CIPEG Journal: Ancient Egyptian & Sudanese Collections and Museums

The Egyptian and Nubian Collection of La Plata Museum, Argentina

Andrea Paula Zingarelli — 2024-09-25

The Museum of La Plata (Museo de La Plata), an institution affiliated with the University of La Plata Argentina, houses an Egyptian collection formed between the late nineteenth century and the 1960s. This article presents the motivations for its origin and development, and mentions the typology of the objects and the characteristics of the pieces that make up the collection of Egyptian antiquities, including Nubian artefacts. The sources that account for these processes and the bibliography corresponding to the object studies make a better understanding of this collection possible.

Museum Matters: A Panel Discussion Series Powered by CIPEG

Caroline M. Rocheleau — 2023-11-14

This short article presents CIPEG’s new virtual programme Museum Matters: A Panel Discussion Series Powered by CIPEG. It also serves as an introduction to the four invited articles derived from presentations at the inaugural event that focussed on the formation of Egyptian and Sudanese collections in Latin America and the Caribbean.

Les collections égyptologiques au Brésil : une histoire, une identité et un pouvoir construits

Cintia A. Gama-Rolland — 2023-11-14

This article aims to present certain Brazilian Egyptology collections such as those of the Museu de Arqueologia e Etnologia da USP – São Paulo, the Museu de Arte de São Paulo, the Casa Museu Eva Klabin Rapaport – Rio de Janeiro as well as that of the National Museum in Rio de Janeiro. Looking beyond the objects, it is the context in which these collections formed that is of interest. Indeed, these antiquities were collected by a social elite wishing to connect to what was considered scholarly and socially acceptable in upper social echelons.

Front Matter

Die Redaktion — 2023-11-14

A Digital Presence in the Time of COVID-19: Reflections on Past, Present and Future Strategies Using Digital Technologies at Swansea University's Egypt Centre

Kenneth Griffin — 2023-02-13

The Egypt Centre houses around 6,000 artefacts from the ancient Mediterranean and is internationally recognised for innovation in widening participation and education. The museum plays an integral role in teaching and research across Swansea University and was awarded The Queen’s Award for Voluntary Service (2018) for its volunteer programme. Officially opened to the public and students in 1998, the museum was pioneering as it made its complete collection available online (2005). It has recently revamped its online catalogue, which includes a number of additional digital educational resources. This paper reflects upon the impact of COVID-19 on teaching, research and public engagement that takes place at the Egypt Centre. In doing so, it will provide a debrief of the museum’s switch from face-to-face to online engagement with students, researchers and the wider public over the past 18 months (part one). It will then discuss the aims, development and launch of the new online catalogue (in October 2020). This section (part two) will introduce the development and key features of the online catalogue, including visitor engagement with interactive ‘trails’ amongst other highlights. Finally, it will review the role of students as co-creators and users of the museum’s resources (part three). Ultimately, this article considers how the new website will provide greater levels of interactivity to correlate with the needs of a diverse community of users, allowing both students and the public improved access to the collection. This complements the object-centred learning approach that the Egypt Centre champions.

Front Matter

Die Redaktion — 2023-01-04

The Show Must Go On

Hanneke Kik — 2023-01-04

A touring exhibition with objects from the Egyptian collection of the Rijksmuseum van Oudheden (RMO) in Leiden was ready to be transported to Japan, when international travel was curtailed in March 2020 due to the Covid-19 pandemic. After a delay of five months, it was possible to mount the show at the first venue, but without couriers from the RMO. A plan was devised to enable the Japanese team to unpack and install the objects while a team from the RMO followed the process through a livestreaming video connection that allowed mutual communication in real-time. This contribution summarises how the exhibition’s partners prepared for this unusual installation method by adapting to, until then, unprecedented circumstances and reflects on its merits and disadvantages.

Editors' Foreword

Caroline M. Rocheleau — 2023-01-04

Pyramidology and Radiocarbon

Neil G. W. Curtis — 2022-02-04

A fragment of wood from the Great Pyramid was recently dated by the University of Aberdeen to 3341-3094 CalBC. This paper considers the implications of this date for the dating of the Great Pyramid, highlighting the possibility that it was ‘old wood’ at the time of deposition, but confirming that it sets a terminus post quem for the construction of the pyramid. It also discusses how the wood was collected, as part of an investigation by Waynman Dixon and James Grant of the Great Pyramid on behalf of Charles Piazzi Smyth, which led to the discovery of two narrow shafts from the ‘Queen’s Chamber’ containing items that became known as the ‘Dixon Relics’. This work is considered in the context of the campaign against the introduction of the metric system to the UK and the search for the Imperial inch in the measurements of ancient Egypt within the contemporary contexts of pyramidology and racism. The paper also highlights the importance of James Grant in late nineteenth-century Egyptology and his collection which is now in the care of the University of Aberdeen.

The first papyrus restoration project in Japan

Kyoko Yamahana — 2022-01-14

From 2013 to 2015, Tokai University, Japan, undertook the restoration of the papyri donated by the family of the late Professor Emeritus Hachishi Suzuki. Known as 'Restoration, Conservation, and Decipherment of Papyri in the Tokai University Collection with an International Collaboration', the project had the goal of giving undergraduate students the opportunity to learn papyrus conservation and restoration, and to publish the material.

‘EX LIBRIS F.LL. GRIFFITH et N.C.C. GRIFFITH 1937’

Susanne Woodhouse — 2021-11-26

Collecting books throughout his entire career, factors such as library access, location, accommodation, and financial scope determined the growth of the book collection of Francis Llewellyn Griffith (1862-1934), which was to become ‘the finest private Egyptological library in existence’. For teaching and research, he, his students, and the team of the Topographical Bibliography project relied on this library, which would ultimately be part of the joint bequest of Francis and Nora Griffith to the University of Oxford. At first accommodated in the Griffith Institute, and since 2001 in the Sackler Library, it remains adjacent to the Ancient Egypt and Sudan collection in the Ashmolean Museum and continues to allow interdisciplinary research thanks to this direct access to relevant library collections. Griffith had already defined these two prerequisites for the study of Egyptology in his Inaugural Lecture in 1901.

TABULA GRATULATORIA

Die Redaktion — 2021-11-03

A Ramesside Ushabti from Roman Karanis and Some Problems of Context

Terry G. Wilfong — 2021-11-03

Preliminary Thoughts on the Role of the Royal Administration in the New Kingdom

Lara Weiss — 2021-11-03

Re-discovering Ancient Egyptian Treasures in Nariwa

Keiko Tazawa — 2021-11-03

An Uncommon Old Kingdom Pair Statue

Gerry D. Scott — 2021-11-03

Dinner with Osiris, Or How to Make Your Own Osiris Vegetans

Caroline M. Rocheleau — 2021-11-03

The Morgan Library Statue of Tjanefer Son of Nespamedu (CK 971)

Mohamed Gamal Rashed — 2021-11-03

Egypt in Mannheim: New Visions for an Old Collection

Gabriele Pieke — 2021-11-03

Pelagio Palagi and the Belzoni Family Collection of Egyptian Antiquities

Daniela Picchi — 2021-11-03

A Papyrus Fragment with an Embalming Scene from the Pushkin Museum of Fine Arts

Nika V. Lavrentyeva — 2021-11-03

A Nubian King in the Oriental Institute Museum

Peter Lacovara — 2021-11-03

Things of Threads and Patches

Tom Hardwick — 2021-11-03

Theban Tomb 118: its Foreign ‘Tribute’ Scene and its Owner Amenmose

Andrew Hunt Gordon — 2021-11-03

New Finds of the Twenty-fifth Dynasty Period from El-Kurru, Sudan

Geoff Emberling — 2021-11-03

A Ptolemaic Queen in the Museum of Fine Arts, Boston

Denise Doxey — 2021-11-03

The Stelophore of Amenhotep and its Interesting Details

Tine Bagh — 2021-11-03

A Fragmentary Stela in the Art Institute of Chicago

Ashley F. Arico — 2021-11-03

Bibliography of Emily Teeter

Diane Bergman — 2021-11-03

Emily and ICOM CIPEG

Gabriele Pieke — 2021-11-03

Dr Emily Teeter: Educator, Mentor, and Friend

Shaaban Abdel Gawad — 2021-11-03

Emily Teeter and the American Research Center in Egypt

Gerry D. Scott — 2021-11-03

Emily at Chicago: A Tribute

Charles E. Jones — 2021-11-03

FOREWORD

Caroline M. Rocheleau — 2021-11-03

Die Redaktion — 2021-11-03

Front Matter

Die Redaktion — 2021-11-03

Engaging Audiences in Areas of Low Cultural Provision

Melanie Pitkin — 2021-10-20

This paper shares a new project at the Fitzwilliam Museum, Cambridge, which focuses on making high quality Egyptological research accessible and relevant to diverse audiences, especially those in areas of social deprivation and low cultural provision. The ‘Pop-Up’ Egyptian Coffins project has been generously supported by the University of Cambridge Arts and Humanities Impact Fund, the Global Challenges Research Fund and ICOM UK – British Council. The project takes genuine artefacts (when possible), craft replicas, hands-on activities, digital experiences and, perhaps most importantly of all, active research staff into surprising and unexpected locations. Locally these have included supermarkets, pubs, shopping complexes, public thoroughfares and a community centre supporting local people in need and migrant communities. In Egypt the ‘Pop-Up’ has visited shops, a furniture factory, sporting facility and a public library. The aim is to promote social inclusivity, community participation and knowledge exchange by reaching out to diverse audiences via subjects, such as woodworking and carpentry that may be more familiar and accessible than ancient Egypt to the audiences in question. The paper will demonstrate the importance of this type of engagement for the future of museum curatorial practice, particularly in terms of helping to keep Egyptological research relevant and people-focused – something which we believe is critical within the context of publicly-funded museums.

‘Gateway to the World of Egyptology’: A new Entrance Gallery at the Petrie Museum, London

Anna Garnett — 2021-09-08

In January 2019, the Petrie Museum of Egyptian and Sudanese Archaeology, University College London (UCL), received a generous grant from the DCMS Wolfson Museums and Galleries Improvement Fund to transform the Museum’s entrance gallery. A new entrance now provides a clearer and more impactful introduction to the collection, focusing on the life and work of Flinders Petrie and Amelia Edwards as well as other key characters linked with the development of the collection. This major redesign creates a dedicated introductory space to tell the story of Petrie and Edwards together at the Museum for the first time, explaining how and why an ancient Egyptian collection came to be at UCL. This paper will present key themes that will feature in the displays, as well as reflections on addressing some of the challenges in communicating more controversial aspects of Petrie’s and Edwards’ histories in this space.

Die Sammlung Klagenfurter Aegyptiaca und ihre Aufarbeitung

Mona Dietrich — 2021-08-31

The collection of Aegyptiaca from Klagenfurt is part of the collection of the Landesmuseum Kärnten (Carinthian State Museum), Austria. It comprises approximately 300 small objects, mostly amulets. The objects date predominantly to the Late Period with the earliest object dating to the Seventeenth Dynasty. They are currently being investigated within the framework of a dedicated project at the Ludwig-Maximilians University, Munich, under lead investigator Edith Bernhauer. The collection itself was established in 1858 via donations in Klagenfurt, Carinthia. The provenance within Egypt is unknown for most objects; however, further investigations – notably into the donor biographies – might provide leads. In 2019, to facilitate working with the collection and the data generated within the project, a relational database was created for internal management. To showcase both the objects and the research processes, social media was used for public outreach.

The Ceremonial Canopied Chariot of Tutankhamun (JE61990 and JE60705)

Nozomu Kawai — 2020-11-06

The Japan International Cooperation Agency (JICA) and Egypt’s Ministry of Tourism and Antiquities have been collaborating on the Grand Egyptian Museum Joint Conservation Project (GEM-JC), and since 2016 this team carried out the scientific research of the ‘second state chariot’ (JE61990). In the course of the detailed condition survey of the chariot, localized surface damage from where material had been anciently torn away from the corners and near the rear of the exterior sides of the chariot’s body was observed. Carter’s assistant Arthur Mace had noted this and assumed some metal elements had been wrenched off from these locations. Recently, the late Edwin C. Brock concluded that these remnants were fitting places of the four support poles of the canopy frame hitherto dubbed by Carter as Tutankhamun’s ‘travelling canopy’ (JE60705). Detailed measurements of both the chariot and canopy have now proved Brock’s hypothesis that the two items indeed made a canopied chariot. This paper also presents new discoveries and offers a tentative virtual reconstruction as support for the inclusion of virtual museum displays in galleries.

Front Matter

Die Redaktion — 2020-11-02

Rediscovering the Empires of Ancient Nubia In the 21st Century

Rita E. Freed — 2020-08-27

The Nubian collection of the Museum of Fine Arts, Boston, is arguably the finest outside Khartoum thanks to the excavations of George Reiser in the early 20th century and the partage system in place at the time. Yet for a long time, relatively few people outside the scholarly world knew of its existence. This paper presents the display history of the Nubian collection, with a focus on the 2019 temporary exhibition Ancient Nubia Now, which featured the cultures of Kerma, Napata, and Meroe, and also explored race, prejudice and African-American scholarship on Nubia. Through both community consultation and engagement as well as visitorship, the exhibition demonstrated that ancient Nubia is indeed very relevant in the 21st century, and can be used to excite and inform, and help bring inclusion, diversity, equity, and accessibility to the Museum.

ÄS 0310: A Small Osiris Coffin in Munich

Paula A. Veiga — 2020-07-30

This article discusses a small wooden Osiris coffin stored at the SMAEK, the Egyptian Museum collection at München, Germany, an item that warrants investigation due to its unusual and interesting representation of Osiris. This study included macro examination of the piece itself, with the help of the museum’s conservator, searching for information in the museum inventory, and using the available published bibliography. The goals of the investigation were to gain an understanding of the possible function of this object, and establish the identification of the owner of the tomb who commissioned such a piece.

Taking Advantage of TMS

Janice Kamrin — 2019-08-23

The Metropolitan Museum of Art has used TMS (The Museum System) as its collections management system for over twenty years; a subset of the data stored here is fed directly to our Online Collection (https://www.metmuseum.org/art/collection). Over the past decade, the curatorial departments at The Met have worked with the Museum's Digital Department to develop creative ways to use TMS for a variety of purposes: to enhance our online presence, to track important events and processes, to organize and track our archives, and to support research. This paper will provide an overview of several of these initiatives as they are implemented by the Department of Egyptian Art.

Front Matter

Die Redaktion — 2019-08-20

In Search of a Missing Osiris-Hydreios

Éva Liptay — 2019-08-20

The Department of Egyptian Antiquities of the Museum of Fine Arts in Budapest preserves a bronze copy, presumably manufactured around the end of the 18th century, that shows all the characteristic traits of an ancient Egyptian or Egyptianizing Osiris-Hydreios. Although the original ancient object from which the Budapest copy was made is a piece well-known to Egyptology, it has been lost for centuries. Research has therefore been limited to the study of the available early modern (17th and 18th century) drawings of the missing original piece. This study aims to draw some conclusions about the ancient context and provenance of the missing object, as well as about the circumstances in which the Budapest copy was created.

Documentation, Object Recording, and the Role of Curators in the Egyptian Museum, Cairo

Mohamed Gamal Rashed — 2019-06-05

The article discusses the roles of curatorial departments in Egypt with a focus on the Egyptian Museum and the challenges of its curators. It explores how social change is reflected on museums and their curatorial staff as well as how curatorship has changed in recent decades, resulting in the necessity of redirecting efforts in accordance to the needs and expectations of museums. The authors emphasize the importance of assigning priorities to curatorial roles in general, and at the Egyptian museum specifically. The paper also elaborates on important matters of collection management, documentation, and objects tracking at the Egyptian Museum and makes recommendations on how to address certain issues.

Equitable Access: Leveraging Multi-sensory Strategies to Engage and Empower Museum Learners of Diverse Abilities

Lucas Livingston

Our current museum culture embraces diverse approaches to information acquisition, empowering the visitor's voice and discovery through hands-on experience. How can emerging technologies such as 3D-printing and innovative approaches to multi-sensory learning activate museum collections of ancient objects and help cultivate a more engaging and participatory atmosphere for all audiences? This paper showcases current examples of hands-on learning and multi-sensory engagement in University of Chicago’s Oriental Institute and the Art Institute of Chicago. The Oriental Institute’s Verbal Imaging and Multi-Sensory Tours use artefact replicas in combination with detailed visual description and other sensory experiences, moving beyond visual observation to create a rich understanding of the artefacts and culture of the ancient Near East. The Art Institute of Chicago's collection of 3D-printed replicas enable hands-on tactile experiences with ancient works of art that were intended to be touched, opening different avenues for understanding and insight. Museum visitors, from reluctantly receptive traditionalists to youthful creative consumers, have embraced the diverse approaches of these institutions. Aspects of universal design ensure that learning and engagement remain accessible to all individuals, including people with disabilities such as visual impairments, autism, or dementia, who may not rely on traditional visual and auditory approaches to learning. The examples discussed here demonstrate, however, that approaches and accommodations made for people with disabilities are invariably beneficial for and appealing to a general audience.

From Kemet to the New World: History and Reception of the first Egyptian Collection in Latin America

André Onofre Limírio Chaves

This paper aims to analyse the process of formation of the Egyptian collection of the Royal/Imperial Museum (currently National Museum of Federal University of Rio de Janeiro – State of Rio de Janeiro, Brazil), situating it in the nineteenth-century contexts of collecting of curiosities and formation of museums, and relating it to the diverse modalities of collection of Egyptian antiquities present in Imperial Brazil. This collection, acquired in 1826, is extremely important for an understanding of the collecting practices of the period and their relationship to the establishment of interest in ancient Egypt in the New World. This collection of Egyptian antiquities reinforced the original mission of the Museum, that of mirroring itself in the great European museums, as well as following the collecting tendencies of these nations. In addition, the collection gained remarkable prominence in its time, and it is possible to retrace the trajectory of the uses given to it by the institution as a way to understand its many forms of reception and meaning during the nineteenth century.
Tragically on 2 September 2018 the Egyptian collection of the National Museum of UFRJ was largely destroyed in a fire, which devastated the entire museum. It is probable that stone objects have survived, but the majority of this seven-hundred-item collection, including the mummies and their coffins, no longer exists.

Front Matter

Die Redaktion — 2018-08-31

The Egyptian Collection of The Fondation Gandur pour l’art, Genève, Switzerland

Robert Steven Bianchi — 2018-08-31

Jean Claude Gandur, the founder and chairman of the Fondation Gandur pour l’Art, located in Geneva, Switzerland, is a successful businessman as well as a recognized philanthropist. He was born into a family that was sensitive to European, Oriental, and South American art, to which he was exposed at an early age when one of his grandparents presented him with a terracotta oil lamp. From that modest beginning over 40 years ago he continues to build his own collection by concentrating on four areas,
namely, Antiquities, Fine Art [primarily European Abstract Expressionism], Decorative Arts [from the Medieval Period to the end of the XVIII century], Ethnology [primarily, Pre‐Columbian] and Oceanic Art.
Gandur established the Fondation Gandur pour l’Art as a not‐for‐profit organization, incorporated by the canton of Geneva in 2010 because he desired to share that passion for art, particularly ancient Egyptian art, with a wider audience. The Fondation became of a member of ICOM in 2013. It continues to collect aggressively but acquires only those antiquities which have legally documented provenance histories which meet or exceed ICOM’s strict criteria for due diligence.

Madoka Suzuki (1945–2018): Le parcours d’une égyptologue

Tsubasa Sakamoto — 2018-08-31

Obituary of Professor Madoka Suzuki with a special focus on the Egyptian collections in Japan.

The Canopic Jar Project: Interdisciplinary Analysis of Ancient Mummified Viscera

Francesco M. Galassi

In this paper we present the rationale and ramifications of our current multidisciplinary research project on Egyptian canopic jars, aimed at discovering the antiquity of pathological processes localised at visceral level. The project includes select Egyptian mummies in addition to mummified viscera. To achieve this goal, we are using a wide range of investigative methods, from Egyptological studies to ancient DNA analysis. The major findings of the study of the mummies of Kha and Meryet and the mummified legs of Queen Nefertari (Turin Egyptian Museum) are presented here. Our
research has also taken a palaeo‐chronological course, leading us to implement a major reassessment of Egyptian mummies and epochs.

Revival of Ancient Egyptian Shroud: Study and Restoration of a Painted Funerary Shroud from Roman Egypt

Olga Vassilieva

This paper presents the outline of an important conservation and research project conducted at the State Pushkin Museum of Fine Arts, Moscow. The object of this study was the unique Egyptian funerary shroud dating to the 2nd century AD (Inv. 1,1a 5747), which displays unusual iconography and belongs to the so‐called ‘Saqqara shrouds’ group or the ‘psychopomp shrouds’. The shroud features a young woman holding the hand of a male child. This rare item underwent a range of technical examinations and, after a long and arduous process was strengthened and transferred to a new, fine cotton canvas backing. In November 2016, the shroud previously kept in storage was installed in the permanent galleries.

Made in Egypt: Traditional handicrafts as Tools for Community Engagement

Wesam Mohamed

Cultural landscapes are a combination of various features that represent the overall production of mankind. Therefore, the responsibility of museums towards their cultural landscape cannot be accomplished competently without regard to the people living in this landscape. Cultural landscapes, people and traditional handicrafts: the three of them are significantly connected to many museums in Egypt. Traditional handicrafts in particular have considerable value in the cultural scenery in Egypt; many
of them are, however, on the brink of vanishing.
Derived from the existing circumstances and based on the commitment to museums’ role in preserving cultural values, an initiative has been developed to take part in sustaining such cultural landscapes. This paper introduces an action plan to be initiated in all the antiquities museums under supervision of the Museums Sector, Egyptian Ministry of Antiquities.
“Made in Egypt” is an action plan that focuses on inspiration. Concisely, it is a move to use the past for the benefit of the present and for sustainability in the future. A series of activities are set out to raise the awareness of Egyptian society of both their outstanding past, and their own ability to re‐produce great works of handicrafts. The project’s process will be developed through exhibitions, workshops, competitions and marketplaces. Museums will be committed to support their local communities through developing a set of action plans to help the society overcome its problems and plan for a better way of life for future generations. Thus, this action plan will serve as a mediator in supporting many areas of museums concerns.

Egyptological landscape in Japan: Past, Present, and Future

Nozomu Kawai

Egyptology in Japan is relatively unknown to the rest of the world, although recently more Japanese scholars have been involved with a range of Egyptological projects, including archaeological excavations, conservation, philological studies and cooperation in the construction of the Grand Egyptian Museum. This paper aims present an overview of Japanese Egyptology from its beginning to the present, and look to its future. The article is divided into three parts: history of scholarship; history of archaeological fieldworks in Egypt; and Egyptian collections in Japan.

La Collection Nizzoli du Musée Égyptien de Florence

M. Cristina Guidotti

Front Matter

Die Redaktion — 2017-09-21

Re-Birth of an Egyptian Statue: Unfolding a Network through Space and Time

Nika V. Lavrentyeva — 2017-09-04

This article focuses on the restoration of the cast of a Middle Kingdom statue and how it became the catalyst for the unfolding of a network, connecting casts from the collection of the Pushkin Museum that represent sculptural portraits of Amenemhat III and nobles of the Middle Kingdom bearing the name Amenemhat. In attributing the portrait of Amenemhat III from his collection, Vladimir Golenischev had to examine a significant amount of material, primarily monuments that formed the ‘background’ of this work. The casts come from his personal collection and, by comparing them with each other and with originals, we can create a more accurate picture not only of Golenischev’s range of interests as collector, but also of his work methods.

Saqqara and the Museum Network

Maarten J. Raven — 2017-08-25

The 2016 General Conference of ICOM in Milan studied the close bond between museums and cultural landscapes. Since it is the main mission of museums to oversee the safekeeping and protection of heritage in general, either within or outside their walls, their involvement with landscapes is inevitable. This contribution focuses on the desert plateau of Saqqara in Egypt, a place which served as a burial ground for the elite for thousands of years, but became a hunting‐ground for plunderers during the nineteenth century. The loot of these tomb‐robbers ended up in public or private collections all over the world, including the National Museum of Antiquities of the Netherlands in Leiden.

Since 1975, the Leiden Museum has organised an archaeological excavation in the New Kingdom cemetery at Saqqara, in an endeavour to reconstruct the original provenance and archaeological context of the treasures in its custody. Over some forty years, this exploration has greatly contributed to a better understanding of not only the objects in Leiden, but also numerous other art works now dispersed in museums all over the globe. Thus, the landscape of Saqqara has become closely connected with a global network of museum professionals, and the expedition has provided the opportunity to realize one of the ideals of ICOM: that of sharing information.

From the Nile Delta to Karlsruhe: Or How to Present Mud Bricks in an Exhibition

Sebastian Hageneuer — 2017-08-25

Since 1980 the Qantir‐Pi‐Ramesse project, based at the Roemer‐ und Pelizaeus‐Museum Hildesheim, has been working in Egypt’s Nile Delta, excavating the country’s Ramesside capital Pi‐Ramesse around the modern village of Qantir. From 17 December 2016 until 18 June 2017 the results of the project are being presented as part of the temporary exhibition “Ramses – Divine Ruler on the Nile” in the Badisches Landesmuseum, Karlsruhe, Germany.¹

Even though Pi‐Ramesse can be considered as one of the most important archaeological sites of the Late Bronze Age in Egypt, if not the whole Eastern Mediterranean, the most spectacular discoveries are not in the form of appealing objects or easily recognizable remains of monumental architecture. Therefore, a strategy had to be implemented to achieve an aesthetically and educationally sound solution for the presentation of the projects’ most important results. This article will highlight the major problems and the chosen strategies to overcome them.

¹ See http://www.landesmuseum.de/website/Deutsch/Sonderausstellungen/Aktuell/Ramses.htm. The exhibition is complemented by a catalogue: Badisches Landesmuseum (ed.), Ramses – Göttlicher Herrscher am Nil (Karlsruhe, 2016).

The Organization of Knowledge on Egyptological Cultural Landscapes in the Collections of Serbian Academic Libraries

Vesna Župan — 2017-08-25

This paper concerns the opportunities that COBISS (Cooperative Online Bibliographic information System and Services) gives to users in the domain of Egyptian cultural landscapes. The collections of Serbian academic librarianship are taken into consideration through the use of the e‐catalogue of the central library of the University of Belgrade as well as by that of the cumulative e‐catalogue COBIB.SR. The opportunities offered by the interlibrary loan service which exists between the Svetozar Marković University Library in Belgrade and libraries abroad is emphasized in this paper.

The Museums of Egypt Speak for Whom?

Mohamed Gamal Rashed — 2017-08-25

The article discusses the barriers to the broader accessibility of museums in Egypt, in the context of the history of museums in Egypt, their perspectives, current missions, and policies. It also discusses the needs of Egyptian society in regards to museums, their expectations and interests, and how museums can be proactive in their role towards the local communities. It also discusses the desirability of establishing new types of museums which can better meet the needs of the Egyptians, in encouraging them to be today's museum visitors and tomorrow's museum's advocates. It notes that the responsible bodies in the Egyptian government, public organizations and museums should reconsider their future plans in order to meet the expectations of the Egyptian society.

CIPEG Journal: Ancient Egyptian & Sudanese Collections and Museums

The Egyptian and Nubian Collection of La Plata Museum, Argentina

Museum Matters: A Panel Discussion Series Powered by CIPEG

Les collections égyptologiques au Brésil : une histoire, une identité et un pouvoir construits

Front Matter

A Digital Presence in the Time of COVID-19: Reflections on Past, Present and Future Strategies Using Digital Technologies at Swansea University's Egypt Centre

Front Matter

The Show Must Go On

Editors' Foreword

Pyramidology and Radiocarbon

The first papyrus restoration project in Japan

‘EX LIBRIS F.LL. GRIFFITH et N.C.C. GRIFFITH 1937’

TABULA GRATULATORIA

A Ramesside Ushabti from Roman Karanis and Some Problems of Context

Preliminary Thoughts on the Role of the Royal Administration in the New Kingdom

Re-discovering Ancient Egyptian Treasures in Nariwa

An Uncommon Old Kingdom Pair Statue

Dinner with Osiris, Or How to Make Your Own Osiris Vegetans

The Morgan Library Statue of Tjanefer Son of Nespamedu (CK 971)

Egypt in Mannheim: New Visions for an Old Collection

Pelagio Palagi and the Belzoni Family Collection of Egyptian Antiquities

A Papyrus Fragment with an Embalming Scene from the Pushkin Museum of Fine Arts

A Nubian King in the Oriental Institute Museum

Things of Threads and Patches

Theban Tomb 118: its Foreign ‘Tribute’ Scene and its Owner Amenmose

New Finds of the Twenty-fifth Dynasty Period from El-Kurru, Sudan

A Ptolemaic Queen in the Museum of Fine Arts, Boston

The Stelophore of Amenhotep and its Interesting Details

A Fragmentary Stela in the Art Institute of Chicago

Bibliography of Emily Teeter

Emily and ICOM CIPEG

Dr Emily Teeter: Educator, Mentor, and Friend

Emily Teeter and the American Research Center in Egypt

Emily at Chicago: A Tribute

FOREWORD

Table of Contents

Front Matter

Engaging Audiences in Areas of Low Cultural Provision

‘Gateway to the World of Egyptology’: A new Entrance Gallery at the Petrie Museum, London

Die Sammlung Klagenfurter Aegyptiaca und ihre Aufarbeitung

The Ceremonial Canopied Chariot of Tutankhamun (JE61990 and JE60705)

Front Matter

Rediscovering the Empires of Ancient Nubia In the 21st Century

ÄS 0310: A Small Osiris Coffin in Munich

Taking Advantage of TMS

Front Matter

In Search of a Missing Osiris-Hydreios

Documentation, Object Recording, and the Role of Curators in the Egyptian Museum, Cairo

Equitable Access: Leveraging Multi-sensory Strategies to Engage and Empower Museum Learners of Diverse Abilities

From Kemet to the New World: History and Reception of the first Egyptian Collection in Latin America

Front Matter

The Egyptian Collection of The Fondation Gandur pour l’art, Genève, Switzerland

Madoka Suzuki (1945–2018): Le parcours d’une égyptologue

The Canopic Jar Project: Interdisciplinary Analysis of Ancient Mummified Viscera

Revival of Ancient Egyptian Shroud: Study and Restoration of a Painted Funerary Shroud from Roman Egypt

Made in Egypt: Traditional handicrafts as Tools for Community Engagement

Egyptological landscape in Japan: Past, Present, and Future

La Collection Nizzoli du Musée Égyptien de Florence

Front Matter

Re-Birth of an Egyptian Statue: Unfolding a Network through Space and Time

Saqqara and the Museum Network

From the Nile Delta to Karlsruhe: Or How to Present Mud Bricks in an Exhibition

The Organization of Knowledge on Egyptological Cultural Landscapes in the Collections of Serbian Academic Libraries

The Museums of Egypt Speak for Whom?