Tutankhamun: Treasures of the Golden Pharaoh, Saatchi Gallery, London

While memories of queues round the British Museum in 1972 and filling the O2 Arena in 2007 remain etched in visitors’ minds, this new exhibition of the world’s most famous archaeological discovery presents 150 original artefacts from Tutankhamun’s tomb, with 60 on display for the first time outside Egypt. 

The exhibition has already had  successful runs in Los Angeles and Paris. But the Saatchi Gallery was an interesting choice as its London venue, as its small spaces across different floors do not perhaps lend themselves to huge visitor numbers. 

Treasures of the Golden Pharaoh focuses on interpreting the meaning and significance of the objects found in Tutankhamun’s tomb and exploring his perilous journey through the afterlife. At its heart is a representation of Tutankhamun’s mummified body, displayed with the gold and jewelled bands that wrapped around him, alongside personal items such as his golden sandals. 

There is no denying the objects are stunning – the craftsmanship of the miniature canopic coffin and the gold-inlaid pectoral chain are breathtaking. But it is the inclusion of the more practical items that lift the exhibition to a more relatable sphere. For instance, the beautiful, small, wooden armchair with ebony and ivory inlay reminds us that Tutankhamun was only nine when he ascended the throne, his death coming just 10 years later. 

It is incredible that a pair of linen gloves has survived 3,000 years, and its bring us tantalisingly closer to the man behind the mask. The painted, wooden food containers are memorable for their simplicity and functionality. There has been criticism that Tutankhamun’s death mask does not feature in the exhibition, but it is worth noting that it didn’t appear at the O2 in 2007 either. 

Not only is it deemed too fragile  to  travel, but following damage to the mask in August 2014, when the pharaoh’s beard was knocked off as staff at Cairo’s Egyptian Museum removed it from its display case, and subsequently badly repaired, the policy is to limit risks to such an iconic object. 

The practicalities for the front-of-house team to manage the smooth running of the exhibition have been a challenge, despite the use of timed tickets. Interpretation has been carefully considered, with text panels above and below the objects. There are also short video presentations above some cases. Audioguides explore objects in more detail, but it is a shame they cost an extra £6 (£5 in advance).

It is encouraging to see a “relaxed opening” scheduled for visitors with additional needs such as autism or learning difficulties, particularly as the queues and crowds would make it difficult for many to visit.

The exhibition is expensive, with prices for peak times starting from £28.50 for adults. For us to visit as a family of five at the weekend, it would cost £127.50, which is clearly beyond the means of many. Although expensive for museum and gallery exhibitions, set in the context of London tourist attractions, it is on a par with a visit to the London Eye, which would cost us £120, and significantly cheaper than Harry Potter World at £188.

More thought could have been given to a family ticket, which appears to be offered only during school holidays. But I was pleased to see a school group on my visit, marvelling at the treasures while bravely battling through the crowds with their clipboards. 

In terms of the approach to interpretation, understanding why objects were chosen and their function on the journey through the afterlife is fascinating, and goes beyond the pure aesthetic value of displaying the more eye-catching artefacts. 

The last section of the exhibition focuses on the discovery of the tomb by Carter. More interesting than the well-known relationship between Lord Carnarvon and the archaeologist is the story of the water-boy Hussein Abdel-Rassoul, who actually discovered the site by uncovering a step in the sand. 

There is a memorable photograph by Harry Burton of the water-boy wearing King Tutankhamun’s chain. The image provided income for the rest of his life, as he stood proudly at the entrance to the tomb ready to share his story. This is the angle that illuminates the world-famous discovery in a different way, bringing a poignancy and focus on what the Tutankhamun discovery meant to native Egyptians that begs for more exploration. 

But if there is something missing, it is the story of how these objects have survived in such perfect condition for 3,000 years, and how the conservation work has kept them in such condition for the past 100 years. What are the challenges to keep them like this for future generations? An appreciation of the costs of looking after such objects goes some way to mitigate the high admission price. 

At the end of the exhibition, you come face to face with a photo of King Tutankhamun and have a chance to explore a digital table featuring x-rays and CT scans of his body. It feels like a last-minute addition and does the visitor an injustice. The popularity of the British Museum’s Egyptian Mummies: Exploring Ancient Lives in 2014 shows the thirst for a more scientific approach to understanding the past. 

Billed as the last chance to see Tutankhamun’s treasures before they go on permanent display at the Grand Egyptian Museum in Cairo, which is due to open this year, it is an exhibition that will stay in the memory long after the steep cost is forgotten. With the knowledge that ticket prices are going to support the new museum, you can console yourself that you are helping to preserve these amazing objects for hopefully another 3,000 years.