CARTIER’S CACHE

Advertisement for Cartier’s Egyptian style jewelry entitled “The Tutankhamen Influence in Modern Jewellery” made by Cartier London. Each of the featured pieces was created using an authentic ancient Egyptian relic except for the miniature replica of an alabaster vase found in Tutankhamen’s tomb, shown towards the top right of the advertisement • January 26, 1924 • Illustrated London News • Image courtesy of Cartier : 1900 - 1939 by Judy Rudoe, published in association with the 1997 exhibition at The Metropolitan Museum of Art, New York City

How Cartier utilized actual Ancient Egyptian artifacts for their one-of-a-kind pieces during the wave of exoticism and heady Arabian Nights romance that swept fashion and style in the early decades of the 20th Century. Cartier struck up a relationship with Egyptian artifact traders in Paris and produced contemporary jewelry that included bits of actual antiquities. Placing these miniature treasures into settings with details inspired by ancient Egyptian flora, fauna, and architecture, and adorned with diamonds, platinum, gold and other precious gems, created some of the most unique Art Deco jewels boasting true archaeological integrity. Commissioned pieces for socialites including Cole Porter’s wife Linda Lee Thomas and Lady Abdy for example, incorporated a faience amuletic bead in the form of the eye of the falcon god Horus, a faience fragment of the goddess Isis from the Ptolemaic Period C. 305-30 BC and a faience figure of Sekhmet, the lion goddess, dating to the 21st-22nd Dynasty to name a few…

Original sketch of the infamous scarab buckle brooch designed around authentic ancient Egyptian faience wings culled from Louis Cartier’s collection • Commissioned by Linda Lee Porter • 1926 • Cartier Paris • Image courtesy of the Cartier Archive, Paris

Cartier Egyptian Revival scarab buckle brooch featuring authentic ancient Egyptian faience wings culled from Louis Cartier’s collection, set in platinum, gold, enamel, sapphires and diamonds • Commissioned by Linda Lee Porter • 1926 • Image courtesy of Siegelson via Vanity Fair

“This group of important Egyptian revival jewels, all made by Cartier in the 1920s, turned a spotlight on one of the most engaging and enduring influences on 20th century jewelry design: the 1920s vogue for all things Egyptian that developed into a craze bordering on obsession… After the momentous discovery of the boy king Tutankhamun’s tomb in 1922, Cartier began to incorporate antiquities into their Egyptian-style jewels, producing a spectacular series of one-of-a-kind masterpieces. The jewels made over a short period of time, were limited by the availability of the ancient treasures around which they revolved; they are believed to number 150 in total. These cerebrally beautiful and strikingly original compositions, possessing a powerful and imposing presence, are amongst the most rarefied of Cartier jewels from this period. They capture the spirit and spirituality of ancient Egyptian beliefs, the sense of mystery and majesty of the jewels, and they carry with them, in their fragments of the past, the mystical amuletic quality of ancient Egyptian ornaments.” • Vivienne Becker for Sotheby’s

A collection of scarabs made of faience, lapis lazuli and blue paste • From top left to right : Lapis Lazuli Scarab, Circa 664 – 332 B.C. Late Period, Dynasty 26 – 30 | Faience Scarab, Circa 1070 – 664 B.C. Third Intermediate Period or Later, Dynasty 21–25 | Lapis Lazuli Heart Scarab, Circa 688 – 525 B.C. Late Period, Dynasty 26 | Blue Paste Heart Scarab, Circa 1070 – 664 B.C. Third Intermediate Period or Later, Dynasty 21 – 25 | Faience Scarab, Circa 1295 – 1070 B.C. New Kingdom, Ramesside, Dynasty 19 – 20 • Egypt • The Metropolitan Museum of Art, New York CIty

Cartier Egyptian Revival gold, platinum, emerald, diamond, smoky quartz and black enamel Scarab buckle brooch featuring authentic ancient Egyptian faience wings likely to have been originally attached to a typical funerary scarab that was sewn to the wrapping over the chest of a mummy • Faience wings date from the second half of the first millennium B.C. • Brooch dates to 1924 • English Art Works for Cartier London • Image courtesy of Cartier : Innovation Through the 20th Century published in association with the 2007 exhibition at The Moscow Kremlin Museums, Moscow

Illustrations depicting the decorative drawings adorning mummies and their funerary accoutrements • Plate from the Description de l'Egypte : Volume II : Second Edition, Paris, 1822 • Image courtesy of the Library of Congress, Washington D.C.

Glazed funerary scarab with wings representing those of a falcon, intended to be stitched on to the mummy wrappings over the chest or incorporated into the bead net, which enveloped contemporary mummies • Circa 600 B.C. • 26th Dynasty • Egypt • The British Museum, London

Glazed Composition Scarabs • From left to right : Glazed Steatite Scarab, New Kingdom | Glazed Scarab, New Kingdom to Late Period • Egypt • The British Museum, London

Cloisonné Winged Scarab Pectoral • Ancient Egypt • Musée du Louvre, Paris

Gold inlayed pectoral featuring a large centered scarab floating beneath a pair of wedjat eyes • Circa 1550 - 1069 B.C. • New Kingdom • Late 18th Dynasty • Egypt • Musée du Louvre, Paris

Cartier Egyptian Revival platinum scarab brooch set with emeralds, sapphires, rubies, amethysts, diamonds and onyx, featuring an authentic ancient Egyptian faience fragment dating from the second half of the first millenium B.C. • The fragment, in the shape of a scarab, is determined to be a funerary amulet which would have been attached to the wrapping atop a mummy’s chest • Brooch dates to 1924 • English Art Works for Cartier London • Image courtesy of Cartier : 1900 - 1939 by Judy Rudoe, published in association with the 1997 exhibition at The Metropolitan Museum of Art, New York City

Gold and faience pectoral belonging to Sheshonq II, depicting a lapis lazuli scarab emerging from the horizon over an articulated cloisonné frieze of lotus blossoms • Circa 890 B.C. • 22nd Dynasty • From the burial of Sheshonq II, Tanis • Egypt • Egyptian Museum, Cairo • Image courtesy of Ancient Egyptian Jewelry by Carol Andrews

Illustrations depicting amulets in the shape of beetles in terracotta, jade and other hard stones • Plate from the Description de l'Egypte : Volume V : Second Edition, Paris, 1822 • Image courtesy of the Library of Congress, Washington D.C.

Birth of the Sun in Hathor Temple at Dendera, depicting the rising sun born from the lap of the sky goddess Nut in the form a winged scarab beetle • Detail of the Astronomical Ceiling in the outer hypostyle hall of the Hathor Temple • 1st Century A.D. • Roman Period • Dendera Temple Complex, Egypt • Image courtesy of Mick Palarczyk

Cartier’s Egyptian Revival Eye of Horus bracelet and Scarab buckle brooch featuring authentic ancient Egyptian faience fragments culled from Louis Cartier’s collection • Commissioned by Linda Lee Porter • Circa 1928 and 1926 • Image courtesy of Siegelson via Vanity Fair

Double-sided blue glazed amulet in the form of a wedjat eye, the eye of the falcon god Horus • Third Intermediate Period • Egypt • The British Museum, London

The Waxing Moon and the Eye of Horus at Dendera, featuring an image of the moon on a pillar, decorated with the "healed eye" of Horus • Detail of the Astronomical Ceiling in the outer hypostyle hall of the Hathor Temple • 1st Century A.D. • Roman Period • Dendera Temple Complex, Egypt • Image courtesy of Mick Palarczyk

Archive photograph of a Cartier lapis lazuli, turquoise and diamond bracelet set with an authentic ancient Egyptian glazed faience amuletic bead in the form of a wedjat eye, the eye of the falcon god Horus • Faience bead dates to the Third Intermediate Period, Circa 950 - 700 B.C. • Bracelet repurposing the faience bead made as a special order for Mrs. Cole Porter Circa 1928 • Cartier Archive, Paris • Image courtesy of Cartier : 1900 - 1939 by Judy Rudoe, published in association with the 1997 exhibition at The Metropolitan Museum of Art, New York City

Faience openwork bead featuring a wedjat eye, the eye of the falcon god Horus • Circa 664 - 30 B.C. • Late Period - Ptolemaic Period • Egypt • The Metropolitan Museum of Art, New York CIty

Lapis lazuli plaque featuring a wedjat eye, the eye of the falcon god Horus • Circa 664 - 332 B.C. • Late Period • Dynasty 26 - 29 • Egypt • The Metropolitan Museum of Art, New York CIty

Cartier Egyptian Revival lapis lazuli, turquoise and diamond bracelet featuring an authentic ancient Egyptian glazed faience amuletic bead in the form of a wedjat eye, the eye of the falcon god Horus • Faience bead dates to the Third Intermediate Period, Circa 950 - 700 B.C. • Commissioned by Linda Lee Porter • Circa 1928 • Image courtesy of Siegelson via Vanity Fair

Openwork blue and green glazed amulet in the form of a wedjat eye, the eye of the falcon god Horus • Egypt • The British Museum, London

Faience string of beads and amulets comprised of ten stylized Eye of Horus or wedjat amulets, eighteen black cylinder beads, six rectangular beads with incised line decoration, two biconical beads, three blue cylinder beads and six brown cylinder beads • Ancient Egypt • Museum of Fine Arts, Boston

Faience openwork amulet featuring two wedjat eyes with feathers in between • Circa 1186 – 945 B.C. • New Kingdom or Later • Dynasty 20 – 21 • Egypt • Museum of Fine Arts, Boston

Thirteen bracelets found on the forearms of Tutankhamun’s mummy, seven on the right arm and six on the left. The bracelets, made of gold, multicolored glass, faience, and semiprecious stones, depict motifs such as uraei, ankhs, and wedjat eyes • Image courtesy of Tutankhamun’s Tomb : The Thrill of Discovery : Photographs by Harry Burton published in association with The Metropolitan Museum of Art, New York City

Faience and Steatite Cylinder Beads • Circa 2040 – 1640 B.C. • Middle Kingdom • Egypt • Museum of Fine Arts, Boston

Cartier Egyptian Revival necklace featuring an authentic ancient Egyptian glazed faience amuletic bead in the form of the Eye of Ra, a symbol associated with the Egyptian sun god that was believed to offer protection • Circa 1930 • Cartier • Image courtesy of 1st Dibs

Faience Wedjat Eye Amulet • Circa 1090 – 900 B.C. • Third Intermediate Period • Egypt • The Metropolitan Museum of Art, New York CIty

Detail of a Cartier Egyptian Revival necklace featuring an authentic ancient Egyptian glazed faience amuletic bead in the form of the Eye of Ra, a symbol associated with the Egyptian sun god that was believed to offer protection • Circa 1930 • Cartier • Image courtesy of 1st Dibs

Pair of Faience Wedjat Eye Amulets • Circa 1070 – 664 B.C. • Third Intermediate Period or Later • Dynasty 21 – 25 • Egypt • The Metropolitan Museum of Art, New York CIty

Faience Wedjat Eye Amulet • Circa 1070 – 664 B.C. • Third Intermediate Period • Egypt • The Metropolitan Museum of Art, New York CIty

Ancient Egyptian funerary broad collar featuring faience falcon-headed terminals at either end • Circa 2040 - 1783 B.C. • Egypt • Minneapolis Institute of Art, Minneapolis

Falcon inlay fragment composed of faience and paste • Circa 664 - 30 B.C. • Late Period - Ptolemaic Period • Egypt • The Metropolitan Museum of Art, New York CIty

Original production drawing for Cartier’s Egyptian Revival faience brooch designed around an authentic ancient Egyptian faience head depicting the falcon god Horus • 1925 • Cartier Paris • Image courtesy of Cartier : Innovation Through the 20th Century published in association with the 2007 exhibition at The Moscow Kremlin Museums, Moscow

Wooden falcon-shaped terminals originally belonging to a funerary collar • Circa 2106 - 1786 B.C. • Middle Kingdom • Egypt • Musée du Louvre, Paris

Gold and copper alloy inlay in the shape of a falcon, believed to originally belong to a necklace • Ancient Egypt • Musée du Louvre, Paris

Ancient Egyptian funerary Wesekh collar featuring faience falcon-headed terminals at either end • Circa 1980 - 1630 B.C. • Middle Kingdom • Egypt • University of Pennsylvania Museum of Archaeology and Anthropology, Philadelphia

Cartier Egyptian Revival platinum, gold, diamond, emerald, coral and onyx brooch featuring an authentic ancient Egyptian glazed faience fragment in the shape of the head of the falcon god Horus, along with a row of stylized lotus flowers along the base • Faience figurine, determined to be an original terminal belonging to a funerary collar which would have been incorporated in the decoration of a coffin, dates from the first or second millennium B.C. • Brooch dates to 1925 • Lavabre for Cartier Paris • Image courtesy of Cartier : 1900 - 1939 by Judy Rudoe, published in association with the 1997 exhibition at The Metropolitan Museum of Art, New York City

Falcon-headed gold, faience, carnelian and turquoise broad collar belonging to Senebtisi • Circa 1850 – 1775 B.C. • Middle Kingdom • Dynasty 12 - 13 • Egypt • The Metropolitan Museum of Art, New York CIty

Gold and glass falcon-headed terminals originally belonging to a broad collar • Circa 664 - 332 B.C. • Late Period • Egypt • Musée du Louvre, Paris

Gold inlayed pylon-shaped pectoral featuring a large centered lapis lazuli scarab • Circa 1279 - 1213 B.C. • Reign of Ramses II • Egypt • Musée du Louvre, Paris

Lady Abdy captured wearing Cartier’s Egyptian Revival Pylon brooch suspended from a necklace • December 8, 1928 • American Vogue • Baron George Hoyningen-Huene

Cartier Egyptian Revival Pylon brooch featuring an authentic ancient Egyptian faience fragment. Designed as the entryway to an Egyptian temple, otherwise known as a pylon, the glazed faience plaque is set with platinum, gold, diamonds, rubies, sapphires, citrines, emeralds, amethysts and onyx segments • Circa 1923 • Cartier London • Image courtesy of Sotheby’s via the 2013 Magnificent Jewels Auction

Faience funerary pectoral in the form of a pylon, or temple gateway • Circa 1295 – 664 B.C. • New Kingdom, Ramesside – Third Intermediate Period • Egypt • The Metropolitan Museum of Art, New York CIty

Faience Winged Scarab originally intended to be incorporated into a beaded mummy shroud • Circa 740 – 660 B.C. • Late Period • Dynasty 25 • Egypt • Museum of Fine Arts, Boston

Etching depicting the north gate entrance to Denderah • Plate from the Description de l'Egypte : Volume IV : Second Edition, Paris, 1822 • Image courtesy of the Library of Congress, Washington D.C.

Glazed funerary scarab with attached wings, originally intended to be stitched on to the mummy wrappings over the chest • Late Period • Egypt • The British Museum, London

Gold and lapis lazuli pectoral in the shape of a pylon belonging to King Amenemope • Circa 1001 - 992 B.C. • Third Intermediate Period • 21st Dynasty • Egypt • Egyptian Museum, Cairo

Original design for an Egyptian Revival clock by Cartier Paris • Circa 1925 • Image courtesy of Egyptomania : Egypt in Western Art, 1730 - 1930 published in association with the 1994 exhibition at the Musée du Louvre in Paris, the National Gallery of Canada in Ottawa and the Kunsthistorisches Museum in Vienna

Faience Winged Goddess intended to be sewn atop or incorporated into beaded nets placed on top of a mummy's wrappings • Circa 1295 – 712 B.C. • Late New Kingdom or Early Third Intermediate Period • Dynasty 19 – 22 • Egypt • The Metropolitan Museum of Art, New York CIty

Cartier Egyptian Revival gold, silver-gilt, mother-of-pearl, coral, emerald, lapis lazuli, carnelian and enamel striking clock in the shape of a pylon, or traditional Egyptian monumental temple gate • 1927 • Couet for Cartier Paris • Image courtesy of Cartier : 1900 - 1939 by Judy Rudoe, published in association with the 1997 exhibition at The Metropolitan Museum of Art, New York City

Faience Winged Scarab Pectoral • Circa 760 – 332 B.C. • Late Period • Dynasty 25 - 30 • Egypt • Museum of Fine Arts, Boston

Faience pectoral fragment in the form of a pylon, or temple gateway • Circa 1200 - 700 B.C. • Late New Kingdom - Early Third Intermediate Period • Dynasty 19 - 22 • Egypt • The Metropolitan Museum of Art, New York CIty

Faience winged scarab consisting of three pieces including an actual scarab beetle and two separately made wings, though the wings in this case are not those of a beetle, but those of a bird • Circa 664 – 332 B.C. • Late Period • Egypt • The Metropolitan Museum of Art, New York CIty

Cartier Egyptian Revival gold, silver-gilt, mother-of-pearl, coral, emerald, lapis lazuli, carnelian and enamel striking clock in the shape of a pylon, or traditional Egyptian monumental temple gate • 1927 • Couet for Cartier Paris • Image courtesy of Cartier : Innovation Through the 20th Century published in association with the 2007 exhibition at The Moscow Kremlin Museums, Moscow

Tutankhamun’s gold winged scarab pectoral inlaid with lapis lazuli, carnelian turquoise, green feldspar and cement • Circa 1327 B.C. • New Kingdom • 18th Dynasty • Found in Tutankhamun’s Tomb in the Valley of the Kings • Egypt • Egyptian Museum, Cairo • Image courtesy of Ancient Egyptian Jewelry by Carol Andrews

Etching by Duplessi-Bertaux depicting the south gate entrance to Thebes • Plate from the Description de l'Egypte : Volume III : Second Edition, Paris, 1822 • Image courtesy of the Library of Congress, Washington D.C.

Cartier Egyptian Revival convertible jeweled buckle brooch featuring an authentic ancient Egyptian faience scarab originally accompanied by a silk belt • Circa 1925 • Cartier London • Image courtesy of the Cartier Archive, Paris

Original design by Cartier London for a faience scarab brooch or belt buckle with inlayed wings made of diamonds, onyx, emeralds, rubies, topaz and citrine • Circa 1925 • From the London Design Scrapbook • Image courtesy of Cartier : 1900 - 1939 by Judy Rudoe, published in association with the 1997 exhibition at The Metropolitan Museum of Art, New York City

Faience pectoral funerary scarab with detached wings • Circa 760 – 332 B.C. • Late Period • Dynasty 25 – 30 • Egypt • Museum of Fine Arts, Boston

Original preparatory drawing of a winged scarab by Cartier London • Circa 1920 - 1925 • Image courtesy of Egyptomania : Egypt in Western Art, 1730 - 1930 published in association with the 1994 exhibition at the Musée du Louvre in Paris, the National Gallery of Canada in Ottawa and the Kunsthistorisches Museum in Vienna

Carnelian, lapis lazuli and green feldspar winged scarab ornament holding a sun disc in its forefeet and a 'kha'-sign in its back feet • Circa 1897 - 1878 B.C. • 12th Dynasty • Egypt • The British Museum, London

Faience Winged Scarab Pectoral • Ancient Egypt • Museum of Fine Arts, Boston

A pair of winged scarab pectorals found in Tutankhamun’s tomb, made of gold, silver and electrum, and inlaid with semi-precious stones, including carnelian, lapis lazuli, turquoise, chalcedony, feldspar, calcite, obsidian and colored glass. The funerary amulets depict motifs of uraei, wedjat eyes, lunar and sun disks, and lily, poppy and papyrus flowers • Image courtesy of Tutankhamun’s Tomb : The Thrill of Discovery : Photographs by Harry Burton published in association with The Metropolitan Museum of Art, New York City

Faience Winged Scarab and Beads • Circa 305 – 30 B.C. • Hellenistic Period • Ptolemaic Dynasty • Egypt • Museum of Fine Arts, Boston

Gold and faience pylon-shaped funerary pectoral belonging to Wendjebauendjed featuring a lapis lazuli scarab • Circa 1030 B.C. • 21st Dynasty • From the burial of Wendjebauendjed, Tanis • Egypt • Egyptian Museum, Cairo • Image courtesy of Ancient Egyptian Jewelry by Carol Andrews

Illustrations depicting amulets in the shape of beetles and various figures in terracotta, silver, hematite and other hard stones • Plate from the Description de l'Egypte : Volume V : Second Edition, Paris, 1822 • Image courtesy of the Library of Congress, Washington D.C.

Gold inlayed pylon-shaped pectoral featuring a large centered stone scarab • Circa 1279 - 1213 B.C. • Reign of Ramses II • Egypt • Musée du Louvre, Paris

A collection of scarabs made of jasper • 19th Dynasty • Egypt • The British Museum, London

Faience inlays depicting small crouching female goddesses, probably representing Hathor, originally holding scepters • 4th Century B.C. • Late Period – Ptolemaic Period • Egypt • The Metropolitan Museum of Art, New York City

Cartier Egyptian Revival enamel, gold and platinum vanity case featuring diamond borders and a diamond inlay seated figure of the goddess Maât holding an ankh • The diamond figure of Maat was originally made to be a brooch in 1928 and added to the vanity case in 1930 • Lavabre for Cartier Paris • Image courtesy of Cartier : 1900 - 1939 by Judy Rudoe, published in association with the 1997 exhibition at The Metropolitan Museum of Art, New York City

Copper alloy figurine depicting the goddess Maât • Ancient Egypt • Musée du Louvre, Paris

Cartier advertisement from the catalogue of the 1929 French Exhibition in Cairo, featuring a group of gem-set and Egyptian style pieces • Image courtesy of Cartier : 1900 - 1939 by Judy Rudoe, published in association with the 1997 exhibition at The Metropolitan Museum of Art, New York City

Alabaster vase composed of hieroglyphic forms from the tomb of Tutankhamun • Eighteenth Dynasty • Egypt • Image courtesy of Reading Egyptian Art : A Hieroglyphic Guide to Ancient Egyptian Painting and Sculpture by Richard H. Wilkinson

Cartier Egyptian Revival platinum, diamond and onyx brooch in the shape of a pylon, or traditional Egyptian monumental temple gate, featuring a central papyrus bud, drooping papyri and Egyptian lilies and lotus blossoms • 1913 • Picq for Cartier Paris • Image courtesy of Cartier : Innovation Through the 20th Century published in association with the 2007 exhibition at The Moscow Kremlin Museums, Moscow

Egyptian alabaster ointment jars with attached stands found in the Antechamber. The elaborate handles of the jars are in the form of lily and papyrus plants, and represent the hieroglyph sema, which stood for the unification of Upper and Lower Egypt • Image courtesy of Tutankhamun’s Tomb : The Thrill of Discovery : Photographs by Harry Burton published in association with The Metropolitan Museum of Art, New York City

Original designs of brooches and pendants from the Cartier Archive’s sketchbooks featuring the Pylon brooch shown above • 1913 • Cartier Paris • Image courtesy of Cartier : Innovation Through the 20th Century published in association with the 2007 exhibition at The Moscow Kremlin Museums, Moscow

Cartier Egyptian Revival Halo head ornament or tiara featuring a platinum frieze of graduated diamond lotus flowers and buds ending in upturned scrolling buds at the base, accompanied by a detachable zig-zag diamond bandeau • 1934 • English Art Works for Cartier London

Faience tile depicting water flowers in a canal, once decorating the private apartments of the palace of Ramesses II in Piramesse • Circa 1279 – 1213 B.C. • New Kingdom, Ramesside • Dynasty 19 under the reign of Ramesses II • Egypt • The Metropolitan Museum of Art, New York CIty

Portrait of H.H. the Begum Andrée Aga Khan modeling her Cartier lotus Halo head ornament or tiara • July 3, 1935 • Fayer of Vienna for The Sketch • Image courtesy of Cartier : 1900 - 1939 by Judy Rudoe, published in association with the 1997 exhibition at The Metropolitan Museum of Art, New York City

Libation in Nefertem-Ptah-Sokar Hall at Abydos, a limestone relief depicting Seti pouring a libation on lotus flowers • Detail of the north wall of the Nefertem-Ptah-Sokar Hall in the Seti I Temple at Abydos, begun by Seti I and completed by his son Ramses II in the 13th Century B.C. • Egypt • Image courtesy of Paul Smit

Cartier Egyptian Revival Halo head ornament or tiara featuring a platinum frieze of graduated diamond lotus flowers and buds ending in upturned scrolling buds at the base, accompanied by a detachable zig-zag diamond bandeau • 1934 • English Art Works for Cartier London

Relief with Birds in the Papyrus Thicket • Circa 2030 – 2000 B.C. • Middle Kingdom • Dynasty 11 under the reign of Mentuhotep II • Egypt • The Metropolitan Museum of Art, New York CIty

Nemset Vessel with Lotus Flowers at Abydos, a limestone relief depicting a “nemset” vessel topped by lotus flowers • Detail of the north wall of the Inner Osiris Hall in the Seti I Temple at Abydos, begun by Seti I and completed by his son Ramses II in the 13th Century B.C. • Egypt • Image courtesy of Paul Smit

Detail of a mural depicting Sennefer’s wife Sentnay, wearing a bandeau of lotus blossoms in her hair • Circa 1410 B.C. • New Kingdom • 18th Dynasty • Tomb of Sennefer sometimes referred to as the Tomb of the Vineyards • Egypt

A collection of ancient Egyptian lotus & papyrus fragments : Left to Right : Inlay from a floral frieze, Circa 1184 – 1153 B.C., New Kingdom, Dynasty 20, Museum of Fine Arts, Boston | Faience inlay of a lotus, Circa 1184 – 1153 B.C., New Kingdom, Dynasty 20, The Metropolitan Museum of Art, New York City | Glazed tile from a frieze in the form of a papyrus flower, New Kingdom, The British Museum, London

Original production drawing for Cartier’s Egyptian Revival lotus headband or bandeau composed of onyx and diamonds • 1923 • Charles Jacqueau for Cartier Paris • Image courtesy of Cartier : Innovation Through the 20th Century published in association with the 2007 exhibition at The Moscow Kremlin Museums, Moscow

Gold, amazonite and carnelian pendant in the shape of a papyrus flower, originally belonging to a diadem or necklace • Circa 1279 - 1213 B.C. • Reign of Ramses II • Egypt • Musée du Louvre, Paris

Detail of a mural depicting Nakht’s wife Tauy, wearing a bandeau of lotus blossoms in her hair • Original mural in the Theban Tomb No. 52 dates between 1410 – 1370 B.C., New Kingdom, 18th Dynasty in Thebes, Egypt • Painted copy dates between 1908 – 1910 • The Metropolitan Museum of Art, New York City

Silver diadem or crown with glass and faience lotus-shaped inlays and a gold uraeus, presumably from King Nubkheperre Intef's royal tomb • Second Intermediate Period • 17th Dynasty • Egypt • Rijksmuseum van Oudheden, Leiden

Painted limestone relief depicting the three daughters of governor Djehutihotep II, wearing bandeaus of lotus blossoms in their hair • The fragment from the tomb chapel of Djehutihotep II at Deir el-Bersha dates to the 12th Dynasty, Circa 1870 B.C. • Egypt • Egyptian Museum, Cairo • Image courtesy of Ancient Egyptian Jewelry by Carol Andrews

Cartier Egyptian Revival gold, platinum, emerald, diamond, coral, lapis lazuli and enamel vanity case, later transformed into a cigarette case, featuring two authentic ancient Egyptian incised calcite plaques which originally formed the front and back of an Egyptian cippus or amulet • The archival image above shows similar plaques from the British Museum • Calcite plaques used for the case date to the Late Period, Circa 500 B.C. • Vanity case dates to 1927 • Lavabre for Cartier Paris • Image courtesy of Cartier : 1900 - 1939 by Judy Rudoe, published in association with the 1997 exhibition at The Metropolitan Museum of Art, New York City

Cartier Egyptian Revival gold, platinum, emerald, diamond, coral, lapis lazuli and enamel vanity case, later transformed into a cigarette case, featuring two authentic ancient Egyptian incised calcite plaques which originally formed the front and back of an Egyptian cippus or amulet • Calcite plaques date to the Late Period, Circa 500 B.C. • Vanity case dates to 1927 • Lavabre for Cartier Paris • Image courtesy of Cartier : Innovation Through the 20th Century published in association with the 2007 exhibition at The Moscow Kremlin Museums, Moscow

Funerary pectoral of Panehesy in the shape of a pylon, adorned with a faience scarab, a repeating lotus motif and stone inlays • Circa 600 B.C. • Egypt • Ägyptisches Museum, Berlin • Image courtesy of Egypt : 4000 Years of Art by Jaromir Malek

Pair of earthenware collar terminals in the shape of lotus blossoms and palm leaves • Circa 664 - 332 B.C. • Late Period • Egypt • Musée du Louvre, Paris

Cartier Egyptian Revival gold, platinum, diamond, mother-of-pearl, coral, lapis lazuli, onyx and enamel vanity case featuring an authentic ancient Egyptian faience amuletic deity, seated in the center of its shrine • Faience figure, possibly Bès, dates from the Ptolemaic Period, probably the last 300 years B.C. • Vanity Case dates to Circa 1923 - 1924 • Lavabre for Cartier Paris • Image courtesy of the Cooper Hewitt, Smithsonian Design Museum, New York City

Gold, carnelian, turquoise, lapis lazuli, and amethyst pectoral of Princess Mereret, found in her tomb at Dahshur • Circa 1820 B.C. • Middle Kingdom • 12th Dynasty • Egypt • Egyptian Museum, Cairo • Image courtesy of Egypt : 4000 Years of Art by Jaromir Malek

Naophorous schist statue of a male official named Amenhotep holding a naos shrine featuring a smaller figure of the goddess Neith • 26th Dynasty • The British Museum, London

Original production drawing for Cartier’s Egyptian Revival vanity case made of gold, mother-of-pearl, coral, onyx, lapis lazuli, and diamonds, featuring an authentic ancient Egyptian faience deity seated in the center of its shrine • 1923 • Cartier Paris • Image courtesy of Cartier : Innovation Through the 20th Century published in association with the 2007 exhibition at The Moscow Kremlin Museums, Moscow

Black basalt kneeling naophorous statue of Wahibra holding a small naos containing a figure of Osiris with hieroglyphic texts around the base and dorsal pillar • Circa 530 B.C. • 26th Dynasty • Egypt • The British Museum, London

Original photograph and design taken from the order book, for the black lacquer bracelet featuring one of the Cartier pyramid clips below • 1935 • Cartier Archive, Paris • Image courtesy of Cartier : 1900 - 1939 by Judy Rudoe, published in association with the 1997 exhibition at The Metropolitan Museum of Art, New York City

Cartier platinum and diamond pyramid clip brooch • 1935 • Cartier Paris • Image courtesy of Cartier : Innovation Through the 20th Century published in association with the 2007 exhibition at The Moscow Kremlin Museums, Moscow

Original design taken from the order book, for a pair of Cartier pyramid clips to be transformed into one brooch • 1935 • Cartier Archive, Paris • Image courtesy of Cartier : 1900 - 1939 by Judy Rudoe, published in association with the 1997 exhibition at The Metropolitan Museum of Art, New York City

Illustration depicting the Pyramids of Memphis, in this case the view of the second pyramid, taken from the eastern side • Plate from the Description de l'Egypte : Volume V : Second Edition, Paris, 1822 • Image courtesy of the Library of Congress, Washington D.C.

Faience Inlay of a Lotus Flower • Circa 1184 – 1153 B.C. • New Kingdom, Ramesside • Dynasty 20 under the reign of Ramesses III • Egypt • The Metropolitan Museum of Art, New York CIty

Nemset Vessels in Horus Shrine at Abydos, a relief detail on the west wall of the Horus Shrine in the Seti I Temple at Abydos shows a bouquet of lotus flowers and two “nemset vessels.” This kind of spouted vase was used to sprinkle water in purification rites • The Seti Temple at Abydos was begun by Seti I and completed by his son Ramses II in the 13th Century B.C. • Egypt • Image courtesy of Mick Palarczyk

Original design for an Egyptian Revival evening bag featuring a scene depicting two female figures amongst papyri growing in water, much like the papyrus thicket between the two figures in the mural below • Circa 1925 • Designed in Paris for Cartier London • Image courtesy of Cartier : 1900 - 1939 by Judy Rudoe, published in association with the 1997 exhibition at The Metropolitan Museum of Art, New York City

Gold collar consisting of a series of rows of gold beads depicting folded leaves, papyrus flowers on stems, mandrake fruits alone and with leaves, flower buds, lotus seed-vessels and closed buds of the lotus, attached to terminals in the shape of open lotus flowers • Circa 1370 - 1300 B.C. • New Kingdom • Egypt • The British Museum, London

Facsimile painting of the mural on the north wall of Menna's tomb chapel depicting Menna fishing and fowling in the papyrus marshes • Original mural in the Theban Tomb of Menna dates between 1400 – 1352 B.C., New Kingdom, 18th Dynasty in Thebes, Egypt • Painted copy attributed to Nina de Garis Davies Circa 1924 • The Metropolitan Museum of Art, New York City

Gold and glass inlay pendant with chain depicting the young sun god borne up out of the primordial waters of chaos inside a blue lotus flower, which opened to reveal him on the first morning • Circa 1070 – 712 B.C. • Third Intermediate Period • Dynasty 21 – 24 • Egypt • Museum of Fine Arts, Boston

PLATE IV • CHAPTER II EGYPTIAN ORNAMENT • 1856 • From The Grammar of Ornament by Owen Jones • Image courtesy of the University of Wisconsin at Madison Libraries

Golden Ceremonial Fan or Flabellum • Circa 1327 B.C. • New Kingdom • 18th Dynasty • Found in Tutankhamun’s Tomb in the Valley of the Kings • Egypt • Egyptian Museum, Cairo

Cartier Egyptian Revival yellow and pink gold, platinum, diamond, emerald, sapphire, onyx, and enamel sarcophagus-shaped vanity case featuring an enamel frieze of lotus blossoms, daisies and grape clusters adorning the sides, emerald carved Pharaonic faces at either end, a gold plaque with gold wire cloisonné decoration on the base, and a solid piece of antique bone for the cover, at the time believed to be ancient Egyptian in origin • 1925 • Lavabre for Cartier Paris • Image courtesy of Cartier

Gold, carnelian, turquoise and lapis lazuli miniature broad collar featuring lapis and turquoise lotus flower terminals accompanied by hanging lapis and turquoise papyrus flowers with gold stems • Circa 332 – 246 B.C. • Early Ptolemaic Period • Egypt • The Metropolitan Museum of Art, New York City

Cartier Egyptian Revival yellow and pink gold, platinum, diamond, emerald, sapphire, onyx, and enamel sarcophagus-shaped vanity case featuring an enamel frieze of lotus blossoms, daisies and grape clusters adorning the sides, emerald carved Pharaonic faces at either end, a gold plaque with gold wire cloisonné decoration on the base, and a solid piece of antique bone for the cover, at the time believed to be ancient Egyptian in origin • 1925 • Lavabre for Cartier Paris • Image courtesy of the Cooper Hewitt, Smithsonian Design Museum, New York City

Faience Lotus Blossom and Grape Cluster Frieze • Circa 1184 - 1153 B.C. • New Kingdom • Dynasty 20 • Egypt • Brooklyn Museum, New York City

Gold and faience amulet depicting a crown of lotus blossoms atop the head of the deity Bès • Circa 943 - 1950 B.C. • 22nd - 23rd Dynasty • Egypt • Musée du Louvre, Paris

Painted plaster fragment of a polychrome tomb painting representing Nebamun who is standing in a small boat. Lotus flowers with large and broad leaves grow in the marsh to the right of the boat, a bunch of lotuses hangs over his arm and another spray is held by his wife • From the tomb of Nebamun, Thebes • Circa 1350 B.C. • 18th Dynasty • Egypt • The British Museum, London

Gold, lapis lazuli, carnelian and turquoise openwork pectoral belonging to Sheshonq II featuring an articulated floral frieze beneath a barque suspended between papyrus and ‘Upper Egyptian Lily’ supporters • Circa 890 B.C. • 22nd Dynasty • From the burial of Sheshonq II, Tanis • Egypt • Egyptian Museum, Cairo • Image courtesy of Ancient Egyptian Jewelry by Carol Andrews

Original design for Cartier’s Egyptian Revival sarcophagus vanity case made of gold, cloisonné enamel, bone or ivory, sapphires, emeralds and diamonds • 1923 • Lavabre for Cartier Paris • Image courtesy of Cartier : 1900 - 1939 by Judy Rudoe, published in association with the 1997 exhibition at The Metropolitan Museum of Art, New York City

Wooden ointment spoon in the form of a bouquet of lotus flowers. The buds are of inlaid pink stained ivory, the leaves are painted green and the swivel lid is attached by an ivory peg • New Kingdom • Egypt • The British Museum, London

Papyrus and Lotus Flowers at Abydos, a relief detail on the east wall of the Inner Osiris Hall in the Seti I Temple at Abydos • The Seti Temple at Abydos was begun by Seti I and completed by his son Ramses II in the 13th Century B.C. • Egypt • Image courtesy of Mick Palarczyk

PLATE VII - VIII • CHAPTER II EGYPTIAN ORNAMENT • 1856 • From The Grammar of Ornament by Owen Jones • Image courtesy of the University of Wisconsin at Madison Libraries

Cartier Egyptian Revival yellow and pink gold, platinum, diamond, emerald, sapphire, onyx, and enamel sarcophagus-shaped vanity case featuring an enamel frieze of lotus blossoms, daisies and grape clusters adorning the sides, emerald carved Pharaonic faces at either end, a gold plaque with gold wire cloisonné decoration on the base, and a solid piece of antique bone for the cover, at the time believed to be ancient Egyptian in origin • 1925 • Lavabre for Cartier Paris • Image courtesy of the Cooper Hewitt, Smithsonian Design Museum, New York City

Tutankhamun’s Gold Mask adorned with a mosaic of lapis lazuli, glass, obsidian, carnelian, quartz, feldspar and faience • Circa 1327 B.C. • New Kingdom • 18th Dynasty • Found in Tutankhamun’s Tomb in the Valley of the Kings • Egypt • Egyptian Museum, Cairo • Image courtesy of Egypt : 4000 Years of Art by Jaromir Malek

Detail of the emerald carved Pharaonic faces at either end of Cartier’s Egyptian Revival vanity case in the shape of an Egyptian sarcophagus • 1925 • Lavabre for Cartier Paris • Image courtesy of the Cooper Hewitt, Smithsonian Design Museum, New York City

Gold, Carnelian and Lapis Lazuli Lotus Pendant • Circa 1981 - 1550 B.C. • Middle Kingdom - Second Intermediate Period • Dynasty 12 - 17 • Egypt • The Metropolitan Museum of Art, New York City

Painted mural from the tomb of Nakht depicting a scene of fishing and fowling in the thickets of papyrus • Original mural from the north side of the west wall of Nakht's offering chapel dates between 1410 – 1370 B.C., New Kingdom, 18th Dynasty in Thebes, Egypt • Painted copy attributed to Norman de Garis Davies Circa 1908 – 1914 • The Metropolitan Museum of Art, New York City

Gold lotus ring inlayed with carnelian, lapis lazuli and turquoise • Circa 1550 - 1069 B.C. • New Kingdom • Egypt • Musée du Louvre, Paris

Funerary papyrus fragment from the Book of the Dead depicting Nefertem emerging from a lotus flower • Circa 332 - 30 B.C. • Ptolemaic Period • Egypt • Musée du Louvre, Paris

LEFT : Turquoise glazed seated figure of Isis and Harpocrates • Circa 30th Dynasty or Ptolemaic Dynasty • Egypt • The British Museum, London | RIGHT : Cartier Egyptian Revival lotus flower deity brooch depicting an authentic ancient Egyptian faience head of the goddess Isis emerging from a lotus flower, and thus transforming into Nefertem. The crowned figure, set in platinum and gold, is adorned with enamel, onyx, diamonds, emeralds, and rubies and dates to around 600 B.C. or later. The faience head, probably originally attached to a full figure, was made during the Late Period, 26th Dynasty • Brooch dates to 1927 • Made in Paris for Cartier New York to the order of Mrs. William Scoville Moore • Image courtesy of Cartier : 1900 - 1939 by Judy Rudoe, published in association with the 1997 exhibition at The Metropolitan Museum of Art, New York City

The painted wood Head of Nefertem, otherwise known as the Head from the Lotus Bloom, or Tutankhamun as the Sun God • Circa 1327 B.C. • New Kingdom • 18th Dynasty • Found in Tutankhamun’s Tomb in the Valley of the Kings • Egypt • Egyptian Museum, Cairo

PLATE IV • CHAPTER II EGYPTIAN ORNAMENT • 1856 • From The Grammar of Ornament by Owen Jones • Image courtesy of the University of Wisconsin at Madison Libraries

Faience cosmetic box in the shape of a composite capital and lid featuring a lotus motif • Circa 664 - 300 B.C. • Late Period - Ptolemaic Period • Egypt • The Metropolitan Museum of Art, New York CIty

Cartier Egyptian Revival gold, platinum, turquoise, lapis lazuli, coral, mother-of-pearl, diamond, and enamel cigarette case featuring an authentic ancient Egyptian faience amulet depicting the feline goddess Bastet seated on a papyrus column • 1929 • Cartier Paris

Faience Pectoral with Heart Amulet • Circa 1352 – 1186 B.C. • New Kingdom • Dynasty 18 - 19 • Egypt • Museum of Fine Arts, Boston

A necklace found in Tutankhamun’s tomb, composed of gold, electrum, lapis lazuli, carnelian, and feldspar, featuring a lunar disk and a cloisonné field of lilies • Image courtesy of Tutankhamun’s Tomb : The Thrill of Discovery : Photographs by Harry Burton published in association with The Metropolitan Museum of Art, New York City

Faience pylon-shaped pectoral depicting Anubis reclining atop a pedestal on the front side and double knots of Isis on the reverse side • Circa 1550 - 1069 B.C. • New Kingdom • Egypt • Musée du Louvre, Paris

A plaster cast of Cartier’s pylon-shaped pendant shown below • Circa 1913 • Lavabre for Cartier Paris • Image courtesy of Cartier : 1900 - 1939 by Judy Rudoe, published in association with the 1997 exhibition at The Metropolitan Museum of Art, New York City

Bronze Sculpture of a Sphinx • Circa 760 – 30 B.C. • Late – Hellenistic Period • 25th Dynasty • Discovered in a tomb in Giza • Egypt • Museum of Fine Arts, Boston

Cartier Egyptian Revival platinum, diamond, onyx, ruby, emerald, pearl, and moonstone pendant featuring a sphinx sitting atop a pylon-shaped frame decorated with a lotus motif • Designed in 1913 and produced as a special order in 1921 • Lavabre for Cartier Paris • Image courtesy of Cartier : 1900 - 1939 by Judy Rudoe, published in association with the 1997 exhibition at The Metropolitan Museum of Art, New York City

Bronze Sphinx representing one of the five pharaohs named King Shoshenq • Circa 945 - 712 B.C. • Third Intermediate Period • Dynasty 22 - 23 • Egypt • Brooklyn Museum, New York City

Cartier Art Deco Egyptian Revival platinum, emerald, diamond, ruby and onyx brooch featuring a decorative lotus motif • Circa 1924 • Cartier London • Image courtesy of Christie’s via the 2021 A Superlative Eye Auction

Cartier Egyptian Revival jewelry showcased in the article Trinkets of Today : Modern Jewellery • October 24, 1925 • Illustrated London News • Image courtesy of Antique Jewelry University

Fragment of a silver and gold necklace featuring a frieze of alabaster, carnelian, lapis lazuli and turquoise rosettes, palm leaves and lotus flowers • Circa 664 - 525 B.C. • 26th Dynasty • Egypt • Musée du Louvre, Paris

Cartier platinum, onyx, diamond, sapphire and coral cliquet pin in the shape of an Egyptian flabellum, a long stemmed fan formed of ostrich feathers attached to a semi-circular base • 1920 • Renault for Cartier Paris

Sacred Barque of Osiris at Abydos, a relief showing the sacred portable barque of Osiris on the north wall of the Osiris Chapel in the Seti Temple at Abydos. The barque, called Nechmet, is accompanied by colorful ceremonial fans at either end • The Seti Temple at Abydos was begun by Seti I and completed by his son Ramses II in the 13th Century B.C. • Egypt • Image courtesy of Mick Palarczyk

Sacred Barque of Amun at Abydos, a relief detail on the south wall of the Chapel of Amun in the Seti Temple in Abydos, depicting a big colorful fan made of ostrich feathers standing erect behind the barque • The Seti Temple at Abydos was begun by Seti I and completed by his son Ramses II in the 13th Century B.C. • Egypt • Image courtesy of Mick Palarczyk

Relief on the south wall of the Chapel of Amun in the Seti Temple in Abydos, depicting big colorful fans made of ostrich feathers standing behind the barque • The Seti Temple at Abydos was begun by Seti I and completed by his son Ramses II in the 13th Century B.C. • Egypt

Wooden ceremonial flabellum covered with gold leaf and inlaid with colored glass • Circa 1327 B.C. • New Kingdom • 18th Dynasty • Found in Tutankhamun’s Tomb in the Valley of the Kings • Egypt • Egyptian Museum, Cairo

PLATE V • CHAPTER II EGYPTIAN ORNAMENT • 1856 • From The Grammar of Ornament by Owen Jones • Image courtesy of the University of Wisconsin at Madison Libraries

Cartier Egyptian Revival gem-set fan or flabellum brooch featuring a steatite plaque (reverse side) bearing an inscription relating to Mentuemhat, mayor of Thebes • Circa 1923 • Cartier London • Image courtesy of Sotheby’s via the 2007 Magnificent Jewels Auction

Original page of studies featuring Egyptian motifs and jewelry from the Cartier Archive’s sketchbooks • Circa 1910 • Cartier Paris • The studies are all copied directly from Owen Jone’s 1856 Grammar of Ornament • Image courtesy of Cartier : 1900 - 1939 by Judy Rudoe, published in association with the 1997 exhibition at The Metropolitan Museum of Art, New York City

Faience pectoral depicting Anubis reclining beside a flabellum • Circa 1550 - 1069 B.C. • New Kingdom • Egypt • Musée du Louvre, Paris

Cartier Egyptian Revival gem-set fan or flabellum brooch featuring a steatite plaque bearing an inscription relating to Mentuemhat, mayor of Thebes • Circa 1923 • Cartier London • Image courtesy of Sotheby’s via the 2007 Magnificent Jewels Auction

Glazed steatite lion hunt scarab from a series which were produced during the reign of King Amenhotep III to commemorate various important royal events, in this instance the killing of 102 lions with his bow and arrow • Circa 1380 B.C. • 18th Dynasty • Egypt • The British Museum, London

Faience Aegis of Sekhmet or Bastet • Circa 664 - 30 B.C. • Late Period - Ptolemaic Period • Egypt • The Metropolitan Museum of Art, New York CIty

Glazed amulet of a lioness-headed goddess with an upreared cobra resting atop her head • Circa 720 B.C. - 525 B.C. • 25th - 26th Dynasty • Egypt • The British Museum, London

Multiple views of Cartier’s Egyptian Revival brooch featuring an authentic ancient Egyptian faience amulet depicting the Goddess Sekhmet brandishing a fan of stylized lotus blossom motifs, highlighted by a diamond-set bracelet and arm band, fitted at the waist with two gold belts of zig-zag patterning set atop a plinth backed by a hemisphere with a sun disk above, all decorated with black enamel highlighted by diamonds and accented by rubies and emeralds • Circa 1925 • Cartier Paris • Image courtesy of Sotheby’s via the 2013 Magnificent Jewels Auction

Faience menat counterpoise featuring a lioness goddess depicted wearing a sun disk atop her head and holding an ankh in one hand and a wadj-scepter in the other • Circa 1070 - 664 B.C. • Third Intermediate Period or Later • Dynasty 21 – 25 • Egypt • The Metropolitan Museum of Art, New York CIty

Original designs of brooches depicting the lion-headed goddess Sekhmet designed for Cartier Paris • Circa 1925 • Image courtesy of Cartier : 1900 - 1939 by Judy Rudoe, published in association with the 1997 exhibition at The Metropolitan Museum of Art, New York City

Cartier Egyptian Revival brooch featuring an authentic ancient Egyptian faience amulet depicting the Goddess Sekhmet brandishing a fan of stylized lotus blossom motifs, highlighted by a diamond-set bracelet and arm band, fitted at the waist with two gold belts of zig-zag patterning set atop a plinth backed by a hemisphere with a sun disk above, all decorated with black enamel highlighted by diamonds and accented by rubies and emeralds • Circa 1925 • Cartier Paris • Image courtesy of Sotheby’s via the 2013 Magnificent Jewels Auction

Multiple views of a blue glazed amuletic figure depicting a lioness-headed woman wearing a sun disk atop her head • Third Intermediate Period • Egypt • The British Museum, London

Cartier Egyptian Revival fan or flabellum brooch featuring an authentic ancient Egyptian faience fragment depicting the Goddess Sekhmet dating from around 700 B.C. The ancient green glazed faience bust of Sekhmet, depicted with a solar disc and a uraeus (cobra) upon her head, is set against a lapis lazuli sky twinkling with diamond stars bordered by a black enamel aureole and repeating diamond-set stylized lotus motif, all surmounting a stylized lotus blossom; set in platinum and 18 karat gold with a total of 11 single-cut and 89 old European-cut diamonds • Circa 1923 • Cartier London • Image courtesy of Sotheby’s via the 2013 Magnificent Jewels Auction

Faience statuette of a lion-headed goddess. Lion-headed goddesses in Egypt encompassed numerous deities including Sekhmet, Wadjet, and Bastet, among others • Circa 380 -30 B.C. • Ptolemaic Period • Dynasty 30 • Egypt • The Metropolitan Museum of Art, New York CIty

Faience bead necklace centered with a faience aegis amulet depicting a lion-headed goddess, wearing a broad collar and crowned with a sun disk • Ancient Egypt • Museum of Fine Arts, Boston

Faience aegis amulet depicting a lion-headed goddess, wearing a broad collar and crowned with a sun disk • Circa 760 - 332 B.C. • Late Period • 25th Dynasty • Egypt • Musée du Louvre, Paris

Cartier Egyptian Revival gold, platinum, ruby, emerald, diamond and onyx brooch featuring an authentic ancient Egyptian faience statuette of Sekhmet, the lion-headed goddess • Faience figurine dates from the second half of the first millennium B.C. • Brooch dates to 1925 • Cartier Paris • Image courtesy of Cartier : Innovation Through the 20th Century published in association with the 2007 exhibition at The Moscow Kremlin Museums, Moscow

Illustrations depicting black granite statues found in the southern enclosure at Thebes • Plate from the Description de l'Egypte : Volume III : Second Edition, Paris, 1822 • Image courtesy of the Library of Congress, Washington D.C.

Faience necklace counterpoise aegis depicting Sekhmet wearing a broad collar and crowned with a sun disk • Circa 1295 – 1070 B.C. • New Kingdom, Ramesside • Dynasty 19 - 20 • Egypt • The Metropolitan Museum of Art, New York CIty

Cartier Egyptian Revival fan or flabellum brooch featuring an authentic ancient Egyptian faience fragment depicting the Goddess Sekhmet dating from around 700 B.C. The ancient green glazed faience bust of Sekhmet, depicted with a solar disc and a uraeus (cobra) upon her head, is set against a lapis lazuli sky twinkling with diamond stars bordered by a black enamel aureole and repeating diamond-set stylized lotus motif, all surmounting a stylized lotus blossom; set in platinum and 18 karat gold with a total of 11 single-cut and 89 old European-cut diamonds • Circa 1923 • Cartier London • Image courtesy of Sotheby’s via the 2013 Magnificent Jewels Auction