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Egyptian art Fowling in the marshes: fragment of wall painting from the tomb of Nebamun. Thebes, Egypt, 18th Dynasty, around 1350 BCE. Nebamun stands on a small papyrus boat with his wife Hatshepsut behind him and his son below. The hieroglyphs below Nebamun's raised arm describe him as 'taking recreation and seeing what is good in the place of eternity', that is, in the Afterlife.The scene would have been balanced on the left by one of Nebamun spearing fish: the end of the spear where it enters the water is just visible
Code: BM08315
Artist: Egyptian art
Title: Fowling in the marshes: fragment of wall painting from the tomb of Nebamun. Thebes, Egypt, 18th Dynasty, around 1350 BCE. Nebamun stands on a small papyrus boat with his wife Hatshepsut behind him and his son below. The hieroglyphs below Nebamun's raised arm describe him as 'taking recreation and seeing what is good in the place of eternity', that is, in the Afterlife.The scene would have been balanced on the left by one of Nebamun spearing fish: the end of the spear where it enters the water is just visible
Location: British Museum - London
Credits: The Trustees of the British Museum c/o Scala, Florence
Rights and restrictions

Egyptian art Fowling in the marshes: fragment of wall painting from the tomb of Nebamun. Thebes, Egypt, 18th Dynasty, around 1350 BCE. Nebamun stands on a small papyrus boat with his wife Hatshepsut behind him and his son below. The hieroglyphs below Nebamun's raised arm describe him as 'taking recreation and seeing what is good in the place of eternity', that is, in the Afterlife.The scene would have been balanced on the left by one of Nebamun spearing fish: the end of the spear where it enters the water is just visible
Code: BM08315
Artist: Egyptian art
Title: Fowling in the marshes: fragment of wall painting from the tomb of Nebamun. Thebes, Egypt, 18th Dynasty, around 1350 BCE. Nebamun stands on a small papyrus boat with his wife Hatshepsut behind him and his son below. The hieroglyphs below Nebamun's raised arm describe him as 'taking recreation and seeing what is good in the place of eternity', that is, in the Afterlife.The scene would have been balanced on the left by one of Nebamun spearing fish: the end of the spear where it enters the water is just visible
Genre: Fresco
Period/Style: New Kingdom (XVIII-XXV dinasty)
Location: British Museum
Genre: Fresco
Period/Style: New Kingdom (XVIII-XXV dinasty)
Location: British Museum

Images available in Italy, Spain, Portugal
******** The Rosetta Stone
Code: BM00251
Artist: ********
Title: The Rosetta Stone
Location: British Museum - London
Credits: The Trustees of the British Museum c/o Scala, Florence
Rights and restrictions

******** The Rosetta Stone
Code: BM00251
Artist: ********
Title: The Rosetta Stone
Genre: Not available
Period/Style: Not available
Location: British Museum
Genre: Not available
Period/Style: Not available
Location: British Museum

Images available in Italy, Spain, Portugal
******** The Standard of Ur, 'War'. From Ur, southern Iraq, about 2600-2400 BCE.  Found in one of the largest graves in the Royal Cemetery at Ur, lying in the corner of a chamber above the right shoulder of a man. Its original function is not yet understood. Leonard Woolley, the excavator at Ur, imagined that it was carried on a pole as a standard, hence its common name. Another theory suggests that it formed the soundbox of a musical instrument. When found, the two main panels, known as 'War' and 'Peace', had been crushed together by the weight of the soil, and the present restoration is only a best guess as to how it originally appeared. 'War' shows one of the earliest representations of a Sumerian army. Chariots, each pulled by four donkeys, trample enemies; infantry with cloaks carry spears; enemy soldiers are killed with axes - 3/4 view
Code: BM00176
Artist: ********
Title: The Standard of Ur, 'War'. From Ur, southern Iraq, about 2600-2400 BCE. Found in one of the largest graves in the Royal Cemetery at Ur, lying in the corner of a chamber above the right shoulder of a man. Its original function is not yet understood. Leonard Woolley, the excavator at Ur, imagined that it was carried on a pole as a standard, hence its common name. Another theory suggests that it formed the soundbox of a musical instrument. When found, the two main panels, known as 'War' and 'Peace', had been crushed together by the weight of the soil, and the present restoration is only a best guess as to how it originally appeared. 'War' shows one of the earliest representations of a Sumerian army. Chariots, each pulled by four donkeys, trample enemies; infantry with cloaks carry spears; enemy soldiers are killed with axes - 3/4 view
Location: British Museum - London
Credits: The Trustees of the British Museum c/o Scala, Florence
Rights and restrictions

******** The Standard of Ur, 'War'. From Ur, southern Iraq, about 2600-2400 BCE.  Found in one of the largest graves in the Royal Cemetery at Ur, lying in the corner of a chamber above the right shoulder of a man. Its original function is not yet understood. Leonard Woolley, the excavator at Ur, imagined that it was carried on a pole as a standard, hence its common name. Another theory suggests that it formed the soundbox of a musical instrument. When found, the two main panels, known as 'War' and 'Peace', had been crushed together by the weight of the soil, and the present restoration is only a best guess as to how it originally appeared. 'War' shows one of the earliest representations of a Sumerian army. Chariots, each pulled by four donkeys, trample enemies; infantry with cloaks carry spears; enemy soldiers are killed with axes - 3/4 view
Code: BM00176
Artist: ********
Title: The Standard of Ur, 'War'. From Ur, southern Iraq, about 2600-2400 BCE. Found in one of the largest graves in the Royal Cemetery at Ur, lying in the corner of a chamber above the right shoulder of a man. Its original function is not yet understood. Leonard Woolley, the excavator at Ur, imagined that it was carried on a pole as a standard, hence its common name. Another theory suggests that it formed the soundbox of a musical instrument. When found, the two main panels, known as 'War' and 'Peace', had been crushed together by the weight of the soil, and the present restoration is only a best guess as to how it originally appeared. 'War' shows one of the earliest representations of a Sumerian army. Chariots, each pulled by four donkeys, trample enemies; infantry with cloaks carry spears; enemy soldiers are killed with axes - 3/4 view
Genre: Minor arts
Period/Style: Sumero-Akkadian
Location: British Museum
Genre: Minor arts
Period/Style: Sumero-Akkadian
Location: British Museum

Images available in Italy, Spain, Portugal
******** The Standard of Ur, 'Peace' side. From Ur, southern Iraq, about 2600-2400 BCE. It was found in one of the largest graves in the Royal Cemetery at Ur, lying in the corner of a chamber above the right shoulder of a man. Its original function is not yet understood. Maybe it was carried on a pole as a standard, or it formed the soundbox of a musical instrument. The main panels are known as 'War' and 'Peace'. The 'Peace' panel depicts animals, fish and other goods brought in procession to a banquet. Seated figures, wearing woollen fleeces or fringed skirts, drink to the accompaniment of a musician playing a lyre
Code: BM00174
Artist: ********
Title: The Standard of Ur, 'Peace' side. From Ur, southern Iraq, about 2600-2400 BCE. It was found in one of the largest graves in the Royal Cemetery at Ur, lying in the corner of a chamber above the right shoulder of a man. Its original function is not yet understood. Maybe it was carried on a pole as a standard, or it formed the soundbox of a musical instrument. The main panels are known as 'War' and 'Peace'. The 'Peace' panel depicts animals, fish and other goods brought in procession to a banquet. Seated figures, wearing woollen fleeces or fringed skirts, drink to the accompaniment of a musician playing a lyre
Location: British Museum - London
Credits: The Trustees of the British Museum c/o Scala, Florence
Rights and restrictions

******** The Standard of Ur, 'Peace' side. From Ur, southern Iraq, about 2600-2400 BCE. It was found in one of the largest graves in the Royal Cemetery at Ur, lying in the corner of a chamber above the right shoulder of a man. Its original function is not yet understood. Maybe it was carried on a pole as a standard, or it formed the soundbox of a musical instrument. The main panels are known as 'War' and 'Peace'. The 'Peace' panel depicts animals, fish and other goods brought in procession to a banquet. Seated figures, wearing woollen fleeces or fringed skirts, drink to the accompaniment of a musician playing a lyre
Code: BM00174
Artist: ********
Title: The Standard of Ur, 'Peace' side. From Ur, southern Iraq, about 2600-2400 BCE. It was found in one of the largest graves in the Royal Cemetery at Ur, lying in the corner of a chamber above the right shoulder of a man. Its original function is not yet understood. Maybe it was carried on a pole as a standard, or it formed the soundbox of a musical instrument. The main panels are known as 'War' and 'Peace'. The 'Peace' panel depicts animals, fish and other goods brought in procession to a banquet. Seated figures, wearing woollen fleeces or fringed skirts, drink to the accompaniment of a musician playing a lyre
Genre: Minor arts
Period/Style: Sumero-Akkadian
Location: British Museum
Genre: Minor arts
Period/Style: Sumero-Akkadian
Location: British Museum

Images available in Italy, Spain, Portugal
******** The Standard of Ur, 'War'. From Ur, southern Iraq, about 2600-2400 BCE.  Found in one of the largest graves in the Royal Cemetery at Ur, lying in the corner of a chamber above the right shoulder of a man. Its original function is not yet understood. Leonard Woolley, the excavator at Ur, imagined that it was carried on a pole as a standard, hence its common name. Another theory suggests that it formed the soundbox of a musical instrument. When found, the two main panels, known as 'War' and 'Peace', had been crushed together by the weight of the soil, and the present restoration is only a best guess as to how it originally appeared. 'War' shows one of the earliest representations of a Sumerian army. Chariots, each pulled by four donkeys, trample enemies; infantry with cloaks carry spears; enemy soldiers are killed with axes
Code: BM00175
Artist: ********
Title: The Standard of Ur, 'War'. From Ur, southern Iraq, about 2600-2400 BCE. Found in one of the largest graves in the Royal Cemetery at Ur, lying in the corner of a chamber above the right shoulder of a man. Its original function is not yet understood. Leonard Woolley, the excavator at Ur, imagined that it was carried on a pole as a standard, hence its common name. Another theory suggests that it formed the soundbox of a musical instrument. When found, the two main panels, known as 'War' and 'Peace', had been crushed together by the weight of the soil, and the present restoration is only a best guess as to how it originally appeared. 'War' shows one of the earliest representations of a Sumerian army. Chariots, each pulled by four donkeys, trample enemies; infantry with cloaks carry spears; enemy soldiers are killed with axes
Location: British Museum - London
Credits: The Trustees of the British Museum c/o Scala, Florence
Rights and restrictions

******** The Standard of Ur, 'War'. From Ur, southern Iraq, about 2600-2400 BCE.  Found in one of the largest graves in the Royal Cemetery at Ur, lying in the corner of a chamber above the right shoulder of a man. Its original function is not yet understood. Leonard Woolley, the excavator at Ur, imagined that it was carried on a pole as a standard, hence its common name. Another theory suggests that it formed the soundbox of a musical instrument. When found, the two main panels, known as 'War' and 'Peace', had been crushed together by the weight of the soil, and the present restoration is only a best guess as to how it originally appeared. 'War' shows one of the earliest representations of a Sumerian army. Chariots, each pulled by four donkeys, trample enemies; infantry with cloaks carry spears; enemy soldiers are killed with axes
Code: BM00175
Artist: ********
Title: The Standard of Ur, 'War'. From Ur, southern Iraq, about 2600-2400 BCE. Found in one of the largest graves in the Royal Cemetery at Ur, lying in the corner of a chamber above the right shoulder of a man. Its original function is not yet understood. Leonard Woolley, the excavator at Ur, imagined that it was carried on a pole as a standard, hence its common name. Another theory suggests that it formed the soundbox of a musical instrument. When found, the two main panels, known as 'War' and 'Peace', had been crushed together by the weight of the soil, and the present restoration is only a best guess as to how it originally appeared. 'War' shows one of the earliest representations of a Sumerian army. Chariots, each pulled by four donkeys, trample enemies; infantry with cloaks carry spears; enemy soldiers are killed with axes
Genre: Minor arts
Period/Style: Sumero-Akkadian
Location: British Museum
Genre: Minor arts
Period/Style: Sumero-Akkadian
Location: British Museum

Images available in Italy, Spain, Portugal
Egyptian art A garden pool: fragment of wall painting from the tomb of Nebamun. Thebes, Egypt18th Dynasty, around 1350 BCA. The pool is shown full of birds, lotus flowers and tilapia fish, while papyrus grows along the edge. Around the pool are palms, dom-palms, sycomore fig, mandrakes, and other bushes. In one corner is a tree in which the tree-goddess Hathor presents offerings to whoever was at the right of the scene, most likely Nebamun and Hatshepsut, his wife.In tombs of the Ramesside period (about 1295-1069 BC) the tree-goddess is often shown pouring life-giving water for the tomb-owner and his spouse; to judge from tombs of similar date to this one, Hathor can also function as a protector and provider to the deceased. The fish, birds and plants also act as rich symbols of rebirth and new life
Code: BM08314
Artist: Egyptian art
Title: A garden pool: fragment of wall painting from the tomb of Nebamun. Thebes, Egypt18th Dynasty, around 1350 BCA. The pool is shown full of birds, lotus flowers and tilapia fish, while papyrus grows along the edge. Around the pool are palms, dom-palms, sycomore fig, mandrakes, and other bushes. In one corner is a tree in which the tree-goddess Hathor presents offerings to whoever was at the right of the scene, most likely Nebamun and Hatshepsut, his wife.In tombs of the Ramesside period (about 1295-1069 BC) the tree-goddess is often shown pouring life-giving water for the tomb-owner and his spouse; to judge from tombs of similar date to this one, Hathor can also function as a protector and provider to the deceased. The fish, birds and plants also act as rich symbols of rebirth and new life
Location: British Museum - London
Credits: The Trustees of the British Museum c/o Scala, Florence
Rights and restrictions

Egyptian art A garden pool: fragment of wall painting from the tomb of Nebamun. Thebes, Egypt18th Dynasty, around 1350 BCA. The pool is shown full of birds, lotus flowers and tilapia fish, while papyrus grows along the edge. Around the pool are palms, dom-palms, sycomore fig, mandrakes, and other bushes. In one corner is a tree in which the tree-goddess Hathor presents offerings to whoever was at the right of the scene, most likely Nebamun and Hatshepsut, his wife.In tombs of the Ramesside period (about 1295-1069 BC) the tree-goddess is often shown pouring life-giving water for the tomb-owner and his spouse; to judge from tombs of similar date to this one, Hathor can also function as a protector and provider to the deceased. The fish, birds and plants also act as rich symbols of rebirth and new life
Code: BM08314
Artist: Egyptian art
Title: A garden pool: fragment of wall painting from the tomb of Nebamun. Thebes, Egypt18th Dynasty, around 1350 BCA. The pool is shown full of birds, lotus flowers and tilapia fish, while papyrus grows along the edge. Around the pool are palms, dom-palms, sycomore fig, mandrakes, and other bushes. In one corner is a tree in which the tree-goddess Hathor presents offerings to whoever was at the right of the scene, most likely Nebamun and Hatshepsut, his wife.In tombs of the Ramesside period (about 1295-1069 BC) the tree-goddess is often shown pouring life-giving water for the tomb-owner and his spouse; to judge from tombs of similar date to this one, Hathor can also function as a protector and provider to the deceased. The fish, birds and plants also act as rich symbols of rebirth and new life
Genre: Painting
Period/Style: New Kingdom (XVIII-XXV dinasty)
Location: British Museum
Genre: Painting
Period/Style: New Kingdom (XVIII-XXV dinasty)
Location: British Museum

Images available in Italy, Spain, Portugal
******** Bronze helmet
Code: BM03445
Artist: ********
Title: Bronze helmet
Location: British Museum - London
Credits: The Trustees of the British Museum c/o Scala, Florence
Rights and restrictions

******** Bronze helmet
Code: BM03445
Artist: ********
Title: Bronze helmet
Genre: Not available
Period/Style: Not available
Location: British Museum
Genre: Not available
Period/Style: Not available
Location: British Museum

Images available in Italy, Spain, Portugal
******** EID MAR, the Ides of March, on a denarius of Marcus Junius Brutus. Roman. c.43-42BC
Code: BM07383
Artist: ********
Title: EID MAR, the Ides of March, on a denarius of Marcus Junius Brutus. Roman. c.43-42BC
Location: British Museum - London
Credits: The Trustees of the British Museum c/o Scala, Florence
Rights and restrictions

******** EID MAR, the Ides of March, on a denarius of Marcus Junius Brutus. Roman. c.43-42BC
Code: BM07383
Artist: ********
Title: EID MAR, the Ides of March, on a denarius of Marcus Junius Brutus. Roman. c.43-42BC
Genre: Not available
Period/Style: Not available
Location: British Museum
Genre: Not available
Period/Style: Not available
Location: British Museum

Images available in Italy, Spain, Portugal
******** Stone panel from the North Palace of Ashurbanipal (Room H, nos. 7-9)
Code: BM02275
Artist: ********
Title: Stone panel from the North Palace of Ashurbanipal (Room H, nos. 7-9)
Location: British Museum - London
Credits: The Trustees of the British Museum c/o Scala, Florence
Rights and restrictions

******** Stone panel from the North Palace of Ashurbanipal (Room H, nos. 7-9)
Code: BM02275
Artist: ********
Title: Stone panel from the North Palace of Ashurbanipal (Room H, nos. 7-9)
Genre: Not available
Period/Style: Not available
Location: British Museum
Genre: Not available
Period/Style: Not available
Location: British Museum

Images available in Italy, Spain, Portugal
******** Cattle brought for inspection: fragment of wall painting from the tomb of Nebamun, c.1350BC. Tomb of Nebamun. 18th Dynasty. 1350BC (circa)
Code: BM09811
Artist: ********
Title: Cattle brought for inspection: fragment of wall painting from the tomb of Nebamun, c.1350BC. Tomb of Nebamun. 18th Dynasty. 1350BC (circa)
Location: British Museum - London
Credits: The Trustees of the British Museum c/o Scala, Florence
Rights and restrictions

******** Cattle brought for inspection: fragment of wall painting from the tomb of Nebamun, c.1350BC. Tomb of Nebamun. 18th Dynasty. 1350BC (circa)
Code: BM09811
Artist: ********
Title: Cattle brought for inspection: fragment of wall painting from the tomb of Nebamun, c.1350BC. Tomb of Nebamun. 18th Dynasty. 1350BC (circa)
Genre: Not available
Period/Style: Not available
Location: British Museum
Genre: Not available
Period/Style: Not available
Location: British Museum

Images available in Italy, Spain, Portugal
******** Bronze figure of a running girl
Code: BM03594
Artist: ********
Title: Bronze figure of a running girl
Location: British Museum - London
Credits: The Trustees of the British Museum c/o Scala, Florence
Rights and restrictions

******** Bronze figure of a running girl
Code: BM03594
Artist: ********
Title: Bronze figure of a running girl
Genre: Not available
Period/Style: Not available
Location: British Museum
Genre: Not available
Period/Style: Not available
Location: British Museum

Images available in Italy, Spain, Portugal
******** Seal of Adda (seal impression). Mesopotamia, Akkadian, about 2300-2200 BCE. It shows four of the principal Mesopotamian deities. The cuneiform inscription identifies the owner of the seal as Adda, who is described as dubsar, or 'scribe'.  The figure with streams of water and fish flowing from his shoulders is Ea, god of subterranean waters and of wisdom, called Enki by the Sumerians. Behind Ea stands Usimu, his two-faced vizier (chief minister). Ishtar, the goddess of fertility (indicated by the cluster of dates) and war (the weapons rising from her shoulders) stands winged for victory. The sun-god Shamash (known to the Akkadians as Utu), who has rays rising from his shoulder, is busy cutting his way through the mountains in order to rise at dawn. The god armed with a bow and quiver has not been identified with certainty, but may represen
Code: BM02327
Artist: ********
Title: Seal of Adda (seal impression). Mesopotamia, Akkadian, about 2300-2200 BCE. It shows four of the principal Mesopotamian deities. The cuneiform inscription identifies the owner of the seal as Adda, who is described as dubsar, or 'scribe'. The figure with streams of water and fish flowing from his shoulders is Ea, god of subterranean waters and of wisdom, called Enki by the Sumerians. Behind Ea stands Usimu, his two-faced vizier (chief minister). Ishtar, the goddess of fertility (indicated by the cluster of dates) and war (the weapons rising from her shoulders) stands winged for victory. The sun-god Shamash (known to the Akkadians as Utu), who has rays rising from his shoulder, is busy cutting his way through the mountains in order to rise at dawn. The god armed with a bow and quiver has not been identified with certainty, but may represen
Location: British Museum - London
Credits: The Trustees of the British Museum c/o Scala, Florence
Rights and restrictions

******** Seal of Adda (seal impression). Mesopotamia, Akkadian, about 2300-2200 BCE. It shows four of the principal Mesopotamian deities. The cuneiform inscription identifies the owner of the seal as Adda, who is described as dubsar, or 'scribe'.  The figure with streams of water and fish flowing from his shoulders is Ea, god of subterranean waters and of wisdom, called Enki by the Sumerians. Behind Ea stands Usimu, his two-faced vizier (chief minister). Ishtar, the goddess of fertility (indicated by the cluster of dates) and war (the weapons rising from her shoulders) stands winged for victory. The sun-god Shamash (known to the Akkadians as Utu), who has rays rising from his shoulder, is busy cutting his way through the mountains in order to rise at dawn. The god armed with a bow and quiver has not been identified with certainty, but may represen
Code: BM02327
Artist: ********
Title: Seal of Adda (seal impression). Mesopotamia, Akkadian, about 2300-2200 BCE. It shows four of the principal Mesopotamian deities. The cuneiform inscription identifies the owner of the seal as Adda, who is described as dubsar, or 'scribe'. The figure with streams of water and fish flowing from his shoulders is Ea, god of subterranean waters and of wisdom, called Enki by the Sumerians. Behind Ea stands Usimu, his two-faced vizier (chief minister). Ishtar, the goddess of fertility (indicated by the cluster of dates) and war (the weapons rising from her shoulders) stands winged for victory. The sun-god Shamash (known to the Akkadians as Utu), who has rays rising from his shoulder, is busy cutting his way through the mountains in order to rise at dawn. The god armed with a bow and quiver has not been identified with certainty, but may represen
Genre: Minor arts
Period/Style: Sumero-Akkadian
Location: British Museum
Genre: Minor arts
Period/Style: Sumero-Akkadian
Location: British Museum

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ę Photo Scala, Florence: these images, protected by copyright and by watermark, are for reference purpose only. The downloading, reproduction, copy, publication, on-line or off-line distribution of any of the images without Scala's written authorization is forbidden by law.