The principal wood used to craft the present mask is Acacia nilotica. The evergreen Egyptian acacia was considered sacred and said to be the tree of life, the birthplace of the god Horus, as well as symbolic of Osiris, the god of the dead and resurrection. The modelling of the face in the wood is superb, but the inlays also help mark this mask out as exceptional. Inlaid eyes and eyebrows were extremely rare and reserved to the finest and most expensive coffins. Traditionally, eyes were made of calcite, obsidian, or quartz, and eyebrows of coloured glass paste or bronze. Here, the pupils, eyebrows, and cosmetic lines are inlaid with Dalbergia melanoxylon, a rare type of wood which belongs to the rosewood genus. In antiquity, however, it was known as Ebony of the Pharaohs, from the Egyptian word “hbny”, meaning dark timber, because of its black, lustrous appearance. An extremely dense and hard wood requiring significant skill to work with, ebony was a luxury material highly coveted by the pharaohs themselves, to make furniture, decorative and funerary objects. The wood was imported with great effort from the southern Land of Punt, most likely modern Sudan, Ethiopia, Djibouti, and Eritrea, alongside other luxury goods such as gold and ivory. A magnificent ebony throne, recovered in the tomb of King Tutankhamun, illustrates the incredible aesthetic potential of this material and why it was so highly valued by Egyptian royalty. Only élite members of Egyptian society could have afford- ed Ebony of the Pharaoh inlays for their funerary mask. The sclerae on the present piece were once both inlaid with hippopotamus ivory. Whiter than elephant ivory, this type of ivory is also denser, and more difficult to carve. The use of this luxury material, reputed for its gleaming appearance, enhances the lifelikeness of the eyes. For the Egyptians, hippopotamus ivory was imbued with magic powers. The hippopotamus was indeed both feared and venerated due to its aggressive behaviour. Whilst the male hippopotamus was associated with danger and chaos, the female was benevolent and invoked for protection, especially of the house and of mothers and their children, through the hippopotamus goddess Tawaret. Thus, not only was hippopotamus ivory used as an inlay and to make practical objects, such as combs and clappers, but it was also used to make talismans like apotropaic wands or knives. Made during a time of scarcity where few could afford made-to-order coffins, the present mask could have only belonged to one of the highest-ranking individuals in society. Undoubtedly one of the finest Egyptian coffin...

Standing female wearing a tight fitting white dress and black tripartite wig, serene facial features with large painted eyes. Separately made arms attached with dowel to the shoulder...

Vintage Egyptian Silk runner. Size: 2'7" × 8'2" (78 × 248 cm) A small vintage Egyptian handmade silk rug features a finely-woven dense overall pattern of...

The Bullet lamp is additional design by Hassan Abouseda for HAF. As shown here the shade is hand carved Egyptian Alabaster. It is also available in Turki...

Egyptian Scarab Brass Beetle Figurine on stone stand after the Egyptian Museum antiquities.A unique and beautiful addition to any Egyptian Art Deco collection. This Vintage solid cast brass Egyptian scarab beetle sculpture figurine on a black stone stand could be used as a paperweight or just as a collectible Egyptian Museum decorative piece of history. The beautiful all-over antique patina of the bronze shows its age and history, adding character and depth to the piece. This Egyptian revival bronze scarab is a striking collector's item and a testament to the fascination with Egyptian culture timeless design and historical significance make it a valid addition to any collection. Dimensions: Height: 2 in Width: 3 in Depth: 2.25 in. About the Scarab in ancient Egypt: The scarab beetle held significant cultural, religious, and symbolic importance. The scarab beetle, also known as the dung beetle, played a central role in Egyptian mythology and daily life. Here are some key aspects of the scarab beetle beliefs in ancient Egypt: 1) Symbol of regeneration and rebirth: The scarab beetle was associated with the concept of regeneration and rebirth. This connection was primarily observed in the insect's behavior of rolling balls of dung in which it laid its eggs. Egyptians saw parallels between this process and the sun god Ra's daily journey across the sky, disappearing at night and re-emerging in the morning. 2) Representation of the sun god Ra: The scarab beetle became a symbol for the sun god Ra, who was one of the most important deities in the Egyptian pantheon. The rolling of the dung ball by the beetle was likened to Ra's journey across the sky, and amulets in the shape of scarabs were often worn as protective charms. 3) Protective amulets and jewelry: Scarab beetles were popular motifs in ancient Egyptian jewelry...

Very beautiful mid century Egyptian tapestry probably from Wissa Wassef school, with beautiful native design and beautiful colors, entirely hand woven with wool on cotton foundation....

When a chair represents a hug about to happen. The safety and security of an arm around you. The care chair drives you to envision attachment and protection through its carefully cra...

Applique Gold with light

What happens when two becomes one? “The Oness” objects or people. It is about how coming together creates chair entertains the thought of a merging, between two a new, sometimes sens...

This is a great pair of antique doors wood with decorative iron panels. The pair was imported from Egypt and were produced at a time in the early 1900s when French architecture and s...

The “Kaleido” stools were designed to break boundaries and rigid formalities, inviting us instead - through the distinct use of colors and shapes - into a world of playfulness. Inspi...

At first , the were two separate beings unaware of what they could be, he reached for her said “hello” , gave her a balloon, she accepted with a grin on her face and together they ma...

The “Twin” sideboard embodies the moment we become one with our partner, leaving our individuality aside we merge into the love we give each other, we start to speak alike, act alike...

Through its functionality “US” draws on the instant in which we see each other; and light up. The energy within us flows, we come together finally whole, a moment in which darknes...

Vintage Egyptian Silk Rug Size: 3'7" × 5'0" (109 × 152 cm) A small vintage Egyptian handmade silk rug dating back to 1980. The main field features a meda...

Gorgeous Pair of Vitrine Cabinets, Collection of Larry Flynt, Pair, Pink Background, Cross-Banded Borders and Metal Mounts, Vintage! This pair of vintage display cabinets...

What if our souls were the features on our faces? What if we could speak in feelings rather than words? Him and her side by side joined by senses and bound by thoughts.

White Platter servewear

R’kan edition partnered with Mohamed Abla to create ‘The story of us’, a series of delicately crafted glass tables which speak of togetherness. Each piece recites a different tale of...

R’kan edition partnered with Mohamed Abla to create ‘The story of us’, a series of delicately crafted glass tables which speak of togetherness. Each piece recites a different tale of...

Pretty vintage Egyptian woven tapestry, in style of Wissa Wassef school tapestries with beautiful childish design and nice colours, entirely hand woven with wool on cotton foundation.

The “Inseparable” carpets are just that: inseparable. They complement each other in a clever and understated manner, mirroring the way couples balance one another.

About the rug: This is a hand-knotted rug with 160,000 knots per square meter in a double knot construction. It is made of face yarn that is Egyptian wool with bamboo silk inlays, an...

Abstract yet solid like a nest constructed to hold and protect. Interconnected despite any flaws depicting the compromises that bring partners together like a puzzle that starts chao...

“Kaleido panels” were designed to break boundaries and rigid formalities, inviting us instead -through the distinct use of colors and shapes -into a world of playfulness. Inspired by...

About the rug: This is a hand-knotted rug with 160,000 knots per square meter in a double knot construction. It is made of face yarn that is Egyptian wool with bamboo silk inlays, an...

All sizes are available, please message us to request a custom invoice for your preferred size. Product information Material: Natural Wool The back is a fabric with a hidden zipper...

We are made of molecules each of them responsible for our development, each of them passed on from generation to generation. We are a patchwork of everyone who came before us and hol...

What if our souls were the features on our faces? What if we could speak in feelings rather than words? Him and her side by side joined by senses and bound by thoughts.

About the rug: This 19th century-inspired floral Ziegler is a unique rug due to its handmade nature. It is handwoven by Egyptian artisans using hand-dyed 100% Egyptian wool. The area...

Abstract yet solid like a nest constructed to hold and protect. Interconnected despite any flaws depicting the compromises that bring partners together like a puzzle that starts chao...

About the rug: This is a hand-knotted rug with 160,000 knots per square meter in a double knot construction. It is made of face yarn that is Egyptian wool with bamboo silk inlays, an...

About the rug: This is a hand-knotted rug with 160,000 knots per square meter in a double knot construction. It is made of face yarn that is Egyptian wool with bamboo silk inlays, an...