Ancient Egypt Amarna Royal Women Akhenaten Nefertiti Daughter Jewelry Monotheism

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Seller: ancientgifts (4,778) 100%, Location: Lummi Island, Washington, Ships to: Worldwide, Item: 382160222084 “Royal Women of Amarna: Images of Beauty from Ancient Egypt” by Dorothea Arnold. NOTE: We have 75,000 books in our library, almost 10,000 different titles. Odds are we have other copies of this same title in varying conditions, some less expensive, some better condition. We might also have different editions as well (some paperback, some hardcover, oftentimes international editions). If you don’t see what you want, please contact us and ask. We’re happy to send you a summary of the differing conditions and prices we may have for the same title. DESCRIPTION: Hardcover with dustjacket. Publisher: Abrams (1997). Pages: 169. Size: 11½ x 9 x 1 inch; 2½ pounds. Summary: During a brief seventeen-year reign (ca. 1353-1336 B.C.) the pharaoh Amenhotep IV/Akhenaten, founder of the world's first known monotheistic religion, devoted his life and the resources of his kingdom to the worship of the Aten (a deity symbolized by the sun disk) and thus profoundly affected history and the history of art. The move to a new capital, Akhenaten/Amarna, brought essential changes in the depictions of royal women. It was in their female imagery, above all, that the artists of Amarna departed from the traditional iconic representations to emphasize the individual, the natural, in a way unprecedented in Egyptian art. A picture of exceptional intimacy emerges from the sculptures and reliefs of the Amarna Period. Akhenaten, his wife Nefertiti, and their six daughters are seen in emotional interdependence even as they participate in cult rituals. The female principle is emphasized in astonishing images: the aging Queen Mother Tiye, the mysterious Kiya, and Nefertiti, whose painted limestone bust in Berlin is the best-known work from ancient Egypt - perhaps from all antiquity. The workshop of the sculptor Thutmose - one of the few artists of the period whose name is known to us - revealed a treasure trove when it was excavated in 1912. An entire creative process is traced through an examination of the work of Thutmose and his assistants, who lived in a highly structured environment. All was left behind when Amarna was abandoned after the death of Akhenaten and the return to religious orthodoxy. CONDITION: LIKE NEW. HUGE unread hardcover w/dustjacket. Abrams (1997) 169 pages. Book is in unread and new condition in every respect EXCEPT there is a gift dedication paste-down label affixed to the front free page (the first unprinted page immediately beneath the front cover). It's a relatively small (4x3 inch) sticker which states that the book is a gift to: . Otherwise the book is unblemished and pristine in every respect. Pages are clean, crisp, unmarked, unmutilated, tightly bound, unambiguously unread. Dustjacket and covers are clean and without blemish. Except for the paste-down label affixed to the front free page, the condition of the book is otherwise entirely consistent with a new book from an open-shelf bookstore environment such as Barnes & Noble, or B. Dalton. Satisfaction unconditionally guaranteed. In stock, ready to ship. No disappointments, no excuses. PROMPT SHIPPING! HEAVILY PADDED, DAMAGE-FREE PACKAGING! #8721a. PLEASE SEE DESCRIPTIONS AND IMAGES BELOW FOR DETAILED REVIEWS AND FOR PAGES OF PICTURES FROM INSIDE OF BOOK. PLEASE SEE PUBLISHER, PROFESSIONAL, AND READER REVIEWS BELOW. PUBLISHER REVIEWS: REVIEW: Surveying the depiction of the female form during Egypt's Amarna period (circa 1353-1336 BC), this is the catalogue of an October 1996 exhibition at the Metropolitan Museum of Art, New York. During the reign of Amenhotep IV, also known as Akhenaten, Egyptian art saw a brief flowering of expressive, intimate images. This period is especially interesting because many well-preserved pieces exist, including portraits of Queen Nefertiti and her six daughters. The book traces the evolution of the elegant image of Nefertiti during the reign of Akhenaten, as well as the representations of her children, which are remarkable for their sensuous and youthful eroticism. Other depictions of royal women from the court at Amarna include a delicately carved bust of a princess that shows a close affinity to works of art from the tomb of Tutankhamun. Many of the pieces came from the workshop of Tuthmose, sculptor to the king and one of the few artists of Ancient Egypt whose name is known. REVIEW: Exhibition catalogue for an exhibition running from Oct. 8, 1996 through Feb. 2, 1997 at the Metropolitan Museum of Art. Includes bibliographical references and index. REVIEW: Surveying the depiction of the female form during Egypt's Amarna period (circa 1353-1336 BC), this is the catalogue of an October 1996 exhibition at the Metropolitan Museum of Art, New York. REVIEW: Dorothea Arnold, Lila Acheson Wallace curator in charge of the Department of Egyptian Art at the Metropolitan Museum, has provided a landmark art-historical exploration of a period when the confluence of religion, art, and politics resulted in a unique epoch. James P. Allen, associate curator, Department of Egyptian Art, has elucidated this revolutionary era in the history of religion, a time when the governing principle of life was a "sole god, with no other except him," light itself. In her brief biographical summaries, the Egyptologist Lyn Green, lecturer at Scarborough College, the University of Toronto, places the royal women of Amarna in genealogical context. REVIEW: Dorothea Arnold is Lila Acheson Wallace Curator in Charge of the Department of Egyptian Art at The Metropolitan Museum of Art. She is the co-author of" The Royal Women of Amarna: Images of Beauty from Ancient Egypt "and editor of "Ancient Art from the Shumei Family Collection," both published by the Museum. REVIEW: Dorothea Arnold is Lila Acheson Wallace curator, Department of Egyptian Art, The Metropolitan Museum, New York. James P. Allen is Associate Curator, Department of Egyptian Art, The Metropolitan Museum of Art, New York. Lyn Green is Lecturer, Scarborough College, University of Toronto. TABLE OF CONTENTS: Director's Foreword. Acknowledgments. List of Illustrations. Chronology: The Amarna Period. Genealogy: The Royal Family of Amarna. Map of Egypt. The Religion of Amarna by James P. Allen. The Royal Women of Amarna: Who Was Who by L. Green. An Artistic Revolution: The Early Years of King Amenhotep IV ( Akhenaten) by Dorothea Arnold. The Workshop of the Sculptor Thutmose by Dorothea Arnold. Aspects of the Royal Female Image During the Amarna Period by Dorothea Arnold. Youth and Old Age: The Post-Amarna Period by Dorothea Arnold. Checklist of the Exhibition. Notes. Glossary. Bibliography. Index. PROFESSIONAL REVIEWS: REVIEW: An introduction and guide to the Metropolitan Museum of Art's exhibition titled "Queen Nefertiti and the Royal Women: Images of Beauty from Ancient Egypt". The author explores the dramatic artistic revolution which took place during the 17-year reign of the Pharaoh Amenhotep IV/Akhenaten (ca. 1353- 1335 BC) during which time these fine images of Queen Nefertiti and other royal women, including Nefertiti's six daughters, were created. Includes a chronological chart of the Amarna period, a genealogy of the royal family, and a checklist of works on exhibit. Superb color plates. [Book News]. REVIEW: This lavishly illustrated book should appeal to many different audiences ... the volume easily stands independent as an accessible source of basic background and current scholarship on the period. [Choice Reviews]. READER REVIEWS: REVIEW: "Royal Women of Amarna" portrays not only some of the most beautiful pieces created by any craftsmen of the ancient world with both text and fabulous plates, but also the personalities of the women who inspired such timeless masterpieces. This work is more than a mere collection of museum pieces; it tells the tale of every known Queen and princess of the period, spanning from the reign of Amenhotep III to that of his son Akhenaten, even those princesses who are attested by name only in the historical record. The possible reasons for the prominence of females during this period are examined, as well as the symbolism embedded in the art: a personal fascination for me was the theory that the shape of Nefertiti's blue crown is based on the hairstyle worn by women about to give birth, stressing both her fertility and her link to Tefnut. Whilst examining the women who made up a great part of his life, the book also gives some insight and wonderful, suggestive hints towards the personality of Akhenaten, himself. Again, the plates are the best one could ever hope for, making each piece seem tangible to those who have never seen them first hand(including myself) but plan to (including myself:), and the book would be worth purchasing for them alone if the text were not just as compelling. "The Royal Women of Amarna" is a must for any Amarna bookshelf and works of the late, great Cyril Aldred should find no shame in sharing company with them. REVIEW: A lovely book full of art from the Eighteenth dynasty, lots of photographs and essays. Catalog from the Metropolitan Museum's exhibition, this is worth the price and time to find it. REVIEW: For an exhibition accompaniment this is an excellent book with many very high quality images - some in color; some in black and white. It is getting hard to find so probably time to grab one if you find a copy. REVIEW: Five stars! If you love Ancient Egypt’s 18th Dynasty, you will love this book! REVIEW: I am very pleased with the book. The photos are amazing. ADDITIONAL BACKGROUND: REVIEW: The pharaoh Akhenaten’s sarcophagus informs the modern viewer of the atypical role his wife, queen Nefertiti, played in his controversial regime. Nefertiti’s regality and presumed divinity is invoked through the decorative and symbolic imagery applied to the container. The manner in which the queen is portrayed is indicative of the power she enjoyed as well as her spiritual and political responsibilities. Akhenaten’s rule in the Eighteenth Dynasty marked a period of scorned political, religious, and artistic change (Reeves, 18). Akhenaten was intensely devoted to Aten, a mythological sun disk originally associated to the sun god, Re-Horakhty (Reeves, 18). Aten was viewed by Akhenaten as a god in its own right, leading the pharaoh to denounce the popular worship of any other Egyptian gods (Reeves, 18). The pharaoh’s religious preferences spurred the break of many ancient Egyptian conventions, including the costly destruction of evidence of past polytheistic traditions (Reeves, 18). Akhenaten’s reign was also associated with a new, stylized and somewhat strange, artistic style. The royal family was frequently depicted engaging in scenes of relaxed domesticity, a genre previously unassociated with ancient Egyptian royals. The manner in which royal individuals were rendered was also unusual, with figures sporting potbellies, wide hips, and exaggerated, elongated, facial features. The roles assigned to Akhenaten’s wife were also unorthodox, as demonstrated by the pharaoh’s sarcophagus. Imagery related to funerary practice supports evidence of Nefertiti’s unconventional role in her husband’s regime. The ornamentation of her husband’s Aswan red granite sarcophagus from the Royal Tomb at Amarna indicates that the queen enjoyed political privilege and divine status (Arnold, 94). At each of the four corners of the intricately ornamented sarcophagus, female figures were carved in high relief. The figures were positioned with arms outstretched, enveloping the container. By encircling the container with their bodies, the figures appear to protect the contents of the sarcophagus, acting as safeguards for the king and his remains in his afterlife (Arnold, 94). Such imagery first appeared on an object associated with an earlier 18th Dynasty ruler, Amenhotep II (Reeves, 105). Like Akhenaten’s sarcophagus, Amenhotep’s canopic box, a container designed to hold the pharaoh’s embalmed remains, was adorned with female figures at each of the box’s four corners (Reeves, 105). These forms have been identified as renderings of the tutelary deities Isis, Nephthys, Selkis, and Neith (Reeves, 105). The application of the goddesses to the container suggests that the remains of the pharaoh’s organs necessitated divine protection. In the case of Akhenaten’s sarcophagus, however, depictions of the four deities are replaced by repetitions of Nefertiti’s portrait positioned at each of the container’s four corners (Arnold, 95). The queen, identified by inscribed text on fragments related to the sarcophagus, appears wearing traditional robes and an elaborate headpiece, which incorporates sun disk imagery (Arnold, 95). Nefertiti’s appearance lacks some of the physical attributes typically correlated with the queen; here, her forehead and nose are clearly defined and her neck does not protrude forward. Art historians have also identified inconsistencies in eye shape between Nefertiti’s semblance on her husband’s sarcophagus and other renderings of the queen (Arnold, 95). Although Arnold suggests that the queen’s appearance results from stylistic hallmarks of the workshop that produced the sarcophagus, perhaps Nefertiti’s distinct artistic representation on Akhenaten’s sarcophagus was employed to differentiate her divine, protective duties from her domestic or regal responsibilities (Arnold, 95). Through the application of Nefertiti’s portrait to her husband’s sarcophagus, the queen was assigned a tutelary role; she was to be viewed as a protector of her husband’s body and legacy after his death. Moreover, the queen’s appearance in the place of Isis, Nephthys, Selkis, and Neith likened Nefertiti to the divine, a somewhat abstract concept in ancient Egyptian culture (Arnold, 96). She was to be viewed as a manifestation of god, an attribute typically associated with those figures (Arnold, 96). Nefertiti’s status as both goddess and queen, cultivated by imagery presented by Akenaten’s sarcophagus, mirrors her husband’s self-prescribed role as dual god and king (Samson, 88). Samson asserts that the prevalence of regal imagery of the queen suggests that Nefertiti was expected to assume the throne for a period after her husband’s death (Samson, 88). Much of the imagery that relates Nefertiti to her political responsibilities does not correspond to a funerary context, but Nefertiti’s appearance on Akhenaten’s sarcophagus directly links the queen’s political power to her husband’s death. Akhenaten’s view of Nefertiti as protector of his body suggests that the pharaoh was confident that his wife could honor his legacy through assuming his political role after his death in the absence of an immediate successor. This sentiment relates to a functionalist theory referenced by Pearson in The Archaeology of Death and Burial. Anthropologists Malinowski, Radcliffe-Brown and Evans-Pritchard state that, “the ceremonial of death, which ties the survivors to the body and rivets them to the place of death…counteracts the centrifugal forces of fear, dismay, demoralization, and provides the most powerful means of reintegration of the group’s shaken solidarity and of the re-establishment of its morale” (Pearson, 23). The integration of Nefertiti’s imagery into an object associated with funerary ritual served to promote the notion of divine protection of the deceased pharaoh’s body and defense of political stability while offsetting some of the uncertainty associated with the death of a controversial leader. While the tradition of incorporating protective female figures into the designs of sarcophagi continued after the reign of Akhenaten, his sarcophagus was the only burial container to include imagery of Nefertiti; the sarcophagi of later rulers such as Tutankhamen, Haremhab, and Ay returned to the original model of channeling divine protection through the depiction of Isis, Nephthys, Selkis, and Neith, identified through textual inscriptions (Aldred, 32). The sarcophagus of Ramesses III only utilizes renderings of two of the goddesses, Isis and Nephthys (Barbotin). The manner in which Nefertiti’s portrait is incorporated into the design of her husband’s sarcophagus is indicative of several noteworthy aspects of her duty as wife and queen during Akhenaten’s reign. Her representation as protector of her husband’s remains and her assumption of the role of goddess in the container’s composition demonstrate the queen’s divine status and her assumed capacity to promote Akhenaten’s legacy after his death. REVIEW: The ancient Egyptians aren't really known as a radical bunch. They had a good thing going, and they stuck with it. Consistency. That's what built the pyramids, and that's what kept the Egyptian empire intact for the better part of 3,000 years. Amarna, then, is a little episode that one suspects the Egyptians happily would have swept under the rug. They did, in fact, until 100 years ago. That's when Egyptologists began piecing together the upheaval that led to the founding of the city of Amarna. The 250 artworks and artifacts included in "Pharaohs of the Sun: Akhenaten, Nefertiti, Tutankhamen" shed some light on what scholars know. The exhibition opens Sunday at the Los Angeles County Museum of Art, after drawing more than 200,000 visitors in Boston. At the heart of the Amarna experiment is the pharaoh Akhenaten, who is still the subject of much debate (see story at right). But one thing is for certain: For the 17 years he was in charge, things were really different in Egypt. Back around 1400 BC, Egypt was at the height of its imperial power. The religion was polytheistic; armchair Egyptologists may recall Osiris, Ra and Ptah, though local or household gods were worshiped as well. The god Amen had been elevated to a national deity and had a particularly powerful priesthood. Change was brewing by about 1360 BC, when a pharaoh named Amenhotep III declared himself a god while he was still alive, even though pharaohs typically weren't deified until their death. Then, Amenhotep IV, around 1353 BC, decided everyone should worship Aten, a god represented as the sun's disk and the god most closely associated with the pharaohs. Amenhotep IV changed his name to Akhenaten, meaning "one who is effective for Aten." He outlawed Amen and banished Amen's high priest to the quarries. Then he moved 175 miles north and built a brand-new city on the Nile dedicated to Aten. Originally called Akhetaten ("Horizon of Aten"), it is now referred to as Amarna, the name of a nearby village. "We don't have every bit of writing, so we have to piece the history together," said Egyptologist Nancy Thomas, LACMA's deputy director of curatorial affairs. "But indications are that Akhenaten chose to worship the Aten, and to achieve that he had to relocate everything. All the temples in Thebes were dedicated to other gods . . . so he needed to build new temples and start over." In a very short time, Amarna housed an estimated 20,000 people or more. "It's like GM moving to a new site," Thomas said. "Everyone sort of had to follow the royal court." Earlier museum shows have explored facets of Amarna. The Metropolitan Museum of Art, for instance, curated "The Royal Women of Amarna" in 1997. Others have focused on Tutankhamen or Akhenaten specifically. "Pharaohs of the Sun," curated by Rita Freed of the Boston Museum of Fine Arts, takes the largest possible view. "It's very rare that you have an exhibition that tries to tell the whole story," said Yvonne Markowitz, a researcher at the Boston museum who worked on the exhibition. "We have these two big aspects: the personalities--which don't always stand out so uniquely in Egyptian history--and the city. "We know a lot about the city because it was abandoned, and it wasn't a continued area of settlement. Usually people build on top and top and top," Markowitz said. "Excavators were able to go back to the city and look at the layout." Border markers were carved into the cliffs looming on either side of the Nile. Below lay a highly structured and symbolically designed city. On the eastern bank were the buildings, including the Great Temple, which covered 1.8 million square feet. "Pharaohs of the Sun" includes a scale model of Amarna and aerial photographs of the excavation. Barry Kemp, the archeologist currently working at the site, was a consultant on the model and provided details from discoveries made just last year. The temples in Amarna were markedly different. Traditional temples had a series of chambers leading to a holy--and darkened--center where the carved statues of the gods were kept. Because the god Aten was the sun-disk, the temples dedicated to him had no roof, so the sun's rays could shine in. All these new temples, tombs and palaces meant lots of new art. Concurrent with the religious changes--or perhaps, as with the temples, because of them--there was a dramatic shift in artistic style. The stiff, square-shouldered physiques became softened, in some cases even paunchy. Some facial features became more naturalistic--but also more stylized. Two colossal statues of Akhenaten, each about 7 feet tall, are particularly striking examples. "You can't help but say this is a very odd physique," Markowitz said. "There's a tendency to say, 'What would make someone look this way?' . . . I think it's responding to some kind of inner psychological or spiritual motive, trying to express something different from the past. It's quite deliberate." REVIEW: In the Ancient Egyptian World men and women did not share equality in terms of their status in society. This is perhaps the reason as to why Nefertiti is admired, respected and remembered due to her sharing status and authority with her husband, Akhenaten. In the fourth year of Akhenaten's reign, Nefertiti and himself moved the capital of Thebes to Amarna, not only did the royal couple move the capital of the country but they also changed the religious tradition of polytheism (belief in multiple gods) to monotheism (belief in one god). The one god they chose to solely worship was the sun god, The Aten also known as the Sun Disc. Once all these changes had been made to the religious life of Egypt, Akhenaten officially changed his name to Akhenaten and Nefertiti was now known as Neferneferuaten-Nefertiti. The changing of her name was a sign of the ever-increasing importance of the cult of the Aten. This radical religious revolution increased the amount of power that Nefertiti was associated with, she was heavily involved in not only religious but also political issues, her role as a royal queen and wife of a pharaoh increased significantly when the religious revolution occurred. Because of the royal family status, Nefertiti and her children would have lived in the Great Royal Palace in the centre of the city and perhaps also at the Northern Palace as well. Herself and the family were featured prominently in scenes at both of the palaces that they resided in and in the tombs of the nobles. Because she is shown so prominently this indicates the effect of her leadership. She had her own official named Merye II, his duties would have included all things to do with the household due to Nefertiti's busy and renowned roles. The fact that Nefertiti has her own official to keep the household intact suggests that she had a demanding role. During the reign of her husband, Akhenaten, Nefertiti was given unprecedented rule, authority and power. The Coregency Stela is seven piece stela fragments made from limestone found in a tomb at Amarna, the stela shows the figures of Akhenaten, Nefertiti and Meritaten. On the Coregency Stela it shows Nefertiti as a co-regent with her husband. The excavations at Amarna have established conclusively that Nefertiti was eclipsed as the dominant figure beside her husband at the time after the twelfth year of his reign and is plausable she may have been given the status of co-regent, equal in status to the pharaoh. Nefertiti was a full partner in the religious reformation, in many depictions she is shown with Akhenaten worshipping the Aten. She was involved in all the functions associated with religious and political issues. In one scene she is shown killing the enemies of Egypt, this was usually the role of a Pharaoh, thus giving more evidence that her authority and status was equal to the pharaoh. The royal women of Amarna played a large and needed role in royal and religious functions, always represented being powerful. Tiye and Nefertiti were the most prominent and significant women in the Amarna period. 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After my retirement however, I found myself drawn to archaeology as well. Aside from my own personal collection, I have made extensive and frequent additions of my own via purchases on Ebay (of course), as well as many purchases from both dealers and institutions throughout the world - but especially in the Near East and in Eastern Europe. I spend over half of my year out of the United States, and have spent much of my life either in India or Eastern Europe. In fact much of what we generate on Yahoo, Amazon and Ebay goes to support The Hermitage Museum in St. Petersburg, as well as some other worthy institutions in Europe connected with Anthropology and Archaeology. I acquire some small but interesting collections overseas from time-to-time, and have as well some duplicate items within my own collection which I occasionally decide to part with. Though I have a collection of ancient coins numbering in the tens of thousands, my primary interest is in ancient jewelry. My wife also is an active participant in the "business" of antique and ancient jewelry, and is from Russia. I would be happy to provide you with a certificate/guarantee of authenticity for any item you purchase from me. There is a $2 fee for mailing under separate cover. Whenever I am overseas I have made arrangements for purchases to be shipped out via domestic mail. If I am in the field, you may have to wait for a week or two for a COA to arrive via international air mail. But you can be sure your purchase will arrive properly packaged and promptly - even if I am absent. And when I am in a remote field location with merely a notebook computer, at times I am not able to access my email for a day or two, so be patient, I will always respond to every email. Please see our "ADDITIONAL TERMS OF SALE." TRANSLATE Arabic Chinese French German Greek Indonesian Italian Hindi Japanese Korean Swedish Portuguese Russian Spanish Condition: NEW. See detailed description below., Material: Paper, Title: Royal Women of Amarna, Subtitle: Images of Beauty from Ancient Egypt, Format: Hardback

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