Cut into the limestone cliffs of the Sheikh-Abd-el-Gournah necropolis is the tomb of Nebamun and Ipuky (TT181), sculptors at the Small Temple of Medinet Habu.

Left incomplete, the tomb faced deterioration from flooding, mudslides, and vandalism, resulting in the deliberate removal or irreparable damage to its original decoration.

In a meticulous restoration, I revived a compelling scene portraying the Chief Sculptor overseeing a bustling workshop. This tableau provides glimpses into daily life and valuable insights into ancient craftsmen's tools and techniques, aiding in the interpretation of archaeological discoveries.

The Abydos King List, intricately carved into the walls of Seti I's Great Temple at Abydos, meticulously records the names of 76 rulers within cartouches, spanning a historical timeline of the preceding 1,600 years.

Originally, the wall reliefs were adorned with vibrant paint, employing a standard palette of colours, a technique preserved on reliefs in other sections of the temple.

In my reconstruction, I meticulously reapplied the paint layer, creating a vivid and colourful restoration that revives the original brilliance of the artwork.

Userhat, a wab-priest in the Temple of Thutmosis I, commissioned the creation of a sumptuously decorated tomb in Thebes (TT51).

Revered as among the finest examples of Dynasty 19 art, the tomb's decoration showcases the opulence of Userhat's era. Unfortunately, the paintings within the Tomb of Userhat faced significant degradation over time, largely attributed to vandalism.

In restoring this artwork, I have meticulously revived its original splendour, addressing not only gaps now filled with concrete but also remedying faded and flaking paint.

This fresco, originally part of the lost Tomb of Nebamun, suffered the unfortunate fate of being forcibly removed from the tomb walls by unscrupulous archaeologists and antiquities dealers.

Despite this loss, the surviving fragments of the chapel's decoration offer glimpses into the original artwork's magnificence and opulence.

In this reconstruction, I have painstakingly pieced together the artwork based on three fragments that Egyptologists believe originated from the same painting, endeavouring to restore and capture the grandeur of the initial masterpiece.