Goldweight

Goldweight Africa Late 19th century Brass, cast CIRC.84-1971

Natural gold resources generated wealth and influence for the Asante kingdom in Ghana, West Africa. From around 1600 small weights ('mbrammoo') in brass and bronze were used to weigh gold dust, which was used for all commercial transactions. Everyone involved in trade and commerce owned, or had access to, a set of weights and scales. The weights were made using the 'cire perdue' (‘lost wax’) method of casting. Geometric shapes and designs predominated amongst the early weights but more naturalistic representations of court regalia began to appear in the 17th century. By the 18th and 19th centuries the weights reflected a wide range of human and animal figures, often in scenarios designed to represent popular Asante proverbs.

This brass weight is in the form of a cartridge belt. These were modified versions of those worn by Europeans, with extra pouches and slits for holding knives. As powerful traders of gold and slaves, the Asante were able to import the European firearms required to maintain, and extend, their rule.

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Goldweight

Goldweight Africa Late 19th century Cast brass Length 8cm x depth 75cm CIRC.82-1971

Natural gold resources generated wealth and influence for the Asante kingdom in Ghana, West Africa. From around 1600 small weights ('mbrammoo') in brass and bronze were used to weigh gold dust, which was used for all commercial transactions. Everyone involved in trade and commerce owned, or had access to, a set of weights and scales. The weights were made using the 'cire perdue' (‘lost wax’) method of casting. Geometric shapes and designs predominated amongst the early weights but more naturalistic representations of court regalia began to appear in the 17th century. By the 18th and 19th centuries the weights reflected a wide range of human and animal figures, often in scenarios designed to represent popular Asante proverbs.

This brass weight is in the form of an ivory warhorn with six human mandibles (lower jaw bones) attached to the wider end. The horn has been bound with wire or fibre in four places. Warhorns were an important element of Asante court regalia and hornblowers were present at royal processions.

Goldweight

Goldweight Africa Late 19th century Cast brass Length 4.1cm x width 2.6cm x depth 1.5 cm CIRC.236-1971

Natural gold resources generated wealth and influence for the Asante kingdom in Ghana, West Africa. From around 1600 small weights ('mbrammoo') in brass and bronze were used to weigh gold dust, which was used for all commercial transactions. Everyone involved in trade and commerce owned, or had access to, a set of weights and scales. The weights were made using the 'cire perdue' (‘lost wax’) method of casting. Geometric shapes and designs predominated amongst the early weights but more naturalistic representations of court regalia began to appear in the 17th century. By the 18th and 19th centuries the weights reflected a wide range of human and animal figures, often in scenarios designed to represent popular Asante proverbs.

This brass weight is in the form of a plain rectangular block of brass with a very worn raised geometrical pattern on the top.

Goldweight

Goldweight Africa Late 19th century Cast brass Width 5.1cm x height.2cm x depth 0.5 cm CIRC.235-1971

Massive natural gold resources generated wealth and influence for the Asante kingdom in Ghana, West Africa. From around 1600 small weights ('mbrammoo') in brass and bronze were used to weigh gold dust, which was used for all commercial transactions. Everyone involved in trade and commerce owned, or had access to, a set of weights and scales. The weights were made using the 'cire perdue' (‘lost wax’) method of casting. Geometric shapes and designs predominated amongst the early weights but more naturalistic representations of court regalia began to appear in the 17th century. By the 18th and 19th centuries the weights reflected a wide range of human and animal figures, often in scenarios designed to represent popular Asante proverbs.

This brass weight is in the form of a flat, four-pointed star, each point radiating from a hollow square and built up into a shallow, three-step pyramid. Small, flat spirals decorate the end of each point and the outside corners of the central square.

Goldweight

Goldweight Africa Late 19th century Cast brass Length 4.3cm x width 5.6cm x depth 0.25cm CIRC.234-1971

Natural gold resources generated wealth and influence for the Asante kingdom in Ghana, West Africa. From around 1600 small weights ('mbrammoo') in brass and bronze were used to weigh gold dust, which was used for all commercial transactions. Everyone involved in trade and commerce owned, or had access to, a set of weights and scales. The weights were made using the 'cire perdue' (‘lost wax’) method of casting. Geometric shapes and designs predominated amongst the early weights but more naturalistic representations of court regalia began to appear in the 17th century. By the 18th and 19th centuries the weights reflected a wide range of human and animal figures, often in scenarios designed to represent popular Asante proverbs.

This brass weight is in the form of a triangle divided by a line running through it. All four lines appear to be bound with wire or fibre. The three points of the triangle are decorated on the outside with three circular spirals.

Goldweight

Goldweight Africa Late 19th century Cast brass Length 8.6cm x width 2.4cm x depth 0.5cm CIRC.233-1971

Natural gold resources generated wealth and influence for the Asante kingdom in Ghana, West Africa. From around 1600 small weights ('mbrammoo') in brass and bronze were used to weigh gold dust, which was used for all commercial transactions. Everyone involved in trade and commerce owned, or had access to, a set of weights and scales. The weights were made using the 'cire perdue' (‘lost wax’) method of casting. Geometric shapes and designs predominated amongst the early weights but more naturalistic representations of court regalia began to appear in the 17th century. By the 18th and 19th centuries the weights reflected a wide range of human and animal figures, often in scenarios designed to represent popular Asante proverbs.

This brass weight is in the form of a fly whisk. Asante fly whisks were made from the long coarse hairs from an elephant’s tail and could only be used by royalty. This weight has a band of hairs forming an ‘8’-shaped curve, attached to a handle with a loop at the end.

Goldweight

Goldweight Africa Late 19th century Cast brass Length 3.9cm x width 3.7cm x depth 1cm CIRC.232-1971

Natural gold resources generated wealth and influence for the Asante kingdom in Ghana, West Africa. From around 1600 small weights (Mbrammoo) in brass and bronze were used to weigh gold dust, which was used for all commercial transactions. Everyone involved in trade and commerce owned, or had access to, a set of weights and scales. The weights were made using the Cire Perdue (‘lost wax’) method of casting. Geometric shapes and designs predominated amongst the early weights but more naturalistic representations of court regalia began to appear in the 17th century. By the 18th and 19th centuries the weights reflected a wide range of human and animal figures, often in scenarios designed to represent popular Asante proverbs.

This brass weight is in the form of an Asante shield. The shield is square in shape with a convex curve along its centre. On three sides it is decorated with a band of zigzag lines. The centre is pierced and crossed with bands of simulated wickerwork. The shield may relate to the Asante proverb ‘When a shield wears out, the framework still remains’, meaning that the good deeds of people live after them.

Goldweight

Goldweight Africa Late 19th century Cast brass Length 2.8cm x width 2.2cm x depth 1.25cm CIRC.231-1971

Natural gold resources generated wealth and influence for the Asante kingdom in Ghana, West Africa. From around 1600 small weights (mbrammoo) in brass and bronze were used to weigh gold dust, which was used for all commercial transactions. Everyone involved in trade and commerce owned, or had access to, a set of weights and scales. The weights were made using the Cire Perdue (‘lost wax’) method of casting. Geometric shapes and designs predominated amongst the early weights but more naturalistic representations of court regalia began to appear in the 17th century. By the 18th and 19th centuries the weights reflected a wide range of human and animal figures, often in scenarios designed to represent popular Asante proverbs.

This brass weight is in the form of an Asante shield, probably one used in dance. The shield is rectangular and curved along its length. It is divided into four quarters; each quarter is filled with a cross and decorated with a bell at every corner (nine total). The back of the shield has a small curved loop in the centre representing a handle.

Goldweight

Goldweight Africa Late 19th century Cast brass Width 4.9cm x height 3.8cm x depth 0.25 cm CIRC.230-1971

Natural gold resources generated wealth and influence for the Asante kingdom in Ghana, West Africa. From around 1600 small weights ('mbrammoo') in brass and bronze were used to weigh gold dust, which was used for all commercial transactions. Everyone involved in trade and commerce owned, or had access to, a set of weights and scales. The weights were made using the 'Cire Perdue' (‘lost wax’) method of casting. Geometric shapes and designs predominated amongst the early weights but more naturalistic representations of court regalia began to appear in the 17th century. By the 18th and 19th centuries the weights reflected a wide range of human and animal figures, often in scenarios designed to represent popular Asante proverbs.

This brass weight is in the form of a fan, made up of four '8'-shaped twists, decorated with six small flat spirals, set upon a turned handle. Fans made of hide, of palm-leaves, of wood and of feathers were widely used by the Asante. Particularly elaborate forms were associated with royalty.

Goldweight

Goldweight Africa Late 19th century Cast brass Height 3.9cm x width 2.6cm CIRC.708-1969

Natural gold resources generated wealth and influence for the Asante kingdom in Ghana, West Africa. From around 1600 small weights ('mbrammoo') in brass and bronze were used to weigh gold dust, which was used for all commercial transactions. Everyone involved in trade and commerce owned, or had access to, a set of weights and scales. The weights were made using the 'cire perdue' (‘lost wax’) method of casting. Geometric shapes and designs predominated amongst the early weights but more naturalistic representations of court regalia began to appear in the 17th century. By the 18th and 19th centuries the weights reflected a wide range of human and animal figures, often in scenarios designed to represent popular Asante proverbs.

This brass weight features a hornbill bird - a favourite subject of Asante goldsmiths - standing on the top of a seven-stepped pyramid.

Box

Box Africa Late 19th century Cast and sheet bronze Width 4.6cm x height 3.2cm x depth 3.4cm CIRC.707&A-1969

Natural gold resources generated wealth and influence for the Asante kingdom in Ghana, West Africa. From around 1600 small weights ('mbrammoo') in brass and bronze were used to weigh gold dust, which was used for all commercial transactions. Loose gold dust, or small, pre-measured amounts wrapped in cloth and tied with thread for use in small purchases, were kept in small, cast-brass, rectangular boxes, or in oval or circular, sheet-brass ones. This rectangular box combines a sheet bronze base with a cast bronze lid. All types are called 'abampruwa' or 'adakawa'.

The lid of this box has a slightly raised geometric pattern. Mounted in the centre of the lid, facing along the length of the box, is the figure of a bird.

Goldweight

Goldweight Africa Late 19th century Cast brass Length 10cm x width 5.3cm x depth 1.25cm CIRC.706-1969

Natural gold resources generated wealth and influence for the Asante kingdom in Ghana, West Africa. From around 1600 small weights ('mbrammoo') in brass and bronze were used to weigh gold dust, which was used for all commercial transactions. Everyone involved in trade and commerce owned, or had access to, a set of weights and scales. The weights were made using the 'cire perdue' (‘lost wax’) method of casting. Geometric shapes and designs predominated amongst the early weights but more naturalistic representations of court regalia began to appear in the 17th century. By the 18th and 19th centuries the weights reflected a wide range of human and animal figures, often in scenarios designed to represent popular Asante proverbs.

This brass weight is in the form of a double-bladed sword, an important element of Asante court regalia. It is decorated, just below the handle, with a pair of antelope horns.

Goldweight

Goldweight Africa Late 19th century Cast brass length 11.5cm x width 3.25cm x depth 2.25cm CIRC.705-1969

Natural gold resources generated wealth and influence for the Asante kingdom in Ghana, West Africa. From around 1600 small weights ('mbrammoo') in brass and bronze were used to weigh gold dust, which was used for all commercial transactions. Everyone involved in trade and commerce owned, or had access to, a set of weights and scales. The weights were made using the 'cire perdue' (‘lost wax’) method of casting. Geometric shapes and designs predominated amongst the early weights but more naturalistic representations of court regalia began to appear in the 17th century. By the 18th and 19th centuries the weights reflected a wide range of human and animal figures, often in scenarios designed to represent popular Asante proverbs.

This brass weight is in the form of a ceremonial sword, an important element of Asante court regalia. The sword is decorated, just below the handle, with a ram’s head. The front face of the flat blade is covered with a pattern of small spirals.

Drawing on papyrus

Drawing on papyrus Africa 300 to 500 Drawing on papyrus Height 15.7cm x width 13.5cm x height 39.1cm x width 36.3cm T.15-1946

This is a rare survival of a design for a woven tapestry from the Romano-Egyptian period, about 4th to 5th century. The design is drawn on papyrus and shows two nude human figures, one probably represent Orpheus, all in reserve on a circular black field. The main design is surrounded by a white circle with animals in black, the whole included in a black square with four human heads in reserve filling the spandrels. On the left there is a portion of a narrow border with human and plant forms in reserve on black.

Patterns such as this could be re-employed when required for the production of several garments, and could be combined with others, or individual motifs could be interchanged among them. This might explain the almost exact repetition of certain designs, and partly accounts for the recurrence of certain popular motifs over centuries.

Ornament

Ornament Africa Before 1874 Gold repoussé Length 3.25in x width 2.06in 374-1874

Early European visitors to Ghana, West Africa, described dazzling displays of court regalia at the court of the 'Asantehene', the ruler of Asante state. The region’s natural gold resources had made the Asante wealthy and court regalia, which included textiles ('kente'), ivory and gold, reflected high levels of skill and technology.

This rectangular piece of gold probably formed part of court regalia; attached to headwear, a sword or to a state stool. Some damage is visible which may have occurred on its removal.

Following Asante efforts to protect a coastal trading outlet, British forces invaded the state capital Kumasi on 4 February 1874. The Asantehene, Kofi Karikari, fled leaving behind much precious regalia which was captured and later sold at auction at Garrard’s, the London crown jewellers. The Museum’s accession registers record the purchase of this and twelve other items of Asante gold and silverware from Garrard’s on 5 June 1874.

Ornament

Ornament Africa Before 1874 Gold repoussé Length 48.5cm x width 12.5cm 895-1875

Early European visitors to Ghana, West Africa, described dazzling displays of court regalia at the court of the 'Asantehene', the ruler of Asante state. The region’s natural gold resources had made the Asante wealthy and court regalia, which included textiles ('kente'), ivory and gold, reflected high levels of skill and technology.

This band of gold with a raised design of foliage and scrolls probably formed part of court regalia. The small holes punched around its edge suggest that it was attached to something, possibly to a state stool.

A large number of pieces of gold court regalia found their way to Britain after British forces invaded the Asante capital of Kumasi on 4 February 1874. The Asantehene, Kofi Karikari, fled leaving behind much precious regalia which was captured. The Asante were also forced to pay a war indemnity of 50,000 ounces of gold, the first instalment of which was handed over at Adanse Fomena on 13 February 1874.

Pair of anklets

Pair of anklets Africa Before 1874 Silver Length 4.25in 380&A-1874

Early European visitors to Ghana, West Africa, described dazzling displays of court regalia at the court of the 'Asantehene', the ruler of Asante state. The region’s natural gold resources had made the Asante wealthy and court regalia, which included textiles ('kente'), ivory and gold, reflected high levels of skill and technology.

The adornment of the Asantehene and court officials included numerous cast-gold, gold-leafed and silver ornaments: necklaces, amulets, finger rings, bracelets and anklets. This pair of silver anklets with looped pendants are in an unusual horseshoe shape, with a pin that draws out to enable them to be removed.Following Asante efforts to protect a coastal trading outlet, British forces invaded the state capital Kumasi on 4 February 1874.

The Asantehene, Kofi Karikari, fled leaving behind much precious regalia which was captured and later sold at auction at Garrard’s, the London crown jewellers. The Museum’s accession registers record the purchase of the anklets and twelve other items of Asante gold and silverware from Garrard’s on 5 June 1874.

Ornament

Ornament Africa Before 1874 Gold repoussé Diameter 5.68in x height 3.25in 372-1874

Early European visitors to Ghana, West Africa, described dazzling displays of court regalia at the court of the 'Asantehene', the ruler of Asante state. The region’s natural gold resources had made the Asante wealthy and court regalia, which included textiles ('kente'), ivory and gold, reflected high levels of skill and technology.

This gold disc probably formed part of court regalia and the series of small holes punched around its edge suggests that it was attached to something, possibly to headwear or to a state stool.

Following Asante efforts to protect a coastal trading outlet, British forces invaded the state capital Kumasi on 4 February 1874. The Asantehene, Kofi Karikari, fled leaving behind much precious regalia which was captured and later sold at auction at Garrard’s, the London crown jewellers. The Museum’s accession registers record the purchase of this and twelve other items of Asante gold and silverware from Garrard’s on 5 June 1874.

Ornament

Ornament Africa Before 1874 Gold repoussé Length 4.37in x width 0.87in 378-1874

Early European visitors to Ghana, West Africa, described dazzling displays of court regalia at the court of the 'Asantehene', the ruler of Asante state. The region’s natural gold resources had made the Asante wealthy and court regalia, which included textiles ('kente'), ivory and gold, reflected high levels of skill and technology.

This feather-shaped piece of gold probably formed part of court regalia. The small holes punched around its edge suggest that it was attached to something, possibly to headwear.

Following Asante efforts to protect a coastal trading outlet, British forces invaded the state capital Kumasi on 4 February 1874. The Asantehene, Kofi Karikari, fled leaving behind much precious regalia which was captured and later sold at auction at Garrard’s, the London crown jewellers. The Museum’s accession registers record the purchase of this and twelve other items of Asante gold and silverware from Garrard’s on 5 June 1874.

Badge

Badge Africa Before 1874 Cast gold Diameter 3.56in 371-1874

Early European visitors to Ghana, West Africa, described dazzling displays of court regalia at the court of the 'Asantehene', the ruler of Asante state. The region’s natural gold resources had made the Asante wealthy and court regalia, which included textiles ('kente'), ivory and gold, reflected high levels of skill and technology.

This cast gold pectoral disc was worn around the neck by those responsible for the ritual purification of the Asantehene’s soul. The Asante call the discs Akrafokonmu, usually translated as ‘soul discs’ or ‘soul washers’ badges’.

Following Asante efforts to protect a coastal trading outlet, British forces invaded the state capital Kumasi on 4 February 1874. The Asantehene, Kofi Karikari, fled leaving behind much precious regalia which was captured and later sold at auction at Garrard’s, the London crown jewellers. The Museum’s accession registers record the purchase of this and twelve other items of Asante gold and silverware from Garrard’s on 5 June 1874.

Badge

Badge Africa Before 1874 Cast gold Diameter 3.75in 370-1874

Early European visitors to Ghana, West Africa, described dazzling displays of court regalia at the court of the 'Asantehene', the ruler of Asante state. The region’s natural gold resources had made the Asante wealthy and court regalia, which included textiles ('kente'), ivory and gold, reflected high levels of skill and technology.

This cast gold pectoral disc was worn around the neck by those responsible for the ritual purification of the Asantehene’s soul. The Asante call the discs 'Aakrafokonmu', usually translated as ‘soul discs’ or ‘soul washers’ badges’.

Following Asante efforts to protect a coastal trading outlet, British forces invaded the state capital Kumasi on 4 February 1874. The Asantehene, Kofi Karikari, fled leaving behind much precious regalia which was captured and later sold at auction at Garrard’s, the London crown jewellers. The Museum’s accession registers record the purchase of this and twelve other items of Asante gold and silverware from Garrard’s on 5 June 1874.

Badge

Badge Africa Before 1874 Cast gold Height 8.1cm x width 8.7cm x depth 1.6 cm 7-1883

Early European visitors to Ghana, West Africa, described dazzling displays of court regalia at the court of the 'Asantehene', the ruler of Asante state. The region’s natural gold resources had made the Asante wealthy and court regalia, which included textiles ('kente'), ivory and gold, reflected high levels of skill and technology.

This cast gold pectoral disc was threaded onto a stick to which white pineapple fibre cord was tied to the ends so that it could be worn around the neck by those responsible for the ritual purification of the Asantehene’s soul. The Asante call the discs 'akrafokonmu', usually translated as ‘soul discs’ or ‘soul washers’ badges’.

This disc’s design of a quartered circle has been identified as 'nkwantaanan' ('nkwan' ‘paths’ or ‘roads’, 'anan' ‘four’). Crossroads were considered to be places of spiritual and cultural significance.

Ornament

Ornament Africa Before 1874 Cast gold Height 2.62in x width 2.5in M.454-1936

Early European visitors to Ghana, West Africa, described dazzling displays of court regalia at the court of the 'Asantehene', the ruler of Asante state. The region’s natural gold resources had made the Asante wealthy and court regalia, which included textiles ('kente'), ivory and gold, reflected high levels of skill and technology.

This gold ornament in the form of a bird was made using the ‘lost wax’ method of casting. It has a perforated tang so that it can be attached, possibly to a necklace, sword or item of headwear. Asante ornaments often feature representations of birds, animals, humans or manmade items. Many refer to popular Asante proverbs.

Ornament

Ornament Before 1874 Cast gold Length 12in x width 0.87in 377-1874

Early European visitors to Ghana, West Africa, described dazzling displays of court regalia at the court of the 'Asantehene', the ruler of Asante state. The region’s natural gold resources had made the Asante wealthy and court regalia, which included textiles ('Kente'), ivory and gold, reflected high levels of skill and technology.

This strip of gold with rounded ends probably formed part of court regalia. The small holes punched around its edge suggest that it was attached to something, possibly to headwear or to a state stool.

Following Asante efforts to protect a coastal trading outlet, British forces invaded the state capital Kumasi on 4 February 1874. The Asantehene, Kofi Karikari, fled leaving behind much precious regalia which was captured and later sold at auction at Garrard’s, the London crown jewellers. The Museum’s accession registers record the purchase of this and twelve other items of Asante gold and silverware from Garrard’s on 5 June 1874.

Ring

Ring Egypt 332 BC to 30 BC Engraved gold Height 1.9cm x Width 1.9cm x Depth 1cm M.38-1963

Ring

Ring Egypt About 1650 BC Gold set with glazed steatite and bound with wire Height 2.5 cm x Width 2.7 cm x Depth 1.3 cm 407-1871

Window

Window Tunisia 1883 Carved stucco and stained glass Height 95.5cm x Width 61cm x Depth 5cm 1277-1883

Glazed windows of this type, both plain and decorative, are found in traditional buildings in Turkey and the Arab lands. They are usually set at a high level, over unglazed windows that are sometimes covered by shutters and screens.This window was made for display at the International Colonial Exhibition held in Amsterdam in 1883. It consists of small pieces of glass of different colours arranged in patterns within a plaster framework. It provides a late example of Islamic geometric ornament, in which balance among the individual design components is no longer maintained. One element, the starbursts based on a sixteen-pointed star, is visually dominant.

Ring

Ring Ghana probably 19th century Cast gold Diameter 2.2cm x Width 1.27cm x Height 1.2cm M.256-1921

Early European visitors to Ghana, West Africa, described dazzling displays of court regalia at the court of the Asantehene, the ruler of Asante state. The region’s natural gold resources had made the Asante wealthy and court regalia, which included textiles (kente), ivory and gold, reflected high levels of skill and technology.

Gold rings made using the ‘lost wax’ method of casting were worn for personal adornment and to indicate wealth and status. Some were worn by chiefs, others adorned the fingers, thumbs and toes of wealthy men and women. Smaller gold and silver rings were also made to decorate the long bamboo stems of chiefs’ tobacco pipes.

The rough casting of this ring suggests it was worn by an affluent individual rather than a member of the court. Its design of three oval plaques echoes European forms of jewellery, particularly the signet ring. In fact Asante goldsmiths, especially those based in workshops along the coast, saw the jewellery worn by Europeans stationed there and this had a marked influence on the development of Asante jewellery design.

Pipe

Pipe Ghana cast repoussé gold bound with gold wire 368-1874

A ceremonial pipe made up of several sections: a cast plain bowl, six hollow cylindrical pieces of alternating cast and repoussé gold bound with gold wire to form the pipe stem and a repoussé gold mouthpiece.

Sword

Sword Ghana About 1900 Steel with incised decoration and carved wood covered with gold leaf Length 24.7 in M.102-1922

Early European visitors to Ghana, West Africa, described dazzling displays of court regalia at the court of the Asantehene, the ruler of Asante state. The region’s natural gold resources had made the Asante wealthy and court regalia, which included textiles (kente), ivory and gold, reflected high levels of skill and technology.

Swords with wooden pommels decorated with beaten gold have featured in Asante court regalia since the 17th century. Their use appears to be ceremonial; no record exists of their use in warfare, and they lack a cutting edge.

The Museum’s accessions register records that this sword was ‘presented to Colonel Edward Sladen by Yaw Boaki, King of Bekwai, Ashanti, in 1901’. It includes an original handwritten letter from Yaw Boaki to ‘The Officer Commanding’ (dated 2 February 1901) in which he explains that the sword was sent ‘as a present per the bearers’ in exchange for them being given permission to ‘reach coast as to purchase me some foods’.

A series of conflicts between the British, who had replaced other Europeans at the coast, and the Asante led an eventual Asante defeat in 1900 and the region’s annexation as part of Britain's Gold Coast colony. Renamed Ghana, the colony became the first independent post-colonial African state in 1957.

Ornament

Ornament Ghana Before 1874 Gold repoussé Length 3 in x Width 1.12 in 375-1874

Early European visitors to Ghana, West Africa, described dazzling displays of court regalia at the court of the Asantehene, the ruler of Asante state. The region’s natural gold resources had made the Asante wealthy and court regalia, which included textiles (kente), ivory and gold, reflected high levels of skill and technology.

This strip of gold with rounded end probably formed part of court regalia. The small holes punched around its edge suggest that it was attached to something, possibly to headwear, a sword or to a state stool. The strip appears to have been broken off; damage which may have occurred on its removal.

Following Asante efforts to protect a coastal trading outlet, British forces invaded the state capital Kumasi on 4 February 1874. The Asantehene, Kofi Karikari, fled leaving behind much precious regalia which was captured and later sold at auction at Garrard’s, the London crown jewellers. The Museum’s accession registers record the purchase of this and twelve other items of Asante gold and silverware from Garrard’s on 5 June 1874.

Badge

Badge Ghana Before 1874 Cast gold Height 5.12 in x Width 4.75 in 369-1874

Early European visitors to Ghana, West Africa, described dazzling displays of court regalia at the court of the Asantehene, the ruler of Asante state. The region’s natural gold resources had made the Asante wealthy and court regalia, which included textiles (kente), ivory and gold, reflected high levels of skill and technology.

This strip of gold with rounded end probably formed part of court regalia. The small holes punched around its edge suggest that it was attached to something, possibly to headwear, a sword or to a state stool. The strip appears to have been broken off; damage which may have occurred on its removal.

Following Asante efforts to protect a coastal trading outlet, British forces invaded the state capital Kumasi on 4 February 1874. The Asantehene, Kofi Karikari, fled leaving behind much precious regalia which was captured and later sold at auction at Garrard’s, the London crown jewellers. The Museum’s accession registers record the purchase of this and twelve other items of Asante gold and silverware from Garrard’s on 5 June 1874.

Ornament

Ornament Ghana Before 1874 Gold Length 1.25in 376-1874

Early European visitors to Ghana, West Africa, described dazzling displays of court regalia at the court of the Asantehene, the ruler of Asante state. The region’s natural gold resources had made the Asante wealthy and court regalia, which included textiles (kente), ivory and gold, reflected high levels of skill and technology.

This hollow oblong gold bead with a raised design of circles probably formed part of court regalia, strung onto a necklace with an assortment of gold and glass beads. Called asuman, these court necklaces were considered to offer protective qualities to the wearer.

Following Asante efforts to protect a coastal trading outlet, British forces invaded the state capital Kumasi on 4 February 1874. The Asantehene, Kofi Karikari, fled leaving behind much precious regalia which was captured and later sold at auction at Garrard’s, the London crown jewellers. The Museum’s accession registers record the purchase of this and twelve other items of Asante gold and silverware from Garrard’s on 5 June 1874.

Panel

Panel Egypt 300 to 599 Resist dyed linen, plain woven Height 47cm x Width 92.5cm 1103-1900

This resist dyed panel is one of a group of textiles found in Akhmîm and Antinoë and now held by many different museums. A number of those which were found were already old when they were used to pad out mummy wrappings.

The choice and disposition of the subject reflect both the tradition of late Roman art and the newer innovations taking place in the Eastern Roman Empire. The couch on which the Virgin reclines and her comfortable pose are typical of a Roman matron, and the rectangular form of the scene is reminiscent of the side of a sarcophagus, even to the columns at the corners. A few lines to the far right indicate the presence of the ox and the ass above the raised crib, iself not unlike a Roman altar. This presumably contained the Christ Child.

Panel

Panel Egypt 300 to 499 Tapestry woven wool on a linen warp Height 16.5 cm x Width 16.5 cm 651-1886

This square panel, tabula, for the shoulder or skirt of a linen tunic, was applied to the main garment after it was woven, and fragments of the linen remain attached to the piece. Originally another panel, a companion to Hermes, would also have decorated the tunic.

Hermes is traditionally associated with the messenger's wand, which he holds in his left hand, having been appointed herald by his father Zeus. The purse in his right hand is a symbol of commerce, Hermes being the god of gain and riches as well as messenger of the gods and guide to travellers. Figure subjects depicted on textiles at this period were almost invariably drawn from Greek and Roman mythology, but Christian Coptic influences can be detected in the figure, and the large soulful eyes.

Although the representation of heathen deities on garments was officially suppressed at the end of the fourth century, their portrayal diminished only gradually. The eastern Mediterranean and Egypt were still strongly influenced by cultural and iconographic traditions inherited from Hellenistic and Roman times, especially among traditionally educated aristocrats and wealthy citizens who were, largely, the owners of elaborately decorated textiles.

Tunic

Tunic Egypt 500 to 700 Plain woven linen or cotton, resist dyed Height 47 cm (shoulder to hem) x Width 59.5 cm (sleeve wrist to sleeve wrist) 1522-1899

This child's tunic has a resist dyed diaper pattern of rosettes within lozenge shaped compartments, and is of an unusual cut for the time. It was found in a grave at Akhmim by the German archaeologist R. Forrer and dated to the 6-7th centuries. Hitherto, most Egyptian tunics were cut in a T-shape while the tunic shown here is of a more 'tailored' cut. The child's tunic has a neck opening at the side with a slit along the shoulder, the sleeves are slightly curved narrowing towards the wrists but most importantly, gores have been inserted in the side seams of the skirt, allowing the garment a better shape and fit. This reflect the development of tailoring in the 5th and 6th centuries in Egypt which is suggested to be introduced by foreign tunics, predominantly from Syria and Iran.

Textile fragment

Textile fragment Egypt 1575 BC to 1087 BC Plain woven linen and glazed earthenware beads and plaited straw 729-1907

This linen fragment was found at the funerary temple of King Neb-hâpet-Râ Mentu-hetep at Deir-el-bahn during excavations in 1906-1907 . The linen has been interwoven with three double rows of small turquoise blue glazed beads. There are the remains of a fringe composed of the same turquoise beads alternating with squares of plaited straw. The fragment may originally have been part of a shawl but it is difficult to be certain as the ancient Egyptians seem to have favoured beads as decoration on various things.

Window

Window Egypt 19th Century Carved stucco and coloured glass Width 65.5 cm x Depth 5 cm C.157-1932

Glazed windows of this type, both plain and decorative, are found in traditional buildings in Turkey and the Arab lands. They are usually set at a high level, over unglazed windows that are sometimes covered by shutters and screens. Such windows were used in the Middle East for centuries to adorn a variety of buildings, including palaces, mosques, houses, and tombs.

This window consists of small pieces of glass of different colours arranged within a plaster framework to form a pattern of a stylised date palm flanked by two vases of flowers. It was probably made in nineteenth-century Cairo. During this period the increasing influence of European fashions led to a decline in the production of such windows.

Window

Window Egypt 19th Century Carved stucco and coloured glass Width 65.5 cm x Depth 5 cm 311-1870

Glazed windows of this type, both plain and decorative, are found in traditional buildings in Turkey and the Arab lands. They are usually set at a high level, over unglazed windows that are sometimes covered by shutters and screens. Such windows were used in the Middle East for centuries to adorn a variety of buildings, including palaces, mosques, houses, and tombs.

This window consists of small pieces of glass of different colours arranged within a plaster framework to form a depiction of a mosque. It was probably made in nineteenth-century Cairo. During this period the increasing influence of European fashions led to a decline in the production of such windows.

Furnishing fabric

Furnishing fabric Egypt 1570 BC to 1293 BC Plain woven linen and wrapping Length 106 cmx Width 45.5 cm T.251-1921

Thebes, the city of the god Amon, was the capital of Egypt during the period of the Middle and New Kingdoms. With the temples and palaces at Karnak and Luxor, and the necropolises of the Valley of the Kings and the Valley of the Queens, Thebes is a striking testimony to Egyptian civilization at its height. This length of linen, originally in red, blue and brown with a fringe at one end, was discovered by Howard Carter (1874-1939) in a tomb in the Sheikh Abd el-Qurna, Western Thebes dating to the XVIII Dynasty.

Rosette

Rosette Egypt 13th century to 14th century Gold, pierced and embossed Height 2.8 cm x Width 2.9 cm x Depth 0.7 cm 1558-1871

Textile fragment

Textile fragment Egypt 200 to 300 Plain woven linen and tapestry woven wool and linen Length 58 cm x Width 53.5 cm 727-1886

This square fragment from a linen cloth with a panel of tapestry weave in purple wool, with details in yellow wool, and undyed linen thread, was excavated at burying grounds in Akhmim, Upper Egypt, in the late 19th century. Antiquities were unearthed in Egypt and brought to England as early as the 17th century, but the objects seem to have been found more or less accidentally and not as the result of archaeological excavation in a modern sense. The Egypt Exploration Fund was founded in 1881 and the era of systematic and scientific excavation was inaugurated.

Textile fragment

Textile fragment Egypt 300 to 400 Tapestry woven linen and wool, plain woven linen Length 36 cm x Width 25 cm 819-1905

This fragment of linen cloth with a band of tapestry weaving in coloured wools might once have decorated a garment. The design show wavy vine-stems with birds pecking at the grapes on a black ground, elaborately shaded.

Spoon

Spoon Ethiopia 1650 to 1710 Engraved silver Length 7.875in x Width 2in 186-1869

This sacramental spoon comes from the Ethiopian Orthodox church and was used to serve the consecrated wine. It is engraved with the Crucifixion flanked by the Virgin Mary and St John.

The Ethiopian church was part of the Coptic church until 1959, when it became fully independent.

Carpet

Carpet Egypt 1468 to 1496 Woven wool Length 218cm x Width 153cm 150-1908

Qa’itbay was an outstanding example of a cultured Mamluk ruler who was brought to Egypt as a slave. In 1435, when he was in his early twenties, he was purchased by Sultan Barsbay and trained as one of his military attendants. Because of his great ability, Qa’itbay rose to become commander-in-chief, and in 1468 was acclaimed sultan.

The reigns of Mamluk sultans could be very short, but Qa’itbay ruled unchallenged for 28 years, dying in 1496. During this time, he earned a reputation for piety. He founded and restored many religious buildings and supplied them with minbars, lamps and other elegant furnishings.

Keen to stimulate economic activity, Qa’itbay encouraged the revival of skills such as inlaid metalwork and the introduction of new industries, including carpet-weaving. This is one of the very few examples of Mamluk carpet-weaving that have survived from this period. The Egyptian weavers drew on Iranian techniques and designs.

Coffee pot

Coffee pot Egypt 19th century Silver, parcel gilt Height 16 cm x Width 14 cm M.1816-1944

The huge expansion of the Ottoman empire in the 16th century was followed by a period of crisis after 1600. Patronage of the arts did revive after 1650, but on a more modest scale. At first, the revival of 16th-century Ottoman traditions and the adoption of Iranian artistic ideas were the main sources of change. From the 1740s, however, an Ottoman Baroque style developed by applying non-figurative European motifs to Ottoman forms. The Ottoman Baroque flourished until the 1820s, when new types of European ornament were introduced.

Goldsmiths in the Islamic world had long used openwork decoration. But the patterns used in this late example are European in origin. The foot and the top of the lid, for instance, have been formed from a row of acanthus leaves.

Pen case

Pen case Egypt 1750 to 1850 Silver and parcel gilding Length 29 cm x Diameter 5.4 cm x Depth 7 cm 1117-1869

Grand containers for pens and ink were a source of prestige for members of the Ottoman bureaucracy. They wore this type tucked in the sash at their waist. The pot contained a pad of silk floss soaked in ink. The case held reed pens, as well as a knife and small board for cutting nibs.

Writing box

Writing box Egypt 1302 to 1303 Brass inlaid with gold and silver, and niello Height 12.5 cm x Length 34.5 cm x Diameter 17.7 cm 370-1897

Objects made from base materials were often transformed by sophisticated forms of decoration. An important example is brassware decorated with inlaid surface ornament.

For larger motifs, small areas of brass were chiselled out and filled with thin sheets of silver, gold and copper. Details were added by chasing the surface of the softer metals, and contrast was created with a black filler. The results were, for metalwork, an unusually graphic form of decoration, often of great quality.

This penbox is a fine example of inlaid brassware. The lid carries the name of Sultan Dawud of Yemen. His dynasty, the Rasulids, had close connections with the Mamluk sultans of Cairo, who may have sent the box as a gift. Either in Yemen or Egypt, the Rasulids’ badge, a five-petalled rosette, was inlaid over an earlier device, an eagle with outstretched wings.

Censer

Censer Ethiopia 1700 to 1850 Silver, pierced Length 29.5 in x Height 10.5 in 62-1870

A censer is used to burn incense, a mixture of gum arabic (resin from an acacia tree) and fragrance. Incense has been used since ancient times to symbolise the prayers of the faithful rising to God. It is placed on hot charcoal in the bowl of the censer, and as the censer is swung to and fro on chains, the smoke billows outwards and upwards to perfume the whole church.This censer comes from an Ethiopian Orthodox church and its bells symbolise the Elders surrounding God in the Revelation of St John, the final book in the Bible.

The Ethiopian church was part of the Coptic church until 1959, when it became fully independent.

Pair of knotless knitted socks

Pair of knotless knitted socks Egypt 300 to 499 Wool 2085-1900

Probably meant to be worn with sandals

Amulet

Amulet Egypt 6th century BC to 5th century BC Gold Height 2cm x Width 2.9cm x Depth 0.4cm M.33-1963

Pendant

Pendant Egypt 4th century BC to 1st century BC Gold Height 3.2 cm x Width 2.7 cm x Depth 0.4 cm M.34-1963

Pendant

Pendant Egypt 4th century BC to 1st century BC Gold and glass Height 3.8 cm x Width 1.6 cm x Depth 0.8 cm M.31-1963

Pendant

Pendant Egypt 4th century BC to 1st century BC Gold Height 4.2 cm x Width 1.5 cm x Depth 0.3 cm M.32-1963

Earring

Earring Egypt 2nd century BC Gold and a stone bead, probably beryl Height 3 cm x Width 0.7 cm x Depth 2.8 cm M.35-1963

Tunic

Tunic Egypt 3rd to 4th century A.D With tapestry woven decoration 361-1887

Sleeve band

Sleeve band Egypt 8th century Tapestry woven wool and linen and plain woven linen Length 37.7 cm x Width 16.8 cm T.253-1887

These tapestry-woven bands probably originally decorated the sleeve of a tunic. Garments and cloths in a relatively complete state are scarce from early periods. Most examples of this type of textile in museum collections are the decorative parts only, and we have to conjecture what type of garment or cloth the fragments might have belonged to.

These double bands are tapestry-woven in purple wool and undyed linen thread on a linen ground. The design of the bands features running animals including hares and lions in curvilinear compartments. Some of the animals' tongues are made in red wool.

Panel

Panel Egypt 400 to 599 Tapestry woven wool and linen Width 61cm x Height 38cm 349-1887

Tapestry, a very ancient and widespread technique of pattern-weaving, was extensively practised in the Byzantine empire. Many examples have been found in Egyptian graves, where they served as wrappings for the dead.

This fragment, which comes from the burial-grounds at Akhmîm in Upper Egypt, was probably part of a curtain originally intended to hang in a doorway or between columns, perhaps at an altar. The jewelled cross symbolising the Christian faith, with alpha and omega for the Almighty and birds representing the souls of the faithful, was framed in a wreath of flowers and borne aloft by a pair of winged victories or angels, crowned with jewelled diadems.

Bowl

Bowl Egypt 1050 to 1100 Fritware, with overglaze lustre decoration Height 10.4 cm x Diameter 23.5 cm (of mouth) x Diameter 10.2 cm (of foot) C.49-1952

This Egyptian bowl has lustre decoration. It is one of the finest complete examples of the lustre-decorated pottery produced in Egypt under the Fatimid dynasty (ruled 969 -1171). Decorators had transferred the technique of painting in lustre over the glaze from glassware to pottery in Iraq at an earlier date. However, the quality of Egyptian wares of the Fatimid period is often much higher, as in this case.

The decoration on the interior of the bowl shows a hooded man carrying a lamp or censer suspended on chains. The space to his left is filled with a cypress tree. The man has traditionally been identified as a Coptic priest. (The Copts are Egyptian Christians who have lived under Muslim rule since the 7th century AD and still form a substantial minority of Egypt's population.)

The Arabic word Sa'd appears twice, back to front, on the outside of the bowl. It means 'happiness' but is also a common man's name. The same inscription appears on many other Egyptian lustre wares. It is not clear what it signifies. It may be a potter's signature, a workshop mark or the expression of a good wish by the maker for the future owner. Experts have dated this bowl to between 1050 and 1100. This is because a similar item was built into the facade of the church of San Sisto in Pisa, Italy, which was begun in 1070.

Goldweight

Goldweight Ghana Before 1874 Cast brass Height 1.25in, Length 3in 5-1875

Natural gold resources generated wealth and influence for the Asante kingdom in Ghana, West Africa. From around 1600 small weights (mbrammoo) in brass and bronze were used to weigh gold dust, which was used for all commercial transactions.

Everyone involved in trade and commerce owned, or had access to, a set of weights and scales. The weights were made using the cire perdue (‘lost wax’) method of casting. Geometric shapes and designs predominated amongst the early weights but more naturalistic representations of court regalia began to appear in the 17th century. By the 18th and 19th centuries the weights reflected a wide range of human and animal figures, often in scenarios designed to represent popular Asante proverbs.

This brass weight is in the form of an antelope with extended horns. Antelopes were important animals to the Asante. Traditionally, they belonged to dead chiefs (amanhene).

Vase

Vase Egypt 11th to 12th century Buff earthenware, painted in lustre on white glaze C.48-1952

A rare complete jar with a very rounded shape and tall neck with an everted rim. The low foot-ring is unglazed. The decoration is in yellowish-lustre over a tin-opacified glaze. The band at the bottom consists of interlaced ribbons in reserve, above which a larger middle band consists of large heart-shaped palmettes painted in lustre against the white ground. A band all around the shoulder is filled with five fishes with details of parts of their bodies scratched through the lustre. The neck is decorated with a band of triangles and dots.

Sherd

Sherd Egypt 11th to 12th century Fritware, white slip and transparent glaze, painted in a silver oxide lustre pigment Length 8 cm x Width 3.5 cm 1691-1897

This sherd probably formed part of the body of a bowl. It is an example of the lustre-painted pottery produced in Egypt under the Fatimid dynasty, who ruled there from 969 to 1171. The potter has covered the earthenware with a white slip and a transparent glaze. The painted decoration in golden-brown lustre is on top of this glaze. One unit of what was probably a repeat pattern survives on the inside. It consists of a circle filled with lustre spirals superimposed on a plain lozenge. This is superimposed in turn on a square filled with the remains of a scrollwork design. The first letter of the Arabic word Sa'd is inscribed on the outside in the Kufic style. The word means 'happiness' but is also a common man's name. The same inscription appears on many other Egyptian lustre wares. However, it is not clear what it signifies. It may be a potter's signature, a workshop mark or the expression of a good wish by the potter for the future owner.

Sherd

Sherd Egypt 11th century Fritware, with tin-opacified glaze and decoration painted in a silver oxide lustre pigment Height 6 cm x Height 1.3 cm (of foot) x Diameter 15 cm C.1614-1921

This sherd formed the base of an open dish or bowl. It is an example of the lustre-painted pottery produced in Egypt under the Fatimid dynasty, who ruled there from 969 to 1171. The potter has covered the fritware body with an opaque glaze.

There are two trails of cobalt-blue pigment decoration under the glaze and a design in light-brown lustre over the glaze. The lustre pattern on the interior includes six loops of a large scrollwork pattern that radiates from the centre. Between these loops are six bands of a pseudo-inscription. These are bands that give the impression of being an inscription in the floriated Kufic style of the Arabic script. They are in fact an illegible repeat pattern.

The potter has inscribed a fragment of the Arabic word Sa'd on the underside of the bowl. This word means 'happiness' but is also a common man's name. The same inscription appears on many other Egyptian lustre wares. However, it is not clear what it signifies. It could be a potter's signature, a workshop mark or the expression of a good wish by the potter for the future owner. The foot is unglazed.

Sherd

Sherd Egypt 11th century Fritware, with tin-opacified glaze and decoration painted in a silver oxide lustre pigment Length 6 cm C.1827-1921

This sherd formed part of the rim of a bowl. It is one of a group of sherds found at Fustat, also known as Old Cairo. It is an example of the lustre-painted pottery produced in Egypt under the Fatimid dynasty, who ruled there from 969 to 1171. The potter has covered the fritware body with white slip, a transparent glaze and, over the glaze, a design in golden-brown lustre. The decoration on the very rim of the bowl consists of a band of reciprocating triangles separated by a zigzag line. Below this is a band of lustre with spirals scratched through it. Below this is a band that looks like an inscription but is in fact illegible. Finally, you can see the remains of a second lustre band with scratched decoration.

The potter has inscribed the Arabic word Sa'd on the outside of the bowl in the Kufic style. The word means 'happiness' but is also a common man's name. The same inscription appears on many other Egyptian lustre wares. However, it is not clear what it signifies. It could be a potter's signature, a workshop mark or the expression of a good wish by the potter for the future owner.

Sherd

Sherd Egypt 11th century to 12th Century Fritware, with tin-opacified glaze and decoration painted in a silver oxide lustre pigment Length 6 cm C.1792-1921

This sherd formed part of the rim of a bowl. It is one of a group of sherds found at Fustat, also known as Old Cairo. It is an example of the lustre-painted pottery produced in Egypt under the Fatimid dynasty, who ruled there from 969 to 1171. The potter has covered the fritware body with white slip, a transparent glaze and, over the glaze, a design in golden-brown lustre. The decoration on the very rim of the bowl consists of a band of reciprocating triangles separated by a zigzag line. Below this is a band of lustre with spirals scratched through it. Below this is a band that looks like an inscription but is in fact illegible. Finally, you can see the remains of a second lustre band with scratched decoration.

The potter has inscribed the Arabic word Sa'd on the outside of the bowl in the Kufic style. The word means 'happiness' but is also a common man's name. The same inscription appears on many other Egyptian lustre wares. However, it is not clear what it signifies. It could be a potter's signature, a workshop mark or the expression of a good wish by the potter for the future owner.

Vase

Vase Egypt 11th century to 12th Century Techniques, Glazed earthenware Dimensions, Height 13.5 cm x Diameter 10.7 cm (of mouth) x Diameter 9.9 cm (of foot) 1777-1897

A potter made this vessel in Egypt in the 11th or 12th century. It probably dates from the Fatimid dynasty (ruled 969-1171). The potter has incised a pattern of scrollwork into the body and covered it with a green glaze. The uneven rim suggests that the upper part of the vessel has been broken off. We do not know what is was used for, despite the presence of four suspension loops around the shoulder. It may have been a lamp or a censer (a container in which incense is burnt).

Bowl

Bowl Egypt 11th century to 12th Century Glazed earthenware Height 13 cm, Height 3.6 cm (of foot) x Diameter 16.9 cm (of mouth) x Diameter 8.5 cm (of foot) C.1052-1924

A potter made this vessel in Egypt in the 11th or 12th century. It probably dates from the Fatimid dynasty (ruled 969-1171). The potter has incised a pattern of scrollwork into the body and covered it with a green glaze. The uneven rim suggests that the upper part of the vessel has been broken off. We do not know what is was used for, despite the presence of four suspension loops around the shoulder. It may have been a lamp or a censer (a container in which incense is burnt).

Water jar

Water jar Egypt 11th century to 12th Century Unglazed earthenware Height 19.2 cm x Diameter 10 cm (mouth) x Diameter 9.1 cm (filter) C.899-1921

This unglazed earthenware pot is a water jar. The potter has decorated the outside of the bowl-like neck with a simple pattern of incised lines and stippling. On the inside, there is a clay filter where the neck joins the wide, tapering body.This filter has a pierced rosette design which gives the effect of lace work. We think that jars of this type were used as water bottles and were fitted with filters to keep insects out. Similar jars have been recovered at Fustat (Old Cairo), and scholars have classified them according to the design of their filters. They believe the rosette design seen here dates from the Fatimid period (969-1171).

Bottle

Bottle Egypt 975 to 1050 Rock crystal Height 14.8 cm (with base) x Diameter 3.1 cm (reconstructed base) A.45-1928

High-quality rock crystal vessels were made for the rulers of Cairo during the Fatimid period (969–1171). This is confirmed by inscriptions on several of them, which name specific rulers. Great skill was required to hollow out the raw rock crystal without breaking it and to carve the delicate, often very shallow, decoration. These vessels were therefore probably prestigious items that the ruler would have displayed in his own treasury of prized possessions.Small rock crystals like this bottle could not have held much, but their contents must have been very precious indeed to deserve such containers. They were most probably used for storing perfumes, which were among the most luxurious items of any Islamic court. They often survive in cathedral treasuries, where they were rededicated after being captured from their original Islamic settings.

Jug

Jug Egypt 1080 to 1100 Rock crystal Height 4.6 cm x Width 3.7 cm (maximum) x Diameter 1.7 cm (base) x Circumference 12.5 cm (at the belly) A.53-1926

Rock crystal is a transparent, colourless quartz. The art of carving rock crystal was known in Roman times and in Egypt under the Fatimid dynasty (909-1171). In Europe it was practised mainly in the north, but also in Italy. The Miseroni family, working in Milan then Prague from the 1550s, supplied the courts of Europe with rock crystal.

Textile fragment

Textile fragment Egypt 13th century Plain woven silk, with wool twill and stitching Length 16.4 cm, Width 6.6 cm T.120-1964

This rectangular piece of plain woven green-blue silk is joined to a strip of plain woven yellow-green silk which in its turn is attached to a brown wool twill. It is unclear what this textile would have been used for.

Weight

Weight Egypt 996 to 1021 Stamped green glass Diameter 2.8cm, Diameter 1.6cm (of die), Weight 5.72g 360-2-1900

People used coin weights such as this in Egypt under the Fatimid dynasty (969-1171). This example weighs 5.72 grammes and we think it was used to balance the weight of two silver dirhams. It was produced in the reign of the caliph al-Hakim (996-1021), whose regnal name appears in its full form on the obverse. (This is the side of the coin that carries the main design.) The reverse is inscribed with the Shahadah (the brief Muslim creed) in the form used by the Shi'ite Fatimids.

Bucket

Bucket Egypt (probably) 11th century Copper alloy, hammered and incised Height 15.8 cm x Diameter 17.3 cm M.25-1923

This bucket is one of a small group of similar items. Scholars think they probably came from Egypt, where several of them were acquired, and have dated them to the 10th and 11th centuries. The buckets all have the same cylindrical shape and the same type of attachment for the handle (by swivel pins). They also have similar incised decoration, which includes a band containing an inscription. In this case the wording is not legible, but on another of the buckets it contains good wishes for those who use it. The handle has a hole in the centre, to which a suspension ring was once attached. The bucket may therefore have hung over a well.

Panel

Panel Egypt 11th century Carved wood Dimensions, Length 46.5 cm x Width 21 cm 785F-1896

This rectangular wooden panel is part of a set of nine. We think it was made in Egypt during the Fatimid period (AD 969-1171).This set once formed part of a door or other fittings of a palatial building.

The design of boldly carved scrollwork set with stylised palm and vine leaves fills most of the panel. At its centre is a pair of birds, arranged symmetrically. Behind the birds is a compartment with a ground of leafy vines. It has shallower carving and the design makes it appear as though we are looking at it through the scrollwork.

Panel

Panel Egypt 11th century Carved wood Dimensions, Length 46.5 cm x Width 21 cm 785G-1896

This rectangular wooden panel is part of a set of nine. We think it was made in Egypt during the Fatimid period (AD 969-1171).This set once formed part of a door or other fittings of a palatial building.

The design of boldly carved scrollwork set with stylised palm and vine leaves fills most of the panel. At its centre is a pair of birds, arranged symmetrically. Behind the birds is a compartment with a ground of leafy vines. It has shallower carving and the design makes it appear as though we are looking at it through the scrollwork.

Plaque

Plaque Egypt 11th century Elephant ivory, carved in relief Height 8 cm x Width 9.5 cm A.53-1921

This small hexagonal (six-sided) plaque has two levels of carved decoration. The shallow carved intertwined leafy stems form a background for the more prominently carved animal decoration. These show a bird in flight above a pair of hares and may represent a bird of prey swooping on its quarry. The plaque probably formed part of a panel in a door, a casket or a similar item of woodwork. We think it was made in Egypt during the Fatimid period (969-1171).

Panel

Panel Egypt 300 to 499 Tapestry woven in wool and linen Length 20.4 cm, Width 19.6 cm 2147-1900

This tapestry woven square panel is showing a border of flowers and in the middle is a basket of fruit in coloured wools on a purple ground. Baskets of flowers and fruit are a frequent subject of representation in this period, just as they are to be seen on the mosaics and carvings of the Graeco-Roman world.

Hanging

Hanging Egypt 300 to 700 Linen, with tapestry woven wool and linen decoration 2146-1900

Photograph, 'Children's Bedroom Wall, Outland'

Photograph, 'Children's Bedroom Wall, Outland' South Africa 2000 Gelatin-silver prin Height 63.5 cm (approximately) x Width 63.5 cm (approximately) E.2072-2004

This photograph comes from a series by South African photographer Roger Ballen called ‘Outland’. In the late 1980s Ballen started documenting isolated white rural communities in South Africa who were in the process of losing the privileges of apartheid that had provided their livelihoods and sustained their identity. In the late 1990s and early 2000s, the work shifted and Ballen’s subjects started to act out tableaux for the camera, creating images that are intriguing and disturbing in equal measure. These photographs, which appear to aestheticise scenes of poverty, disrupt a documentary reading of the image and provoke the viewer to consider the role of the sitter: exploited victim or consensual participant?

Koummya, Dagger and sheath

Koummya, Dagger and sheath Morocco 19th century to 20th century (Baldric) Tooled leather, embroidered with gold and silver wire, (Sheath) Copper, gilt, pierced and engraved, over a wooden core, (Dagger) Forged steel, incised, gilt copper and wood Length 23 cm x (Baldric) Width 17 cm(Sheath) Length 26.5 cm x (Dagger) Length 39.5 cm M.9B-1971

Koummya, Dagger and sheath

Koummya, Dagger and sheath Morocco 19th century to 20th century Sheath) Engraved brass with silvered scrolling floral panels and cord, (Dagger) Steel with an engraved brass hilt decorated with polychrome enamel (Dagger) Length 39.5 cm, (Sheath) Length 27 cm M.8A-1971

Sampler

Sampler Morocco 19th century Cotton, embroidered with silk in double running, back, cross, long-armed cross and satin stitch Length 103 cm x Width 73.5 cm T.35-1933

In their earliest form, samplers were put together by embroiderers as personal reference works. They showed trials of patterns and stitches that had been copied from other embroideries. They were records of particular effects achieved that could be re-created again. In England and elsewhere in Europe in the 17th century samplers developed into a method of instruction and practice for girls learning needlework. Moroccan samplers of the 19th century like this one recall the early function of European samplers as collections of designs and stitch effects. Their randomly placed patterns were suitable for the decoration of household linen and clothing.

Sampler

Sampler Morocco 19th century Cotton, embroidered with silk and cotton in double running and satin stitch Length 76.8 cm x Width 71.8 cm T.150-1929

In their earliest form, samplers were put together by embroiderers as personal reference works. They showed trials of patterns and stitches that had been copied from other embroideries. They were records of particular effects achieved that could be re-created again. In England and elsewhere in Europe in the 17th century samplers developed into a method of instruction and practice for girls learning needlework. Moroccan samplers of the 19th century like this one recall the early function of European samplers as collections of designs and stitch effects. Their randomly placed patterns were suitable for the decoration of household linen and clothing.

Sampler

Sampler Sierra Leone 15/10/1840 (completed) Techniques, Wool, embroidered with silk in cross stitch Length 33.7 cm, Width 24 cm T.54-1934

The earliest samplers were reference works for embroiderers. They showed 'samples' of patterns and stitches and recorded how to achieve particular effects. In Europe in the 17th century samplers provided instruction and practice for girls learning needlework. Making a sampler was part of a girl's school education throughout the 18th century and into the early 1800s. By this time embroidered samplers were very often a simple and undemanding exercise. This example from 1840 was made in the West African country of Sierra Leone, then a British colony. It shows how combined lessons in needlework and moral instruction still played a part in British education overseas.

Flask

Flask Egypt 975 to 1050 Rock crystal, carved Length 11 cm x Width 8.5 cm 1163-1864

This fine rock crystal piece must have been a container of some sort. Its complex shape can be seen as the body of a fish. Two convex faces are joined at an angle along the sides, which taper gently towards the base, or tail. However, the fish shape does not continue at the top, where the angled sides broaden out into shoulders. At the centre these form a collar around the mouth of the hollowed out interior. Another hole was later drilled into the bottom to take a mount.

The outside has elegant decoration carved in relief to stand proud of the surface. At the edges of each face there are pairs of hatched bands. Two pairs of complex volutes spring from the bands to fill much of the central field. Four palmettes hang downwards from the collar. Two lie on the shoulders and two extend into the top of each face. The remaining space is filled with abstract decoration based on two lozenges with curved sides. We know that high-quality rock crystal vessels with decoration of this type were made for the rulers of Egypt during the Fatimid period (969-1171). This piece was made between 1000 and 1050.

Ewer

Ewer Egypt 1000 to 1050 Rock crystal Height 19.5cm x Diameter 9cm (of base) 7904-1862

This rock crystal ewer is one of a series that survives in collections across Europe. They are often in cathedral treasuries, where they were rededicated after being captured from their original Islamic settings. Such high-quality rock crystal vessels were made for the rulers of Cairo during the Fatimid period (969-1171). This is confirmed by inscriptions on several of them which name specific rulers. Great skill was required to hollow out the raw rock crystal without breaking it and to carve the delicate, often very shallow, decoration. These vessels were therefore probably prestigious items which the ruler would have displayed in his own treasury of prized possessions.

Sampler

Sampler Egypt 15th century to 16th century Linen, embroidered with silk in double running stitch and pattern darning Height 21 cm x Width 16.5 cm T.135-1928

In their earliest form, samplers were put together as personal reference works for embroiderers. They were trials of patterns and stitches that had been copied from others, and records of particular effects achieved that could be recreated again. They would have been the work, not of children, but of more experienced embroiderers, and, to judge from the quality of samplers like this one, of professionals too. Such stitch and pattern collections may have been assembled in any community in which embroidery for decorative effect was widely practised; our knowledge of early examples depends on the few pieces to have survived. This is one of the earliest examples in the Museum's collection, which was found in an Egyptian burial ground.

Sampler

Sampler Egypt 14th century to 16th century Linen, embroidered with silk in double running stitch Height 42.5 cm x Width 22.8 cm T.326-1921

In their earliest form, samplers were put together as personal reference works for embroiderers. They were trials of patterns and stitches that had been copied from others, and records of particular effects achieved that could be recreated again. They would have been the work, not of children, but of more experienced embroiderers, and, to judge from the quality of samplers like this one, of professionals too. Such stitch and pattern collections may have been assembled in any community in which embroidery for decorative effect was widely practised; our knowledge of early examples depends on the few pieces to have survived. This is one of the earliest examples in the Museum's collection, which was found in an Egyptian burial ground.

Kamis Woman's dress

Kamis Woman's dress Ethiopia 1860s Cotton embroidered with silk 399-1869

This dress was taken by British troops at the siege of Magdala (Mek'dala) in 1868. It is said to have belonged to Queen Woyzaro Terunesh, the second wife of the Ethiopian emperor Tewodros (Theodore), and mother of the prince Alamayehu.

This dress is made from two layers of soft cotton extensively decorated with a series of embroidered bands around the neck, appearing to hang down the front of the chest like a massive piece of jewellery. Solid flat bands of chevrons separate three chain-like patterns in which the ground fabric has been manipulated to form small bumps. The cuffs are narrow and also embroidered.

Carpet

Carpet Morocco 1860 to 1899 Hand knotted woollen pile, on woollen warp and weft; symmetrical knot; 32 knots per sq. in (500 per sq. dm) Length 442 cm x Width 193 cm T.18-1914

The image shows almost half of a very long carpet. Each separate element in this design is simple and only eight colours have been used, but so many different patterns have been combined that the overall effect is detailed and complex. There are large patches along both sides.

Panel

Panel Egypt 700 to 799 Tapestry-woven in linen and wool Width 28.7 cmx Height 26.6 cm (max) T.794-1919

This colourful panel was originally attached to a linen tunic found in an Egyptian burial site. The panel was probably removed from the garment at the time of excavation or soon afterwards. The mounted, haloed figure with a flowing cape represents a victorious emperor, the halo being a symbol of high secular status, as well as having Christian significance. He has what appear to be two captives, who can be identified as Persian by their dress. There are traces of letters above the rider's head which are now illegible.

Roundel

Roundel Egypt (possibly) 600 to 799 Linen, embroidered in silk Diameter 19 cm 814-1903

The scene on this embroidery represents two episodes from the life of the Virgin Mary: the Annunciation by the Angel Gabriel and the Salutation. The Virgin is seated in a small domed building, spinning with a basket before her. The angel stands in front of Mary, holding a staff with a cross at the top.

This is one of three embroidered roundels (or fragments) with Christian scenes, probably from the same linen tunic. It is likely that the the tunic belonged to a priest of the Coptic church (the Christian sect in Egypt), although there was no differentiation in the style of tunics worn by priests and laymen.

Hanging

Hanging Egypt 300 to 499 Linen, embroidered with wool Height 353 cm x Width 105 cm T.233-1917

This large hanging is a remarkable survivor, for although it was among numerous textiles found in the burial grounds of Egypt, it is very rare in both its large scale and in that it is embroidered. The design is in the late classical style with motifs from the favoured repertoire of designs: trees, flowers and a top border with vines, grapes and baskets representing nature's bounty and fertility. However embroidery is very infrequently found among the textile arts of early Egypt. Although the linen was undoubtedly woven in Egypt, and wool was also a native product, it is possible that the embroidery was worked by a non-Egyptian.

Panel

Panel Egypt 300 to 699 Tapestry-woven in linen and wool on a plain-woven linen ground Height 30 cm x Width 23 cm 666-1886

Christianity was officially recognised in Egypt under the Emperor Constantine in the 4th century AD. Christian symbolism appeared variously on textiles and other artefacts, including several forms of the Cross, which is the chief emblem represented.

One form peculiar to Egypt is the hieroglyph ankh, which stands in Egyptian art as the symbol of life. It has the shape of the cross with a long loop at the top and had Christian significance in Egypt as early as Constantine's time. As this fragment has been cut off of the original larger textile from which it came, it is not certain whether in this context it is a Christian representation, although it seems likely.

Panel from a tunic

Panel from a tunic Egypt 300 to 499 Tapestry-woven silk Height 9.5 cm x Width 9.5 cm 334-1887

This delicately woven silk panel (together with the part of a shoulder band with which it is associated) is a rare survivor compared to the numerous panels and bands of wool and linen which were discovered in the burial grounds of Egypt. Silk production was not native to Egypt and silk weaving of this kind may have been imported and is therefore of particular interest and value. The size of the panel and shoulder band suggest that this may have come from a child's tunic (probably a boy's given the motif), and that he must have come from a high ranking family. The hunting theme includes a mounted figure in the middle surrounded by ibises, fish and duck. These come from the repertoire of late classical art and they represent the hunt as both a sport and a source of food.

Panel from a tunic

Panel from a tunic Egypt 300 to 499 Tapestry-woven wool and linen Width 20 cm 284-1891

Birds are frequently represented on panels like this one, which was originally from an Egyptian woollen tunic. Decorated panels or bands were often cut off plain tunics at the time of excavation from the burial grounds of Egypt. The quail seen here was the most frequently depicted bird apart from the partridge and was hunted for its meat. It is a familiar motif from Graeco-Roman art and framed within the wide border of four petalled rose blossoms, presents a charming and colourful image.

Woven silk

Woven silk Egypt 500 to 699 Woven silk 2191-1900

Woven silks with a variety of patterns were found in Egyptian burial sites. They were made on looms which produced repeating patterns. Such silks were undoubtedly woven in a number of centres and might be Byzantine or Islamic Near Eastern in origin, given that precise attribution and dating is not possible. The partially surviving fringe along one side suggests that this example, a compound twill weave, may have been a furnishing such as a cushion cover.

Panel from a tunic

Panel from a tunic Egypt 300 to 499 Tapestry-woven wool and undyed linen Height 12.5 cm x Width 12.5 cm 2140-1900

This panel was originally from a linen tunic, and was probably cut from it at the time of excavation. It was among numerous textiles and items of clothing buried with the dead in graves along the banks of the Nile in Egypt, which were excavated in the late 19th or early 20th century.

The panel has a classical subject, which if it is from Roman mythology represents the God Vulcan forging armour, with the God of War Mars shown behind him holding a sword and Venus seated in front. It may also be intended to represent Hephaestus forging the armour of Achilles, from Greek mythology. In the Graeco-Roman period from about AD300 to 499, which was characterised by the continuing influence of Greek and Roman art, scenes from both Greek and Roman mythology were often used on Egyptian textiles and costume.

The use of wool for the decorations of furnishings and dress was mainly the result of the difficulty of dyeing linen, the other main fibre used in Egypt. Plain linen tunics and hangings were freqently discarded by early excavators and only the coloured wool decorations retained.

Panel

Panel Egypt 300 to 400 Tapestry-woven wool and linen Height 22.5 cm x Width 22.5 cm 270-1889

This skilfully woven panel was originally part of a tunic, from which it was removed, probably at the time of excavation. It was among numerous textiles and items of clothing excavated from Akhmim in Upper Egypt in the 1880s, excavations which revealed large quantities of textiles and costumes buried with the dead. Akhmim, which occupied the site of the Greek city of Panopolis, had become an important town and major centre for linen manufacture.

The figure of the woman on this panel is probably intended to represent the goddess Venus. Stylistically, she may be regarded as a mixture of classical (Graeco-Roman), with regard to the figure and clothing, and Christian Coptic by virtue of the large, soulful eyes which were a particular feature of fully developed Coptic art. The term Coptic was originally the Arabic term for the native Egyptians, but came to refer to the practising Christians in Egypt.

Panel

Panel Egypt 300 to 400 Tapestry-woven wool and linen Height 22.5 cm x Width 22.5 cm 269-1889

This skilfully woven panel was originally part of a tunic, from which it was removed, probably at the time of excavation. It was among numerous textiles and items of clothing excavated from Akhmim in Upper Egypt in the 1880s, excavations which revealed large quantities of textiles and costumes buried with the dead. Akhmim, which occupied the site of the Greek city of Panopolis, had become an important town and major centre for linen manufacture.

The figure of the woman on this panel is probably intended to represent the goddess Venus. Stylistically, she may be regarded as a mixture of classical (Graeco-Roman), with regard to the figure and clothing, and Christian Coptic by virtue of the large, soulful eyes which were a particular feature of fully developed Coptic art. The term Coptic was originally the Arabic term for the native Egyptians, but came to refer to the practising Christians in Egypt.

Robe

Robe Tunisia (probably) 1870 to 1899 Cotton, embroidered with silk and trimmed with added cotton fringes T.16-1967

This is a detail from a simple garment made from a horizontal length of cotton seamed across the shoulders and down one side to form a rectangle. What appear to be self-coloured vertical stripes in the finished robe are formed by varying thicknesses of weft. In addition there are three patterned bands of coloured silk. The neck opening is small but extends in a slit along one shoulder and is secured by a yellow and green woollen cord. There are four tiny silk tassels in the centre of the neck that have tangled to form a pompom. The fringing is made with white and red cotton that was knotted in alternate directions around groups of warp threads as the fabric was being woven; the alternate directions create a wavy effect along each row when the garment is worn.

Man`s hooded jacket (detail)

Man`s hooded jacket (detail) Algeria Late 19th century wool with applied decoration T.117-1916

Robe

Robe Mali 1880s Cotton, embroidered with silk 1110-1898

This is a detail from a man's robe that is said to have belonged to a tribal chief named Bashir-el-Beiruc who lived in the desert between Cape Juby (now in Mali, west Africa) and Sageit-el-Hamara, which we have not located. It includes the upper edge of a very large pocket that covers the left breast of the wearer. Its upper corner has been turned back and secured with embroidered purple and yellow zigzags to form the lower edge of a rectangular neck opening, the double thickness providing some strength to the part that will receive greatest wear. The embroidery is worked in minute running stitches, with details worked in chain-stitch and small eyelets. Although the embroidery is centred on the pocket, it spills over onto the rest of the robe. The size of the pocket and the fact that the embroidery extends beyond it makes it less obvious as a functional element, but when worn the front layer of fabric would have sagged a little, making its presence more obvious.

Robe

Robe Nigeria 1870 to 1899 Cotton, embroidered with silk T.699-1994

This is a detail from a robe on which the embroidered decoration is traditionally placed on a large pocket that covers the left breast. In this example the design was drawn in brown ink and then embroidered with green silk. The clearest motifs are those decorated with massed eyelets, each small hole oversewn with silk to prevent fraying and producing a flat, pockmarked surface. The horizontal band across the top of the pocket and the five 'daggers' hanging from it are worked in pattern darning, with the silk thread forming a flat pattern of small diamonds. This design is not immediately obvious but shows more clearly with the interplay of light when worn. At the corner of the pocket is a curved insertion that secures and reinforces the part most vulnerable to wear and tear.

Robe

Robe Nigeria 1900 to 1925 Cotton, embroidered with wool CIRC.125-1966

As you can see from the detail of the front of this man's robe, several narrow pieces of fabric have been inserted; they run from the lower hem and end in a point about mid-chest height. They hardly alter the shape of the basically rectangular garment, adding only a slight flare, but the tailor turned them into a decorative feature by using different fabrics. The main fabric of the robe is a white cotton woven with a pattern of small dart-like triangles. The insertions have been cut from white cotton of similar weight, woven with different patterns. From the left, the first insertion has a large zigzag pattern, the next has a smaller-scale zigzag, and the one next to that has a pattern of leaves. The right-hand insertion has been cut from the same fabric as the robe but it has been turned so that the pattern is at a different angle.

Tunic

Tunic Egypt 600 to 800 Woven linen, with tapestry-woven woollen decoration 136-1891

Tunics were the principal garments found in the burial grounds of Egypt, which were situated beyond the flood plains of the Nile, the hot dry sand ensuring the long survival of textiles and other objects. Excavations of these graves in the later 19th and early 20th centuries revealed numerous precious and household goods as well as vast numbers of clothing and textiles. After the practise of mummification ceased, it became common to bury the dead with their clothes and other goods.

Tunics were the basic costume worn by both men and women, knee length or longer for men and always long for women. They were normally woven in one piece, which would take the form of a cross if spread out. The shoulder bands, derived from the Roman clavus (the Latin for stripe), originally identified the status of the wearer, but subsequently the ornaments on tunics, as in this case, became purely decorative

Jacket

Jacket Albania About 1810 Woven silk velvet, woven cotton, woven silk and metal braids, metal thread and silk thread Length 53 cm (centre back) x Width 173 cm (across shoulders) x Width 42 cm (at hem) T.1114-2000

The tablet-woven braid that runs diagonally from the upper left towards the lower right of this sleeve is quite astonishing. It is made from many colours of silk thread forming fine stripes and its lower part has been embroidered with metal thread across the width to form more complex patterns. The diagonal opening it decorates is on the under part of the wrist and would not always have been visible, but attention to detail was evidently important. Metal threads decorate the rest of the jacket but they appear unremarkable compared with the exquisite beauty of the short length of embroidery on each cuff.

When it was acquired by the Museum this jacket was thought to have been made in North Africa but it was re-catalogued as Albanian when further research indicated that it was remarkably similar to a jacket and waistcoat purchased by the English poet Lord Byron in Tepalene, Albania in 1809.

Door

Door Egypt 15th century Wood beading, with ivory and ebony inlay Height 202.5 cm x Width 44 cm x Depth 4.5 cm 887-1884

Garment fragment

Garment fragment Upper Egypt 13th century to 14th century Linen with silk embroidery 770-1898

Fragment

Fragment Egypt 12th century Tapestry woven in silk on a linen warp Length 23.2 cm, Width 12.8 cm 310-1891

Panel

Panel Egypt 1470 to 1500 Carved marble with traces of paint and gilding Height 189.5 cm x Width 82 cm x Weight 200 kg (estimated) A.99-1930

Two patterns cover the surface. One, composed of cusped roundels and palmettes, runs over the other, an arabesque of curling stems set with stylised leaves. Both were once gilded over a red ground. Damage near the base occurred when the panel was reused as the back of a fountain.

Panel

Panel Egypt (probably) 1296 Carved wood Height 263 cm x Width 233 cm 891-1884

This panel forms most of one flank of a minbar. This was presented to the 9th-century mosque of Ibn Tulun in Cairo by the Mamluk Sultan Lajin (1296-99), as one element in an extensive restoration. In 1294, when he was a Mamluk officer, the Sultan hid from his enemies in the ruined mosque, and he vowed to restore it should his circumstances improve. He kept his vow.

Minbar

Minbar Egypt (probably) 1468 to 1496 Carved wood, inlaid with ivory Height 708 cm x Width 93 cm 1050:1-1869

A minbar, or pulpit, is placed to the right of the mihrab niche in major mosques. It is used for the sermons delivered during the midday prayer on Friday, the main service of the week.

Several woodworking techniques were used to decorate the structure. Most striking are the panels assembled from hundreds of small, carefully shaped pieces of wood. Many are set with carved ivory elements, which highlight the complex geometric designs.

The name of Sultan Qa'itbay, who ruled Egypt and Syria from 1468-96, appears in several of the inscriptions.

Textile fragment

Textile fragment Egypt 1575 BC to 1087 BC Plain woven linen with beads Length 17.4 cm x Width 18 cm 730-1907

This linen fragment was found at the funerary temple of King Neb-hâpet-Râ Mentu-hetep at Deir-el-bahri during the excavations of 1906-1907. A row of small turquoise-blue-glaze beads are interwoven into the linen, and the beads also appear in the remnants of the fringe. Beads of all materials are one of the most common object found in excavations and have been used as decoration since at least the time of Paleolithic man.

Ewer

Ewer Egypt 1496 Brass hammered and inlaid with silver and possibly copper Height 47.6 cm x Width 36 cm 762-1900

According to the inscription, this ewer was made for Fatima, the wife of Sultan Qa’itbay (ruled 1468–1496). In contrast to the wares produced for the many religious buildings furnished by the pious sultan, which were appropriately aniconic in their decoration as required under the tenets of Islam, Fatima’s ewer includes bands of real and fantastic animals amidst luxuriant trees. Similar imagery was used in Arabic poetry and had mystical connotations (such as the verdancy of Paradise); it seems safe to assume that this was not lost on Fatima herself.

Amulet

Amulet Egypt 2nd century to 3rd century Moulded, turquoise-glazed faience ware Height 9.53 cm 486-1891

Turquoise glaze, which was made by adding copper, was popular in the pre-Islamic Middle East. In Egypt, turquoise was associated with good fortune as the colour of the life-giving River Nile. For this reason, it was used on amulets, which were meant to protect the owner from evil. Under Islam, the lucky associations of the blue-green colour persisted in an informal way.

This amulet takes the form of the head of Hercules, one of the most famous heroes of classical mythology. In Egypt during the Roman period, Hercules was a symbol of power as well as of protection during times of war.

Amulet

Amulet Egypt 1075 BC to 945 BC Turquoise glazed and manganese-painted faience ware Length 6.35 cm 5486-1901

Turquoise glaze, which was made by adding copper, was popular in the pre-Islamic Middle East. In Egypt, turquoise was associated with good fortune as the colour of the life-giving River Nile. For this reason, it was used on amulets, which were meant to protect the owner from evil. Under Islam, the lucky associations of the blue-green colour persisted in an informal way.

This amulet takes the form of the Eye of Horus. Horus was one of the most important gods in ancient Egyptian mythology, associated with the sky and particularly the sun. His eye was a popular symbol of power and protection.

St Menas Ampulla

St Menas Ampulla Egypt 580 to 650 Moulded unglazed earthenware Height 9.5 cm C.79-1953

The porous body of unglazed earthenware allowed water to evaporate through the sides, keeping the contents cool. This practical advantage meant that unglazed water vessels were common in both the pre-Islamic and Islamic periods. Most examples were plain, but this tiny pilgrim flask depicts the Christian St Menas, whose shrine is near Alexandria (Egypt). It once held holy water from his shrine near Alexandria. Pilgrims would use flasks like this to take home water from the miraculous spring, holy oil from the lamp hanging above the saint's shrine or dust sanctified by contact with the shrine.

Dish

Dish Nigeria About 1957 Stoneware, with 'finger-wiped' decoration in a milky glaze over black slip Depth 39.80 cm x Height 5.50 cm CIRC.113-1958

This dish was made by Michael Cardew at the Abuja Pottery in Nigeria. Cardew had been employed by the colonial government in order to explore ways of improving the quality of locally produced pottery. However, Cardew himself believed that the traditional pottery had achieved a refined state of beauty, was well-suited to local needs, and could not be improved on. Instead, he proposed the foundation of a centre where potters could be trained to produce glazed wares to supply the demands of the new middle class, and helped to establish small local potteries for this purpose. In practice, this scheme was not entirely successful, and over time the emphasis shifted to the production of high-quality wares for the local and developing overseas market, made at Abuja by a core group of the most successful trainees. This jar was bought from an exhibition of Abuja pottery held at the Berkeley Galleries in London in 1958.

Water jar with screw top

Water jar with screw top Nigeria About 1957 Stoneware, painted decoration in a dark glaze Depth 24.70 cm x Height 31.90 cm Circ.112&A-1958

This water jar was made by Michael Cardew at the Abuja Pottery in Nigeria. Cardew had been employed by the colonial government in order to explore ways of improving the quality of locally produced pottery. However, Cardew himself believed that the traditional pottery had achieved a refined state of beauty, was well-suited to local needs, and could not be improved on. Instead, he proposed the foundation of a centre where potters could be trained to produce glazed wares to supply the demands of the new middle class, and helped to establish small local potteries for this purpose. In practice, this scheme was not entirely successful, and over time the emphasis shifted to the production of high-quality wares for the local and developing overseas market, made at Abuja by a core group of the most successful trainees. This jar was bought from an exhibition of Abuja pottery held at the Berkeley Galleries in London in 1958.

Covered bowl

Covered bowl Ghana 1947 to 1948 Stoneware, with painted decoration in iron in a deep blue-grey glaze Depth 17.50 cm x Height 12.50 cm Circ.33&a-1950

This covered bowl was made by Michael Cardew at the Volta Pottery in Vumë Dugamé, Ghana (then the Gold Coast). Vumë was Cardew's second venture in Africa, having worked at Achimota and Alajo, both in Ghana, during the Second World War. Learning of a potential site for a pottery workshop at Vumë, Cardew decided to stay on in Africa after the war, determined to overcome the problems he had experienced at Alajo. The Volta Pottery was, however, blighted by technical problems, and Cardew experienced a number of disastrous firing from which little succesful work resulted.

Ornament

Ornament Ghana Before 1874 Gold, repoussé Length 5.37 in x Width 3.62 in 373-1874

Early European visitors to Ghana, West Africa, described dazzling displays of court regalia at the court of the Asantehene, the ruler of Asante state. The region’s natural gold resources had made the Asante wealthy and court regalia, which included textiles (kente), ivory and gold, reflected high levels of skill and technology.

This pear-shaped gold pendant probably formed part of court regalia; a loop of beaten gold attached to the top suggests it was worn around the neck or attached to a sword or state stool.

Following Asante efforts to protect a coastal trading outlet, British forces invaded the state capital Kumasi on 4 February 1874. The Asantehene, Kofi Karikari, fled leaving behind much precious regalia which was captured and later sold at auction at Garrard’s, the London crown jewellers. The Museum’s accession registers record the purchase of this and twelve other items of Asante gold and silverware from Garrard’s on 5 June 1874.

Filter

Filter Egypt 1000 to 1200 Earthenware, pierced and incised decoration Diameter 8.5 cm C.902-1921

The porous body of unglazed earthenware allowed water to evaporate through the sides, keeping the contents cool. This practical advantage meant that unglazed water vessels were common in both the pre-Islamic and Islamic periods. A common type of water bottle had a filter of pierced clay in its neck to keep out flies and dust. Such filters were often pierced to form designs including abstract patterns, calligraphic inscriptions, and figural imagery such as the elephant seen here.

Filter

Filter Egypt 1000 to 1200 Earthenware, incised Height 0.75 in C.863-1921

The porous body of unglazed earthenware allowed water to evaporate through the sides, keeping the contents cool. This practical advantage meant that unglazed water vessels were common in both the pre-Islamic and Islamic periods. A common type of water bottle had a filter of pierced clay in its neck to keep out flies and dust. Such filters were often pierced to form designs including abstract patterns, calligraphic inscriptions, and figural imagery such as the camel seen here.

Weight

Weight Egypt 1160 to 1171 Stamped opaque turquoise glass Diameter 1.4 cm, Weight 1.00 g 5629K-1901

People used coin weights such as this in Egypt under the Fatimid dynasty (969-1171). This example weighs 1.00 grammes and we think it was used to balance gold coinage weighing one quarter of a dinar. It was produced in the reign of the last Fatimid caliph, al-'Adid (ruled 1160-1171). His full regnal name, al-'Adid li-Din Allah, appears between the titles Imam and Commander of the Faithful on the obverse. (This is the side of the coin that carries the main design.) The reverse is blank.

Fragment of a dish or bowl

Fragment of a dish or bowl Egypt 11th century to 12th century Opaque dark-violet or purple glass, with lustre-painted decoration Height 7.7 cm x Width 5.0 cm (maximum) C.116-1947

This is a fragment from the centre of a dish or bowl. The vessel was made of opaque glass of a dark violet or purple colour. The glass worker painted it in silvery lustre with a design of birds in stylised vegetation. A similar glass sherd was found at Fustat (Old Cairo) in Egypt. Glass workers probably made wares of this type in Egypt in the Fatimid period (969-1171).

Mosque lamp

Mosque lamp Egypt 1468 to 1496 Brass, pierced, inlaid and engraved Height 176 cm x Width 74 cm 109-1888

This enormous hanging lamp holder was originally made for the Mamluk sultan Qa'itbay (1468-96). The central medallions carry blazons that read, ‘Glory be to our master the Sultan al-Malik al-Ashraf Abu'l-Nasr Qa'itbay, may his victories be glorious’. Except for their size, the two inscriptions in inlaid silver in the upper and lower bands are identical. They read:

Glory to our lord the Sultan, the most noble ruler, sultan of Islam and the Muslims, reviver of justice in the world, suppressor of the immoral and rebellious, sultan of the Arabs and Persians, lord of the two seas, servant of the Two Holy Shrines, master of kings and sultans, Commander of the Faithful, Abu'l-Nasr Qa'itbay, may God Almighty make his reign long!

These triumphs of the calligrapher's and metalworker's art would have been invisible when the light was shining from inside the holder. But we can still appreciate the skill required to create them.

This lamp holder is very similar to one now in the Museum of Islamic Art in Cairo.

Part of a man's sash

Part of a man's sash Tunisia About 1850 Woven and brocaded silk 808-1852

This is part of a long, silk sash which would have been folded lengthways, wound several times around a Tunisian man's waist and then secured by tucking the loose end between the many layers. Not only was it a colourful accessory but small objects, such as a purse, papers or a dagger, could be kept in the folds. This was particularly useful because there were no large pockets in the man's garments.

Materials and Making
Although silk was widely used in urban workshops in Tunisia, it was not produced in North Africa and had to be imported in a raw state from other Mediterranean countries. It was cleaned, carded and spun by local women, dyed by skilled craftsmen and then hand-woven by a man using a wooden loom. The metal thread used to highlight details of the pattern was produced by men because tradition said that women's hands tarnish gold. There may be truth in this tradition because the oils on women's hands are known to be more acidic at certain times in their menstrual cycle.

Historical Associations
This sash was exhibited at the Great Exhibition of 1851 and was purchased by the Museum as an example of a tasteful and well-balanced design.

Bowl

Bowl Egypt 1st century Glass, with cut decoration Height 4.5 cm x Width 15.0 cm (maximum) CIRC.512-1963

Composite cane

Composite cane Egypt 305BC to 30BC Glass Height 4.5 cm C.420-1917

Plaque

Plaque Egypt 305BC to 30BC Glass, composite canes C.88-1915

Medallion

Medallion Egypt 1st century BC Fused glass rods C.62-1934

Fragment of a beaker or bowl

Fragment of a beaker or bowl Egypt (probably) 11th century to 12th century Transparent glass, with lustre-painted decoration Height 3.6 cm, Width 2.1 cm (maximum) C.51-1934

This fragment of a bowl or beaker was found in Egypt. The decoration, especially the face, is clearly related to the designs painted on lustre ceramics made there in the Fatimid period (969-1171).

Head

Head Egypt 1400 BC to 1300 BC Cast glass Height 5.0 cm x Width 3.8 cm (maximum) C.422-1917

Aryballos

Aryballos Egypt 3rd century Glass, with cut decoration Height 9.5 cm x Width 10.0 cm (maximum) C.339-1928

Cup

Cup Egypt (possibly) 9th century to 11th century Transparent green glass, blown, with pincered decoration and a trailed annular handle Height 11.4 cm x Diameter 11.5 cm (maximum) C.28-1932

This green transparent glass cup has simple decoration. It is made of blown glass and has a band of flattened ovals pincered below the rim. The glass worker formed the annular (ring-shaped) handle separately before attaching it to the body. It is difficult to identify exactly where Islamic glassware with such simple decoration was made. However, the discovery of similar wares in an 11th-century shipwreck found near the Turkish coast has provided further evidence. It suggests that this cup was made somewhere in the Eastern Mediterranean coastlands. Experts think that it was probably made in Egypt in the Fatimid period (969-1171).

Cup

Cup Egypt 8th century to 9th century Glass Height 7.7 cm x Width 8.9 cm (maximum) C.165-1932

Bowl

Bowl Egypt 9th century to 10th century Mould-blown glass Height 8.0 cm x Width 11.9 cm (maximum) C.27-1932

Cup

Cup Egypt (possibly) 1000 to 1200 Transparent glass, with lustre-painted decoration Height 7.7 cm x Width 12.9 cm (maximum) C.23-1932

This piece is a small bowl or large beaker. A glass worker made it of clear glass and decorated it in brown lustre. A double contour line marks the top and bottom of the walls.The space between is divided into ten vertical panels. These alternate between a wider panel decorated with a single teardrop, and a narrower panel containing a double spiral of scrollwork. The domed base is decorated with a single flower. There are several similar bowls of this type, and experts generally think that they were probably been made in Egypt, where one was found. They date them to the 11th or 12th century, when the country was ruled by the Fatimid dynasty (969-1171).

Bottle

Bottle Egypt 8th century to 9th century Blown glass with tooled decorative band Height 13.3 cm x Width 8.6 cm (maximum) C.172-1932

Fragment

Fragment Egypt (probably) 9th century to 10th century Lustre painted, brown glass Height 7.7 cm x Width 5.0 cm (maximum) x Thickness 0.5 cm C.16-1934

Cup

Cup Egypt 8th century to 9th century Glass Height 7.7 cm x Width 8.9 cm (maximum) C.164-1932

Beaker

Beaker Egypt (probably) Second half 13th century Enamelled glass Height 17.8 cm C.146-1938

Manufacturing waste

Manufacturing waste Egypt 1353 BC to 1335 BC Glass C.1402-1924

Mosque lamp

Mosque lamp Egypt 1320 to 1330 Glass, gilt and enamelled Height 28.9 cm x Width 25.4 cm (maximum) 580-1875

Before the introduction of electricity, lighting was an expensive luxury. Providing lighting in an Islamic religious building was therefore seen as an act of generosity to the community that would be rewarded by God. Donors paid for lamps and the supply of oil and wicks they required. In Mamluk Egypt and Syria, they commissioned lamps and lamp-holders of glass and metal that were often large and impressive. Inscriptions recorded the donors’ names.

This particular lamp was made for Qijlis, a high official who had been the sultan’s armourer. His emblem was a sword, which can be seen in the large roundels. Between the roundels is a quotation from the Qur’an that mentions ‘the mosques of God’.

Figure

Figure Egypt 300 BC to 400 AD Glass, tooled at the furnace Height 5.9 cm 5638-1901

Jug

Jug Egypt (possibly) 10th century to 11th century Transparent glass, blown, trailed and tooled Height 13 cm x Width 8.7 cm (maximum) 338-1900

A glass blower made this jug of uncoloured transparent glass. It has no decoration.The maker trailed on the handle and tooled a small thumb-rest in the form of a disc. Examples of this type of jug were made in glass, metal and ceramic in the Middle East in the 10th and 11th centuries. It is difficult to identify more precisely where undecorated glassware was made. At one time experts thought that this jug might have been made in Egypt or Iran. The discovery of similar wares in an 11th-century shipwreck found near the Turkish coast has provided new evidence. It suggests that the jug was made in the East Mediterranean. We now think that this jug was possibly made in Egypt in the Fatimid period ( 969-1171).

Beaker

Beaker Egypt 1260 to 1277 Gilt and enamelled glass Height 14.6 cm x Width 8.0 cm (maximum) 335-1900

Hanging ornament

Hanging ornament Egypt 1342 to 1384 Gilt and enamelled glass Height 14.5 cm x Width 14.1 cm (maximum) 333-1900

Mosque lamp

Mosque lamp Egypt 1347 to 1361 Gilt and enamelled glass Height 40.7 cm x Width 28.5 cm (maximum) 324-1900

Mosque lamp

Mosque lamp Egypt (probably) About 1360 Gilded and enamelled glass Height 35.2 cm x Width 30.5 cm (maximum) 323-1900

This large glass lamp has a sharply waisted body with a flaring upper section and a globular lower section with a flattened base. It stands on a low foot and has six suspension rings for hanging. The decoration, executed in gilding and coloured enamels, is in three main registers. In the upper section, a bold inscription in blue enamel is divided into three sections by large roundels. The wording of the inscription, taken from the Holy Qur'an, reads, 'Allah is the Light of the heavens and the earth. The likeness of His Light is as a wick-holder wherein is a light.' This is the beginning of the text known as the Light Verse (surah XXIV, verse 35), which was often placed on lighting implements. Within the three roundels there is a short declaration, 'Glory to our master the Sultan, the King'.

The middle register contains an elaborate and very fine pattern of interlace. The bands of the interlace have been left plain, while the surrounding ground has been filled in in red and blue enamels. This would have made the design glow when the lamp was lit. The main feature of the lower register, which fills the flattened base, is a repetition of the inscribed roundels that divide the inscription at the top.

The lamp is thought to have been made to hang in the mosque of the Mamluk sovereign Sultan Hasan, who ruled between 1347-1351 and 1354-1361.

Mosque lamp

Mosque lamp Egypt (probably) 1309 to 1310 Glass, enamelled and gilt Height 29.0 cm x Width 25.4 cm (maximum) 322-1900

Two bold bands of inscriptions dominate the decoration of this lamp. In the lower band there is a prayer for Sultan Baybars II (r.1309–1310), a member of the Mamluk dynasty, which ruled Egypt and Syria between 1250 and 1517. The words above describe the delights of paradise. Together, the inscriptions indicate that the lamp was made for the sultan’s tomb in Cairo.

Above: ‘The truly good will live in bliss. You will gaze at the look of bliss on their faces. They will be served a sealed nectar.’ (compare Qur’an, 83, verses 22, 24, 25)

Below: ‘Glory to our Lord the Sultan, al-Malik al-Muzaffar, the Wise, the Just, Rukn al-Dunya wa’l-Din – May God fortify his victories!’

Bottle

Bottle Egypt 1347 to 1370 Glass, blown, fired, gilded and enamelled, and fired again 223-1879

When it was purchased by the V&A this bottle was thought to be one of the largest and finest of its kind in existence. Its relatively sparse decoration includes cartouches of calligraphy in praise of Sayf al-Din Jurji, who served the Mamluk Sultan Hasan in the mid-fourteenth century. The conspicuous motif with two dots and two stripes, which appears several times in the upper register of the body, is a stylized penbox and indicates that Sayf al-Din Jurji entered the Mamluk system as a scribe.

Krateriskos

Krateriskos Egypt 1400 BC to 1336 BC Glass, core-formed, with applied thread decoration Height 6.4 cm x Width 5.5 cm (maximum) 1011-1868