2011. "A Ceramic Divinity for a Divine Ceramicist." In D. Aston, B. Bader, C. Gallorini, P. Nicholson, and S. Buckingham (eds.) Under the Potter's Tree: Studies on Ancient Egypt Presented to Janine Bourriau on the Occasion of Her 70th Birthday. OLA 204. Leuven: Peeters: 513-520. (original) (raw)

Four Wooden New Kingdom Female Statuettes in the Egyptian Museum, Cairo

The author analyzes four wooden female statuettes from the collection of the Egyptian Museum in Cairo. All of them represent nude females and have many features in common. They were rendered in a way that emphasized their sexuality and fertility. Due to the lack of inscriptions their dating and function could be reconstructed only on the basis of analogies.

Belzoni, the Egyptian Hall, and the Date of a Long-Known Sculpture (1989)

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A Female Egyptian Statuette in the Museo Arqueológico Nacional, Madrid

Trabajos de Egiptología/ Papers on Ancient Egypt, 2022

In this paper, a silver sculpture that entered the Egyptian collection of the Museo Arqueológico Nacional, Madrid, in 2005 is studied. It is a striding figure on a rectangular base, registered as an image of the Egyptian goddess Khereduankh, and dated to the Ptolemaic Period. In this study, a possible attribution to the goddess Renpetneferet is not ruled out and the results of a metallographic analysis are used to establish a more accurate date of the production of the sculpture. Keywords: Imhotep, Khereduankh, metallographic analysis, Ptolemaic Egypt, Renpetneferet, silver Una estatuilla femenina egipcia del Museo Arqueológico Nacional de Madrid En este artículo revisamos una escultura en plata que entró a formar parte de las colecciones del Museo Arqueológico Nacional, Madrid, en el año 2005. Se trata de una figura en pie, en actitud de marcha, sobre pedestal rectangular, que es presentada en la institución como una imagen de la divinidad Khereduankh y fechada en época ptolemaica. Consideramos que no debe descartarse una posible atribución a la diosa Renpetneferet y, mediante los resultados de un análisis metalográfico realizado sobre la pieza, proponemos una cronología más ajustada para la elaboración de la escultura. Palabras clave: análisis metalográfico, Egipto ptolemaico, Imhotep, Khereduankh, plata, Renpetneferet. Open Access: https://www.ull.es/revistas/index.php/trabajos-egiptologia/article/view/5461

AN ENIGMATIC GRANITE FRAGMENT IN THE GAYER-ANDERSON MUSEUM (BEIT AL-KRITLIYYA), CAIRO

Egypt is filled with museums containing Pharaonic objects; one of the lesser known of these is the Gayer-Anderson Museum (Beit al-Kritliyya), constituted of a pair of Ottoman houses set into the walls of the Ibn Tulun mosque. 1 At one time several such houses surrounded the mosque, but all of these were removed by 1930, leaving only the two that had been first used as a residence by " John " Gayer-Anderson, and, upon his death, converted into a museum filled with his collection of Pharaonic, Coptic, and Islamic objects from Egypt and elsewhere. 2 It is one of the ancient Egyptian artifacts therein that is the subject of this small offering to Betsy Bryan, who is an inspiration, mentor, and friend. Gayer-Anderson was a noted collector whose acquisitions, including sculptures, reliefs, coffins, scarabs, and ostraca, are now found in museums throughout the world. The largest collections are now housed in the Medel-havsmuseet in Stockholm, the Fitzwilliam Museum in Cambridge, and the Portland Art Museum in Portland, Or-egon, as well as in his former Cairo residence, while smaller groups of objects can be found in the British Museum and the Brooklyn Museum of Art. 3 One sculptural piece in the Gayer-Anderson Museum in Cairo is an unprovenanced fragment of carved granite, No. 2397 in the museum register (fig. 1). Although Gayer-Anderson kept detailed notes as to when and where he acquired objects, as well as their prices, the original register book for the collection is unavailable as curators state that it was irretrievably damaged in the 1970s if not earlier. Thus, there is no information available concerning the object, although it is most probable that Gayer-Anderson acquired it on one of his frequent trips to the south of Egypt. On the basis of its current dimensions and the rough back, it is clear that the fragment has broken off from a larger (even monumental) figure. The intact portion has been polished to a high gloss. It measures 11.20 cm in height, and its width ranges from 13 to 25 cm. This curiously shaped piece has two bumps on top, flanking a low ridge. Slightly lower down, eyes are fashioned on either side, each one defined by a clear outline in raised relief. The space between the eyes is modelled, and a curving line carved in high relief (loosely speaking, where a mouth might be), incised with shallow vertical lines, edges the whole.