~ Decor: Isis

Period: Late Period-Ptolemaic Period

Date: 664-30 B.C.

Medium: Cardboard (glued and stuccoed canvas), Painting

Egyptian Basalt Block Statue Egyptian · Late Period, Dynasty 26, ca. 664-525 B.C.

Head from statue of a cat

Egypt, 664–332 B.C.

source

Ring with Cat and Kittens Ramesside/Third Intermediate Period

ca. 1295–664 B.C.

Wedjat Eye Amulets Third Intermediate Period

ca. 1070–664 B.C.

the met

AN EGYPTIAN AMETHYST CAT AMULET. LATE PERIOD TO PTOLEMAIC PERIOD. 664-30 B.C

Looted ancient sarcophagus returned to Egypt from US

An ancient wooden sarcophagus that was featured at the Houston Museum of Natural Sciences was returned to Egypt after U.S. authorities determined it was looted years ago, Egyptian officials said Monday.

The repatriation is part of Egyptian government efforts to stop the trafficking of its stolen antiquities. In 2021, authorities in Cairo succeeded in getting 5,300 stolen artifacts returned to Egypt from across the world.

Mostafa Waziri, the top official at the Supreme Council of Antiquities, said the sarcophagus dates back to the Late Dynastic Period of ancient Egypt, an era that spanned the last of the Pharaonic rulers from 664 B.C. until Alexander the Great's campaign in 332 B.C. Read more.

An Egyptian amethyst cat amulet late period to Ptolemaic period 664-30 B.C.

Egyptian

Anubis

Date: 664-30 B.C.

Bronze or cupreous alloy

Ram's-head Amulet

Egypt, Third Intermediate Period ca. 712–664 B.C.

This amulet was probably made for a necklace worn by one of the Kushite kings. Representations show these pharaohs wearing a ram's-head amulet tied around the neck on a thick cord, the ends of which fall forward over the shoulders. Sometimes a smaller ram's head is attached to each end. Rams were associated with the god Amun, particularly in Nubia, where he was especially revered.

AN EGYPTIAN BLUE CHALCEDONY HORUS-BEHDET AMULET LATE PERIOD TO PTOLEMAIC PERIOD, CIRCA 664-30 B.C.

STOLEN ARTIFACT FOR SALE

Lotiform Chalice Third Intermediate Period Ca. 945–664 B.C. From Middle Egypt, Tuna el-Gebel region; From Egypt.

The fragrant blossom of the blue lotus is a common motif in all forms of Egyptian art. Because it opened its petals to the sun each morning, the flower became a symbol of creation and rebirth. During the Third Intermediate Period, faience chalices derived from the shape of the blossom and other faience delicacies were decorated with relief scenes evoking a constellation of myths having to do with the birth of the king as child of the sun god out of the watery marsh environment, and thus the renewal of the world out of the flooded land anticipated with the beginning of the Inundation at the Egyptian New Year.

Bastet Cat Egypt Late Period, XXVI Dynasty c. 664 - 525 B.C.

ANCIENT EGYPTIAN WOODEN HANDS FROM AN ANTHROPOID SARCOPHAGUS

EGYPT, LATE PERIOD, 664 - 332 B.C.

carved and with traces of gesso and paint, raised on a bespoke mount

Lyon and Turnbull

Box for animal mummy surmounted by a cat, inscribed Late Period–Ptolemaic Period

664–30 B.C.

the met

Bastet - Met Museum Collection

Inventory Number: 34.6.1 Late Period–Ptolemaic Period, 664–30 B.C. Location Information: Location Unlisted

Description:

Bastet, here shown as a cat-headed goddess, was a powerful protective figure who also was known for her fertility. She could be represented with a lion head as well, but as a cat-headed goddess her peaceful traits were emphasized. Her personal adornments and garments are elaborate on statuettes, often more so than other goddesses, and she usually carries numerous attributes. This figure likely once held at least two separately-attached attributes, probably an aegis against her chest and a sistrum in her other hand. Her dress has an elaborate striped pattern with alternating dotted and lined bands. Bastet does not always wear a decorated dress, but it is much more common for her than for other goddesses. The patterning highlights its craftsmanship and quality; also, as some have suggested, the vertical banding may recall the striped fur of a cat.

Great attention to detail and color was lavished on this figure. Inlays are still visible in Bastet’s eyes, and alternating rows of precious metal and black bronze inlay form her broad collar. Also special to this piece is the base; rather than an inscription or blank register, as on most statuettes, this base bears a pattern of repeated lotus blossoms and buds.